Stanley Greene

Furious Beauty: The Life and Times of Stanley Greene, exhibited in Moscow, Russia.

RU: Выставка "Яростная красота: Жизнь и время Стенли Грина" под кураторством Анной Шпаковой проходит в Мультимедиа Арт Музее в Москве до 17 февраля.

EN: "Furious Beauty: The Life and Times of Stanley Greene," a show curated by Anna Shpakova, is currently exhibited until the 17th of February at the Multimedia Art Museum, Moscow.


lesson plan for stanley greene's "hidden scars" | aftermath project work

Minutka Circle, Grozny. January 1995. Chechen rebels retrieve their dead commander in silence.

Hidden Scars

“My photographs are not about technique or “art”; they’re about pure gut feel and an attempt to discover hidden scars. At first, war photography seemed like a way to test myself, to exist on a knife-edge where there’s constant proof of being alive. Today covering conflicts is a very personal form of protest.”

Stanley Greene


A new lesson plan for educators featuring Stanley Greene’s work “Hidden Scars” from Chechnya in conversation with his collection of photographs “Open Wound” is now available for free use. The lesson plan and image guide can be downloaded from the Aftermath Project website.


 The suite of lessons is developed for photography educators who want to help their students to:


  • explore the idea of visual echoes in photographs from war and its aftermath;
  • develop and practice visual analysis and interpretive skills with visual echoes;
  • explore how context and perspective of the conflict photographer inform our understanding of  their image 

The Aftermath Project is a non-profit organization that awards grants to documentary photographers covering the aftermath of conflict. Every year the Aftermath Project also publishes book of works by its grant finalists. 


Stanley Greene covered the Caucasus region for two decades.  His perspective on war in Chechnya culminated in the work “Open Wound” (2003). The series of images “Hidden Scars” (2013) explored the aftermath of war and was produced through the support of the Aftermath Project grant.


Photos ©Stanley Greene

tutors & participants for noor-nikon amsterdam masterclass announced

We are proud to announce the selected participants for the NOOR-Nikon Amsterdam Masterclass with NOOR photographers Bénédicte Kurzen, Stanley Greene and Asim Rafiqui, which will take place in the agency's hometown from 16 to 20 November 2015.


We sincerely thank everyone who put effort into their applications and congratulate the photographers who will be taking part in the masterclass:


Angeniet Berkers (NL)

Alessia Capasso (BE/IT)

David Denil (BE)

Chris Grodotzki (DE)

Maja Hitij (DE)

Francesca Jones (UK)

Gino Toine Kleisen (NL)

Ryan Koopmans (NL)

Simon Lenskens (BE)

Maria Litwa (DE/PL)

Conner Matheson (UK)

James Parker (UK)

Ronny Rozenberg (NL/IL)

Mary Turner (UK)

Gerbrand Van Uytvanck (BE)


We look forward to meeting all the participants, having the chance to learn about their work and sharing experiences in November.

stanley greene jury chair at slovak press photo


Stanley Greene recently returned from chairing the jury of the 2015 Slovak Press Photo competition in Bratislava, Slovakia. One hundred and ninety-one photographers from Slovakia and Eastern European countries submitted to this year's edition. The Grand Prix was awarded to photographer Róbert Tappert.







Photos courtesy: Laura Wittek, Milan Illik, Vasily Prudnikov, Michaela Kolekova

noor at fotografia europea 2015

NOOR Group Photo, May 2015. From left: Asim Rafiqui, Pep Bonet, Kadir van Lohuizen, Benedicte Kurzen, Sebastian Liste, Jon Lowenstein, Francesco Zizola, Andrea Bruce, Nina Berman, Stanley Greene, Alixandra Fazzina.


As HOST program guests of the Italian festival Fotografia Europea 2015, NOOR photographers visited the beautiful town of Reggio Emilia to lead workshops, present a screening and discussion evening, and open their group exhibition, "A NOOR journal on the changing planet, 2009-2015."



Chiostri di San Pietro, exhibition venue for the group show, "NOOR Journal on a Changing Planet 2009-2015," in Reggio Emilia, Italy.


The exhibition, curated by Laura Serani, brings together years of work on climate change and environmental issues around the globe and is on view at the Chiostri di San Pietro until 26 July.


NOOR photographers at the opening of their group show on climate change with curator Laura Serani.


In the days leading up to the festival's official opening, NOOR photographers Stanley Greene, Jon Lowenstein, Sebastian Liste, Andrea Bruce, and Asim Rafiqui guided practical and theoretical workshops in documentary photography. To see a video of the work participants shot during the workshop see here.



Jon Lowenstein guides a workshop on practical elements of photography and editing.


Stanley, Jon, Sebastian and Andrea's workshop participants worked on a shooting assignment covering local food and wine production in the region. One group visited a Parmigiano-Reggiano maturation room in Reggio Emilia.



Workshop participants visit a Parmigiano-Reggiano maturation room.


Workshop group photo with Jon Lowenstein.




The festival HOST program (a project by aBcM) came to a close with NOOR Night, featuring an evening of screenings and discussions with NOOR photographers and moderated by Lars Boering, Director of the World Press Photo. The topic of the evening was "Change: How to Achieve It." 



Lars Boering moderated NOOR Night with photographers Benedicte Kurzen, Jon Lowenstein, Kadir van Lohuizen, Pep Bonet, Andrea Bruce, and Francesco Zizola.



Stanley Greene and Andrea Bruce at NOOR Night.



Following the festival, NOOR members stayed in Reggio Emilia where they held their 8th Annual General Meeting. At the Annual General Meeting, NOOR photographers and staff evaluate agency and foundation activities, and plan how to continue NOOR’s mission in coming years.



All photos by Francesca Pradella 

workshop with stanley greene, jon lowenstein, sebastian liste & andrea bruce

From Thursday 14 May until Saturday 16 May 2015, as part of the Fotografia Europea festival, in in Reggio Emilia, Italy, NOOR will host a three day practical workshop under the guidance of Stanley Greene, Jon Lowenstein, Sebastian Liste and Andrea Bruce. Deadline for applications is Tuesday 28 April 2015 EXTENDED! NEW DEADLINE: 5 May 2015 (before midnight C.E.T.).



This hands-on workshop will include portfolio reviews, as well as practical and theoretical discussions on how to develop stories. One day of the workshop will be dedicated for shooting and another day will be dedicated to editing the work. The results of the workshop will be screened at the festival on Saturday night during the NOOR Night at Chiostri di San Pietro, the main venue of the Festival.


Participants will work in four groups of maximum 6 participants per group. Each group will be guided by one of the photographers. Each applicant will be able to choose the photographer they would like to work with, and all efforts will be made to accommodate their choice.


Over the three day workshop, each of the four NOOR photographers will give a presentation of their work, followed by a Q&A and discussion. These presentations can be attended by all participants, regardless of which group they are in.


Participants should bring a camera and computer. Due to the fast pace of the workshop, NOOR highly recommends that participants produce and edit their work digitally.


When: Thursday 14 until Saturday 16 May 2015 between 10:00 to 18:00 CET.

Cost: 300 (exclusive of 15 administration costs, includes festival pass)

Admits: 20-24 people (5 to 6 per group)

Deadline for applications: Tuesday 28 April 2015 EXTENDED! NEW DEADLINE: 5 May 2015 (before midnight C.E.T.)




1. Please download, fill out, and sign the registration form.

This can be sent via email to:


2. Please make an advance payment of 100 EUR via PayPal

or bank transfer to:

Bank Account holder Stichting Noor Foundation

IBAN code: NL37 INGB 0004288015



Please clearly indicate with the payment your name and what it concerns, so we can track the payment. Please send a receipt of the payment together with the registration form.


3. For the 3 day workshop with Stanley Greene, Jon Lowenstein, Sebastian Liste and Andrea Bruce you are required to have:

- Basic experience in documentary photography or photojournalism;

- A high level of motivation;

- English language skills (the workshop is in English);

- A good technical understanding of your camera equipment, a working knowledge of the media environment and basic image management skills.


To apply you need to send a PDF file not exceeding 6 MB including:

A CV including your contact information and a written text explaining your work and projects.

A portfolio of max. 30 images with text introductions and captions (please show your storytelling skills by presenting at least one picture story of 8 images).


Please send your application with all the above requested documents (registration form, payment receipt, portfolio)


Deadline for applications: Tuesday 28 April 2015 EXTENDED! NEW DEADLINE: 5 May 2015 (before midnight C.E.T.)


If sending a PDF creates a problem, we accept links and word documents or alternative formats. For more information contact


Selected participants will be provided with necessary information in the form of welcome packs prior to the event and a free pass for the festival.




Tuitions for the workshops and the lunches does not include flights, accommodations or meals. All on-the-ground expenses are the responsibility of the student.


Once you submit your application, you will be notified within 2 business days after the submissions deadline.


All fees must be paid within three days from acceptance. Students will then be emailed a full welcome package with suggestions for accommodations as well as a guide to Reggio Emilia.


Please note

- NOOR reserves the right to change or alter the program advertised.

- If a participant decides to cancel for whatever reason, it must be confirmed in writing:

. NOOR will reimburse all the registration costs except for €15 administration fee, if the participant informs NOOR of cancellation the day they receive the notification of acceptance to the workshop. Beyond this time limit, NOOR will charge the following:

. 50% of the cost if cancelled between 6 and 12 days before the workshop commences.

. 100% of the cost if cancelled less than 5 days before the workshop commences.

. All workshops that are commenced but not completed through the fault of either the contractor/or participant need to be paid in full.

- NOOR is not responsible for reimbursement of travel expenses in case a workshop is cancelled. We recommend that you buy refundable air tickets and/or travel insurance.

- A €100 application fee is required for each application. If accepted, this balance will be applied to the final tuition. If the student is not accepted, a refund of the application fee will be granted (minus €15 administration costs).


For any questions, or for more information, please contact Valeria Ribaldi.

noor-nikon belgrade masterclass: on storytelling & editing

Matic Zorman (Slovenia) shares his work with Majlend Bramo (Albania). Photo: Kamerades



Editing and visual storytelling were central to the NOOR-Nikon Masterclass in Belgrade. Before meeting together, all fifteen participants shot and edited an assignment on the theme ‘Remains.’ This work went under the microscope for serious editing by both peers and the tutors throughout the week. The NOOR photographers also shared their own experiences, struggles and strategies for putting together good edits for different purposes.


Front: Portfolio review between Andrea Bruce and Elena Geroska (Macedonia/Bulgaria). Behind: Fisnik Dobreci from Montenegro discusses his work with Kadir van Lohuizen. Photo: Kamerades



After each participant had a one-on-one portfolio review with each tutor, we sat down for a little recap. Andrea, Stanley and Kadir gave the participants feedback that they needed to work on their sequencing and push deeper into the story. Andrea told the participants, “A story has to be about more than just a topic, it also needs to be about an emotion. Make sure you use your tools to portray a feeling, not just the subject.”


Editing the 'Remains' assignment. Photo: Kamerades



Andrea Bruce works on edits with L-R: Matjaž Rušt, Matic Zorman (Slovenia), Milovan Milenković, Mina Delić and Oksana Toskic (Serbia). Photo: Marko Rupena / Kamerades



Kadir added, “When you work as a documentary photographer, you are also an author, editor and producer.” He explained that a lot of photographers focus their time and effort on shooting and don’t pay enough attention to sequencing and captioning. As much as possible, Kadir spends about equal time shooting as he does prepping the files and putting together the story selection and sequence. He encouraged the participants to “Challenge your viewer – for instance, maybe you don’t want to use an establishing shot to start your sequence.”


Stanley Greene works with a small group of participants on their 'Remains' assignment edits.


Over our days together in Belgrade, all of the NOOR photographers pulled back the curtain on their practice to show participants what kinds of preparations they do, questions they ask themselves and challenges they face. For instance, Kadir also took the participants through an a-z, shooting to publication process for a recent story. He discussed working with the NGO on the ground, how the access and lighting conditions shaped his shooting approach, then walked us through the different selects he made for the NGO partner, versus his select as for pitching the story for the editorial market – eventually showing us what was published.


Stanley showed an unpublished recent series of work, which he was frank about his struggle with the edit and sharing the work. He encouraged participants to “Share your work with your trusted colleagues. If you stay to close to your work you can stagnate. Along with being a support system, your colleagues can help give you fresh perspective.”


Participants Matjaž Rušt (Slovenia), Oksana Toskic (Serbia), Mitar Simikić (Bosnia and Herzegovina) and Matic Zorman (Slovenia) talk over their work. Photo: Kamerades



Mitar Simikić (Bosnia and Herzegovina) shares his book with a colleague. Photo: Kamerades


- Asmara Pelupessy, Associate Editor, NOOR

highlights from noor-nikon masterclass in belgrade: on working in the field

Throughout the workshop week, NOOR photographers and the Masterclass participants tackled the learning goals laid out in the first day through one on one portfolio reviews, group editing sessions, diverse presentations and lots of great discussions that continued through all hours of the days and nights. Some highlights compiled by NOOR’s Associate Editor, Asmara Pelupessy:


Masterclass participants and NOOR team outside of our home base for the week - the workshop venue UK Parobrod.




NOOR photographer Andrea Bruce presented some of the work she shot on assignment for The New York Times.


Kadir van Lohuizen and participants listen as Andrea Bruce talks about a recent assignment shot for The New York Times.



To become a regular contributor for a major publication such as The New York Times, Andrea recommended to the participants that they should:


- Be reliable

- Be low maintenance, don’t make things complicated

- Don’t complain

- Be a team player, work together with the reporter

- Bring something to the table with their photography that goes beyond the obvious, beyond what is offered by wire services


Reacting also to some of the challenges the participants faced shooting their ‘Remains’ stories for the Masterclass – NOOR photographer Kadir van Lohuizen emphasized, “Not having enough time for an assignment is never an excuse. An editor doesn’t care.”


Andrea pointed out that you can utilize shorter assignments to create a larger project or body of work - “Just because an assignment is quick doesn’t mean you can’t go back to it on your own or with another paper. You can make use of the fact that this gives you a start on a story, or you can use the work to apply for grant funding to do more follow-up work.”




Before landing in a new country or city for a story, Andrea prepares all her logistics so they are ready by the time she arrives – fixer, translator, transportation, etc. She suggested that participants might hire a fixer for a half day at first to see if they make a good team and emphasized that photographers must take the responsibility to protect the safety of their fixers and translators.



Workshop participants Midhat Poturovic (Bosnia and Herzegovina), Majlend Bramo (Albania) and Tsvetomir Dimov (Bulgaria). Photo: Marko Rupena / Kamerades




When it comes to shooting, Andrea said, “I can’t stress enough to get up before sunrise.” To catch good light she usually shoots at the beginning and end of the day and works with the writer on interviews during the middle of the day. She encouraged the participants to “wait it out - stay longer than you want to in order to wait for good photos, especially if the light is good.”


Stanley Greene and Andrea Bruce. Photo: Frank Zuidweg





Knowing the experience of the Masterclass tutors, throughout the week, participants had a lot of questions about covering conflict. After NOOR photographer Stanley Greene’s presentation of some of his most impactful stories this topic took center stage.


Stanley Greene presenting his work. Photo: Marko Rupena / Kamerades



On the practical side – though seemingly mundane Stanley emphasized the absolutely essential - “Never try to do a story unless you understand your equipment up and down.” Andrea reiterated, “Learn the basics of how to work your camera and do a story now, before going to the field. Its extremely dangerous if you are working in a conflict zone and you struggle with your equipment or get wrapped up in logistics - you can lose awareness of your surroundings.” She also shared that she wished she saw more women covering conflict. "Sometimes I feel very alone. As a female photojournalist we have unique access to cover the other half of the story - women.”


While NOOR’s photographers have committed themselves to cover untold stories, they do not romanticize war photography. As Kadir wrapped it up, “There is not a single image worth dying for.” Through the Masterclass, Andrea, Stanley and Kadir talked about how they work to broaden our view on conflict by capturing daily, civilian life as it continues through war and also covering conflict’s aftermath and consequences.



Matic Zorman (Slovenia) shares his work with the group as Andrea Bruce (left) and Fisnik Dobreci (Montenegro) look on. Photo: Kamerades



Stanley Greene and Andrea Bruce. Photo: Marko Rupena / Kamerades

an update from the noor-nikon masterclass in belgrade

From NOOR's Associate Editor, Asmara Pelupessy -



The NOOR-Nikon Masterclass in Belgrade has brought together 15 talented young documentary photographers from the Balkan region:


Majlend Bramo from Albania

Mina Delić from Serbia

Tsvetomir Dimov from Bulgaria

Fisnik Dobreci from Montenegro

Marija Erdelji from Serbia

Elena Geroska from Macedonia/Bulgaria

Milovan Milenković from Serbia

Armend Nimani from Kosovo

Marina Paulenka from Croatia

Midhat Poturovic from Bosnia and Herzegovina

Matjaž Rušt from Slovenia

Mitar Simikić from Bosnia and Herzegovina

Denislav Stoychev from Bulgaria

Oksana Toskic from Serbia

Matic Zorman from Slovenia


These participants are spending the week together with NOOR photographers Andrea Bruce, Stanley Greene & Kadir van Lohuizen. Its been my pleasure to moderate the workshop, which is hosted by our local partner, the Serbian documentary photographers' collective Kamerades.


Over the past days we have been sharing our work, exchanging insights on building a successful career as a documentary photographer and editing an assignment shot especially for the masterclass on the theme ‘Remains.’


Through our first introductions, we learned that many of the participants, though young, already have years of experience under their belts working for newspapers and news agencies in the region. Most are looking to expand their practice and work on more self-directed and/or longer-term projects. Matjaž described his interest in “photography that doesn’t only give answers, but also raises questions.” Midhat talked about how he wants to develop the photography scene in the region to expand opportunities for young photographers here.


Along with refining their skills at working in the field, storytelling and editing, this year’s participants are keen to learn about how to get their stories out into the world – finding financing and outlets for their work.



The first day of the workshop closed with an essential talk from all three photographers on “Truth in Photography,” discussing the recent conflict behind the recent World Press awards and why ethics in documentary photography is important. In Andrea’s words, “in a moment when the legitimacy of journalism and journalistic professionals is questioned - truth, down to the smallest detail, is even more critical.”





Images by Frank Zuidweg