Eddie Adams Workshop

The time is HERE!!! Apply Apply Apply! I can’t emphasize enough! Here is the link EDDIE ADAMS WORKSHOP

Celebrate Twenty-Five Incredible Years


Application process is now open through May 25th, 2012 for this TUITION-FREE Workshop. Read further for more information regarding eligibility.
The Eddie Adams Workshop is an intense four-day gathering of the top photography professionals, along with 100 carefully selected students. The photography workshop is tuition-free, and the 100 students are chosen based on the merit of their portfolios.
 Nikon is the Official Sponsor of Barnstorm: The Eddie Adams Workshop

Who is Eddie Adams?

About Eddie Adams (1933 – 2004)

With his signature hat, ponytail and unassuming disposition, one might not realize that photographer Eddie Adams covered 13 wars, beginning with a stint as a Marine Corps combat photographer in Korea in the early 1950s and ending in Kuwait in 1991. He did three tours of Vietnam with the Associated Press and won the Pulitzer Prize for photography for his shot of a Viet Cong lieutenant being executed at close range on a Saigon street by a South Vietnamese general. In his more than five decades as a working photographer, Adams received more than 500 awards honoring his work, including World Press, New York Press, National Headliners and Sigma Delta Chi Awards. He said he likes getting them; that they’re nice. But he didn’t display them. He didn’t display that famous photo from Vietnam, either. If he’d had his way, that photo would never be released for publication again.

Adams photographed some of the most celebrated people in the world: Ronald Reagan, Fidel Castro, whom he liked, and Pope John Paul II; Jerry Lewis, Clint Eastwood and Bette Davis; Big Bird and Mickey Mouse. All of them, and many more, have looked into Adams’ lens. He remains one of the most published photographers in the U.S., with his work gracing the pages of newspapers and magazines like TIME, VOGUE, VANITY FAIR and PARADE. His career spanned journalism, corporate, editorial, fashion, entertainment and advertising photography. He photographed leaders in all fields, from politics to the superstars of film, television, sports and high fashion. His portfolio includes one-on-one sessions with seven U.S. Presidents and sixty-five Heads of State. “Eddie’s genius is his talent for capturing tension in every photo, whether it be the still of a murder or the animation in the eyes of a movie star,” says PARADE Chairman Walter Anderson. “He is eclectic, incomparable and cantankerous. He is unyielding in the pursuit of excellence.”

It’s not the war photos or the celebrity photos or the awards that define what’s most important about Adams’ work. It’s the photos that have moved and inspired people to do good; the photos that have led to important change in government policy and people’s lives. He was proud of his 1979 shot “Boat of No Smiles,” depicting 50 Vietnamese on a 30-foot fishing boat fleeing their homeland. It was such a dire time for them, not even the children on board could find pleasure in a boat ride. It was Adams’ photo of these “boat people” that ultimately led Congress and President Jimmy Carter to open the door to the U.S. to more than 200,000 Vietnamese refugees.

In 1995, Adams created a photo essay for PARADE of some of “the most amazing, most beautiful children in America.” One image — that of a 3-year-old with leukemia, who was photographed with her security blanket — moved one woman so much that she started an organization. Project Linus, founded by Karen Loucks, is a non-profit that provides security blankets to children who are seriously ill, traumatized or otherwise in need through the gifts of blankets and Afghans created by volunteers. Today, there are more than 300 chapters of Project Linus in the U.S. and abroad.

Adams began his photography career as a high school student in Kensington, Pa., shooting weddings and other events for $20. He eventually got a job with the New Kensington Daily Dispatch. From there, he went to the Enquirer & News in Battle Creek, Mich., and the Philadelphia Evening Bulletin. In 1962, he joined the Associated Press. After a decade, Adams left the AP for TIME magazine and freelance work. He rejoined the AP in 1976, where he was the first and only photographer to hold the title of special correspondent. In 1980, Adams became a PARADE magazine photographer and, from 1982-2004, was a special correspondent to PARADE, which has featured more than 350 of Adams’ photos on its cover over the years.

Eddie Adams passed away on September 19, 2004. His legacy continues in the annual photojournalism workshop, Barnstorm: The Eddie Adams Workshop, which he created in 1988, and is still running strong today.

Eddie Adams is a great photographer and I have taken a huge interest in his photography. He has definitely been a huge interest of mine and I have always enjoyed his work.I really hope to attend the workshop one day.


First semester as a GRAD STUDENT DOWN



Its been a very interesting semester, to say the least. I felt like I was on top of the world when I left undergrad. I felt like my work was at a great peak and I was ready to continue to move forward. I had so many great projects and ideas going through my head. I was highly motivated and ready to move forward.


When I started at San Diego State in the Fall of 2011, mostly lost. haha. The campus is huge and I felt like a freshmen. After much-needed help, I discovered where I needed to be. Amongst the art students and more importantly… the Color printing lab!! I struggled most of the semester because I felt so lost in so many ways. But once I transferred into the Advance Undergrad Color Printing class, I felt more at home. I hadn’t been in a lab in over 7 years, so to be back into a dark room, was a shock to the system. But in such a good way! Especially because I had never learned how to color print. It was amazing and a great learning experience.


Not only did I find my way into the dark room again, but I found myself working with one of the greatest people in the photography community. Arthur Olloman, the past curator for MOPA for over 20 years, was now my professor. I have been working closely with Arthur and find him as one of the most informative photography curator I know. He is like a walking encyclopedia of every photographer there ever was. I enjoy working with him and plan to continue too.


Because of Arthur and the other undergrad students, I was forced to really push myself. I felt stuck in hole ever since I applied to a graduate program. It was nice to have people push me into what I wanted my work to be.


However, I couldn’t help that I was mainly struggling with my personal life. Being away from my daughter has been the hardest thing thus far in my life. I struggle to try to balance my grad school, work and visiting every month. Every time I went to New Orleans, I felt as though I didn’t know her at all. She kept changing and I hated that I felt I was losing her. I still feel that way. I feel as though sometimes I just don’t know her. Now six, she definitely has a mind of her own and such a personality. She will always be the best thing that happened to me.


Because I struggled with being apart, I think that was the main reason my work suffered so much too. But then it lead me into a different direction that I hadn’t really explored yet. I always enjoy the nude. But as my daughter gets older, I a wonder when I have to stop photographing her…. I guess until she tells me she doesn’t like it anymore. The new images I recently took of her, show a different intimacy that we have together and apart. I watch her grow every month, and explore the map of her body up close and afar. Her skin is so pure and young, and she has already accumulated scars of her own, even though she is only six.


I plan to continue exploring the body on a more up close and personal level. I like where my work is going right now. But I know it took me a while to get there. I honestly think my work has suffered because my daughter isn’t around. Funny how that works. I guess I need that love. That comfort from her. I miss her. I always do.