© Nadav Kander, 2023


Orientation Monday, October 9th, 4:30pm – 5:30pm

Tuesday, October 10th – Thursday, October 12th 9:00am – 4:00pm.

Friday, October 20th 9:00am – 11:00am Pacific Standard Time VIA ZOOM


Nadav Kander: Process and Practice
After his extraordinary sold-out workshop in 2019, PSPF is proud to present a second rare workshop by world-renown photographic artist Nadav Kander, a major force in both commercial and fine art photography worldwide. 

The workshop will focus on process and practice, getting to the next level, understanding where you need and want to go in your work. How to distinguish yourself in your field, find your voice and transform your work into a recognizable and powerful means of visual communication. There’ll be the opportunity to make a small series of work if desired but this is not mandatory. 
“Lets talk about process and practice. How you might consistently reflect your conscious and unconcious self in your work. How the light and the darkness can be present, or put differently, how the ease and difficulty that forms you can manifest in your work.
How do we do this? I am unsure! But willing to give it a go.
I want you to bring up to 5 pictures of objects, scenes, sculptures, paintings etc. that are special to you and make you tick. Pictures that with a little explanation from you will explain to me what sort of a person you are. This is not about bringing pictures you think are good, but pictures that have great resonace in you. Bring them printed out in any size you think works as a presentation.
I would like you to make work while we are together, so please bring what you need. Please also bring your own work to project or lay out on the floor for a class critique and review. These shouldn’t necessarily be examples of your commercial work but your personal work; pictures that reflect what you love photographing. Keep portfolios to a maximum of 15-20 images. – Nadav Kander
Photographers should bring their laptops and be conversant with their hardware and software in order to facilitate downloading and projecting their work for critiques in class. Images for projection should be 72dpi files sized to 1500px on the long edge. Digital projectors with standard DVI / VGA cables will be provided. If you require DVI connectors and / or adapters, please bring one to class. 

PRICE: $2540 

plus $55 per day (Monday not included) Daily Registration (included: Model fees, workshop transportation, opening reception, networking dinner, evening presentation and party.


“The workshop was great! Nadav was very giving and it was a unique opportunity to spend an extended period of time with one of the best photographers in the world.” – Clay

“Amazing! He changed my life, for the better of course.” – George

“Workshops with Nadav and Lindberg have been one of the highlights of my professional career. Very engaged and thoughtful. True professional and very inspiring” – Shaun

Includes class transportation if required and a boxed lunch for each day on location of the workshop.  


1961 Born, Tel Aviv, Israel
1964 – 1985, Johannesburg, South Africa
1985 – present, London, England

I was born in Israel on December 1st 1961. When I was small I always told my friends that my dad lost his left eye because of flying at extreme altitudes testing Mirage fighter planes for the Israeli Air Force.  But that’s not true.  He flew Boeing 707s for El- Al and lost his eye for medical reasons. Due to this he was grounded in his prime.  He was 37 and looking for a job.  I was 2 at the time. My parents decided to go and start again in South Africa, where my grandfather lived. So my earliest memory is throwing up on the flight from Tel Aviv to Johannesburg on my third birthday. I lived there until I had turned 21 and left for England.

I had to wear a school uniform from age 6. I had a Dalmatian dog called Dick. I played table tennis and football, but I was better at table tennis. My nickname was Goose because some football coach put two and two together that “goosey goosey gander” rhymed with Kander, and I supported Liverpool FC because they were the best.

We used to drive down to the coast in a white Austin 1100 until my father “upgraded” to a Peugeot 504 which to my embarrassment had an avocado green paint job (he loved this car until he left South Africa 22 years later).  I was 10 yrs old and bought him a mock leather steering-wheel cover with my pocket money.  It was received and laced on before we had even left the petrol station. My first success.  He liked it. I tell you all this because on these holidays my father used to photograph his year’s worth of transparency film on his Iconoflex which he had bought on one of his flights to NY.  Weeks after returning to Johannesburg we would be treated to a slide show that I remember clearly.  I think these slide shows were my first introduction to the possibilities of photography.

When I was 13 I started taking pictures on a Pentax camera that I had bought thanks to my Bar Mitzvah, at which I remember the Rabbi had to ask me to bend down so as to put his hands on my head.  I was already 6 foot.  Around then, I began to look deeply at the work of Strand, Stieglitz, Weston and Atget, all of which resonated the feeling that each artist was exploring their respective lives. They made work about both their outer surroundings and their inner landscapes and their art clearly showed their individual and consistent authorship.  Weston for instance made portraits that had similarities to his drift wood series of years later, he photographed a toilet bowl that looked like his shells and nudes that looked like his contorted peppers.  This subconsciously informed me that nothing should be considered “out of bounds” to my art practice.  This has been fundamental to me.

Around the age of 14 I saw a picture in a newspaper. The viewpoint looked into a trench being dug by 5 black men and there out of the hole, cropped at the knees, was a white pair of legs that stood over them. I grew up with this injustice all around me, Apartheid was in everyones bones. The pictures that I took then and into my early 20s, although unaccomplished, have the same sense of quiet and unease that is a part of my practice today.

I saw TV for the first time when we went to Europe on a family holiday when I was 14. South Africa first broadcast TV the next year! I remember how different in all ways the cities were to Johannesburg – the food, the transport and the streets so full of people.  The equality.  I remember sneaking out of the hotels and walking, probably only a block or two, just to feel alone, anonymous and on an even footing with all the people around me. And I remember visiting a lot of galleries because my sister Tamar, who was well on her way to being the artist she is today, took every opportunity. From then on, I wanted to return to Europe.

I hated school with dedication.  A shame, but true. I wasn’t hugging and saying tearful goodbyes on the final day. I just left and I have never returned. Having a very bad accident on my motorbike that I had had since I was 15 (a Triumph 650 Tiger), was a hinge event.  Prior to this I had been a practising hard man and going nowhere. Working on the machines during the day and riding in groups at night was my life.  After the accident when I was 17, I never rode again and my focus shifted back to photography. South Africa forced its white male citizens to partake in National Service, and I somehow ensured I was drafted into the Air force and then into a darkroom where I printed aerial pictures for two years. It was here that I became certain I wanted to become a lens based artist.  A Photographer back then. I met Nicole Verity at about this time.

The day after I cleared out of the Air force I started working for Harry De Zitter, and a few months later, soon after my 21st birthday, I left for England. At the end of 1985 I was back in South Africa and met up with Nicole again.  She joined me in England in 1986. We squatted in a block of flats two streets away from where we later bought a house. We married in the wilds of Africa in 1991.


2022 Nadav Kander: The Thread, Howard Greenberg Gallery, New York, USA
2019 Portraits, Flowers Gallery, London
2019 128 Portraits, Willy Brandt Haus, Berlin
2019 The World Photography Organisation, Somerset House, London
2019 Dark Line – The Thames Estuary, Flowers Gallery, New York
2017 Dark Line – The Thames Estuary, Flowers Gallery, London
2016 Dust, Flowers Gallery, New York
2014 Dust, Torch Gallery, Amsterdam
Dust, Les Rencontres d’Arles, France
Dust, Flowers Gallery, London
Nadav Kander – 49 Works, Nanyang Academy of Fine Arts, Singapore
Yangtze – The Long River, Haggerty Museum, USA
Curves of Moon and Rivers of Blue, Blindspot Gallery, Hong Kong
2013 Bodies. 6 Women, 1 Man, Flowers Gallery, London, UK
2012 Yangtze – The Long River, Edwynn Houk Gallery, Zurich
Yangtze – The Long River, Flowers Gallery, New York
Bodies. 6 Women, 1 Man, Festival Images, Vevey, Switzerland
2011 Yangtze – The Long River, Forum Fur Fotografie, Cologne, Germany
Selected Portraits 1999 – 2011, The Lowry, Manchester, UK
Inner Condition, Obama’s People and Other Portraits, Centro Andaluz de la Fotografia, Almeria, Spain
Yangtze – The Long River, Camera Work Gallery, Berlin, Germany
2010 Yangtze – The Long River, M97 Gallery, Shanghai, China
Yangtze – The Long River, Flowers Gallery, London, UK
Selected, Camera Work Gallery, Berlin, Germany
Obama’s People, Kunsthallen Nikolaj, Copenhagen, Denmark
2009 Obama’s People, Flowers Gallery, London, UK
Obama’s People, Birmingham Museum & Art Gallery, UK
2008 Yangtze: From East to West, Flowers Gallery, London, UK
2005 Keep Your Distance, Palais de Tokyo, Paris, France
2002 Beauty’s Nothing, Acte 2 Gallery, Paris, France
2001 Night, Michael Hoppen Gallery, London, UK
Beauty’s Nothing, Yancey Richardson Gallery, New York, USA
Beauty’s Nothing, Fahey Klein Gallery, Los Angeles, USA
1998 Untitled,Peter Fetterman Gallery, Los Angeles, USA