The sculptor-turned-photographer leading next spring's Morocco workshop talks technique, artistic intention, and why Marrakech rewards patience.

Molly Roberts spent three decades editing photo stories for National Geographic and Smithsonian. Here's the newsroom framework she uses to turn strong single images into a story that holds together.

For years, the best photographs from our Cuba and Vietnam workshops have lived on hard drives and in personal folders. That always felt like a missed opportunity — so we’ve launched x-peditions.com, a dedicated gallery showcasing work made by our participants across Havana, Hanoi, the Long Biên Market, the craft villages, and the countryside around Ninh Bình. Every image here was made by someone who showed up and pushed themselves, and this site is our way of celebrating that.

Most photography workshops don't come with an editor. Assignment Vietnam does. Molly Roberts spent more than 30 years shaping visual storytelling at National Geographic and Smithsonian. She reviews every participant's portfolio before the trip, runs working edits from the field, and guides the final sequencing that becomes the published zine. We asked her what separates the photographs that stop her cold from the technically competent ones that don't. Her answer starts with four words: show me something new.

Most photography workshops give you a city and send you into the streets. Assignment Vietnam gives you an assignment — a single documentary theme, a veteran magazine editor in your corner before you land and while you're shooting, and a printed zine to show for it when you leave.