10FPS A Photojournalism Podcast for Everyone

The 10FPS Team
  • 4.9 (10)
  • Visual Arts
  • Updated Weekly

A Photojournalism Podcast by Photojournalists for Everyone

Episodes

  1. Jun 3

    10FPS Michael Robinson Chavez

    📸 Michael Robinson Chávez – From a Forklift Driver to a Pulitzer‑Winning Photojournalist & the Story Behind His New Book Mestizo Introduction If you’re looking for inspiration on how a chance forklift gig turned into a two‑time Pulitzer‑winning photojournalism career, you’ve come to the right place. In the latest episode of 10 Frames Per Second, host Molly Roberts sits down with Michael Robinson Chávez—the legendary photographer behind Mestizo—to talk about his early years, the challenges of publishing a photo book, the state of photojournalism in Europe vs. the U.S., and what AI means for documentary work. 1. Who Is Michael Robinson Chávez? Fact Detail Full name Michael Robinson Chávez Awards Two Pulitzer Team Prizes at The Washington Post (Explanatory Journalism, Public Service Award) Past employers Los Angeles Times, The Washington Post (15 years, split in two), Associated Press (Mexico City & Panama) Current base Valencia, Spain Latest book Mestizo – a black‑and‑white love letter to his Peruvian roots “I used my camera to stitch together the two shores of my identity.” – Robinson Chávez (as quoted in the show) 2. The Unexpected Start: From Forklift to Film The catalyst: While working a mail‑room forklift for a tour company, a surfer‑photographer handed him a Canon AE‑1 and a roll of Kodak film for a trip to Peru. Why Peru? The country was in political turmoil (late 1980s), offering a chaotic backdrop that made photography feel like a way to impose order. First love: The trip sparked a lifelong fascination with analog photography, family, and the concept of “mestizo” – the blending of cultures and bloodlines. “I fell in love with Peru, my family, and the camera. It gave me a way to make sense of a chaotic world.” Quick Takeaway Action Result Borrowed a Canon AE‑1 + film Shot the images that started his career Visited family in Lima Gained personal connection that fuels Mestizo Read the Magnum In Our Time compendium Realized a career was possible with a camera 3. From Film School to the Newsroom Education – One year at Brooks Institute, then a degree from San Francisco State. Apprenticeships – Idaho Statesman, Boston Globe. First big gig – AP salaried stringer photographer in Mexico City & Panama (1994). Globe & Post – Full‑time at the Boston Globe, then The Washington Post (1999–2006 / 2007). “The newsroom taught me speed, storytelling, and editing—skills that later shaped the way I curated Mestizo.” 4. Publishing Mestizo with Eyeshot – A Modern Photo‑Book Model Why Eyeshot? No huge upfront costs – The publisher prints books only after a 90‑day pre‑order window. Open‑call contest – Michael entered an Eyeshot competition, won, and secured a contract. Low‑risk for creators – Authors can purchase copies at a discounted rate to sell themselves. The Editing Journey (All Done Remotely) Raw selection – ~230 images from decades of work. First & second editor reviews – Eyeshot’s Bologna team sent two sets of suggested images. Back‑and‑forth – Michael chose pictures from the second edit that resonated more with his personal story. Final cut – 83 images made it into the book. “Having fresh eyes (the editor in Bologna) was nerve‑wracking, but it helped spot images I’d missed for years.” Key Takeaways for Aspiring Authors Enter contests – Eyeshot’s annual open call is a proven path. Be ready to negotiate – You’ll likely sacrifice a bit of layout control for the publishing partnership. Prepare a strong narrative – A clear story (like a love letter to a mother) makes the book stand out. 5. Mestizo as a Love Letter to Peru Black‑and‑white aesthetic – Shot on M‑6, M‑4, and Tri‑X film in the early‑90s, reinforcing the melancholic tone. Family focus – The book celebrates his mother’s side, the Peruvian extended family, and the cultural “mestizo” identity. Chronology – Images span 1993‑2021 (28 years), but are sequenced for emotional flow, not strict date order. “It’s a love letter to my mom, to Peru, and to the blood ties that shaped who I am.” 6. Photojournalism in Europe vs. the United States Aspect Europe United States Funding Strong public arts support, many festivals (Arles, Perpignan, Valencia, etc.) Shrinking budgets, fewer large‑scale festivals Festivals Numerous, region‑wide (Head‑On in Australia, Siena Photo Contest) Mostly a handful of national events Collectives Traditional newsrooms disappearing, Emerging platforms like Blue Photo (prints, books, workshops) Market vibe “Artistic appreciation for photography is intense and commonplace.” “Financial pressure on photo departments, buyouts, layoffs.” 7. Workshops – The New Income Stream Leica Academy collaborations – Provide built‑in audience and credibility. Self‑run workshops – Challenging to market; risk of low enrollment (example: a Marseille workshop that fell through). Pricing pressure – Many photographers under‑price to fill seats, which drives the entire market down. Practical Advice Partner with established schools or brands (Leica, Magnum). Offer niche themes (analog dark‑room, documentary storytelling, AI ethics). Promote early bird discounts and create a clear value proposition (e.g., portfolio review, one‑on‑one mentoring). 8. The Role of AI in Documentary Photography Current stance: AI has “zero place in true photojournalism” according to Michael. Risks: Deep‑fake videos, fabricated imagery (e.g., false footage of conflicts). Future: Photographers must verify sources and educate audiences about authenticity. “The biggest danger isn’t that AI will replace us, but that it’ll fuel misinformation.” 9. Tips: How to Publish Your Own Photo Book Create a compelling narrative – Define the story you’re telling. Curate ruthlessly – Start with a large pool, then trim to the essential. Seek a publisher with a pre‑order model (Eyeshot, Siena Contest, etc.). Leverage contests – Winning a competition can secure a contract and exposure. Plan a marketing push – Use social media, book signings (e.g., Leica stores in Madrid & London), and local gallery shows. Consider self‑funding options – Grants, Rotary Clubs, local arts councils (especially in Europe). 10. Where to See Mestizo Next Leica Store, Madrid – Talk + book signing. Leica Store, London – Upcoming presentation. Valencia Photo Festival – Potential exhibition. Lima, Peru (Miraflores or central public space) – Goal for a community exhibit. Conclusion Michael Robinson Chávez’s journey proves that a borrowed camera, a family trip, and a love for analog can launch a Pulitzer‑winning career. His story also illustrates how the photo‑book landscape has evolved—from costly, publisher‑driven projects to low‑risk, pre‑order models like Eyeshot. If you’re an emerging photojournalist, the key lessons are: Embrace your personal narrative (family, culture, identity). Be open to fresh editorial eyes—they may unveil hidden gems. Explore new revenue streams (workshops, collectives, grants). Stay vigilant about AI‑driven misinformation while leveraging technology for promotion. Ready to dive deeper? Listen to the full episode of 10 Frames Per Second and grab a copy of Mestizo directly from Michael’s site. 📚 Want Mestizo? Buy Mestizo now Stay Connected Subscribe to the 10 Frames Per Second podcast (new episodes every Tuesday). Follow Michael Robinson Chávez on Instagram @michaelrobinsonchavez for behind‑the‑scenes shots. Join the conversation on #Photojournalism and #AnalogPhotography on Twitter. Happy shooting, and may your images always tell a story worth publishing! Photojournalism, Pulitzer Prize, Washington Post, Los Angeles Times, Peru, Canon AE‑1, film photography, Magnum compendium, Eyeshot publishing, book publishing, Kickstarter, editing process, black‑and‑white photography, Spanish language, bilingual reporting, Associated Press (AP), Eyeshot contest, photography workshops, Leica Academy, European photo festivals, Arles Festival, Visa pour l’image, Blue Photo Collective, grants for photographers, Rotary Club funding, artificial‑intelligence (AI) in photography, misinformation, analog resurgence, darkroom techniques, photo contests (pay‑to‑play) The post Episode 185: Michael Robinson Chavez (Documentary Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    53 min

  2. May 27

    10FPS Kiliii Yuyan Documentary Photography

    Kiliii Yuyan – Guardians of Life: How Indigenous Peoples Are the World’s Best Conservationists A deep‑dive into the 10 Frames Per Second podcast episode with Kiliii Yuyan 🎧 About this 10FPS Podcast Episode 10 Frames Per Second is a photojournalism podcast hosted by Molly Roberts and Joe Giordano (with guest co‑host Alexa Keefe). In this episode, they sit down with Kiliii Yuyan, a Chinese‑Nanai photographer and writer whose work appears in National Geographic, Time, Vogue, and Wired. The conversation revolves around: The launch of Yuyan’s book Guardians of Life: Indigenous Knowledge, Indigenous Science, and Restoring the Planet Why Indigenous peoples excel at conservation The concept of two‑eyed seeing (science + traditional knowledge) Real‑world case studies: Alaska whales, Mongolia’s shamanic shrines, Greenland’s land‑ownership model, Komodo dragons, and more Practical advice for aspiring photojournalists and grant‑seekers 🗂️ Table of Contents Why Indigenous Stewardship Matters Statistical Proof: Indigenous Lands & Biodiversity Two‑Eyed Seeing: Merging Science & Tradition Case Studies Highlighted in Guardians of Life How the Book Was Made – A Behind‑the‑Scenes Look Actionable Lessons for Photographers & Activists What’s Next for Kiliii Yuyan? Key Takeaways Further Reading & Resources 📚 Why Indigenous Stewardship Matters “Indigenous peoples are the best conservationists on Earth.” – Kiliii Yuyan Indigenous communities have protected ecosystems for millennia, guided by cultural values rather than profit‑driven motives. Their deep relationship with the land translates into higher biodiversity, healthier wildlife populations, and resilient ecosystems. Core Reasons Cultural Identity: Land is a relative, not a commodity. Long‑Term Perspective: Decisions consider generations ahead. Local Knowledge: Generational ecological observations are embedded in daily life. 📊 Statistical Proof: Indigenous Lands & Biodiversity Statistic Source (as mentioned in the podcast) Why It Matters 40 % of Earth’s remaining natural lands are Indigenous territories Scientific papers cited by Kiliii Yuyan Shows scale of stewardship 80 % of world’s species live in Indigenous territories Research from Mexico extrapolated globally Highlights biodiversity hotspots Indigenous lands have equal or higher biodiversity than protected parks Mid‑2010s study Demonstrates effectiveness without formal protection Indigenous territories protect 40% of Earth’s land and 80% of species 👀 Two‑Eyed Seeing – Science + Tradition Two‑eyed seeing = using science as one eye and Traditional Ecological Knowledge (TEK) as the other. This dual perspective creates depth perception in environmental management. “You gain depth perception, not just two pictures.” – Kiliii Yuyan Benefits More accurate wildlife counts (e.g., Inupiat whale census increased from 800 to 8,000) Integrated climate‑adaptation strategies Co‑created policies that respect cultural rights 🌍 Indigenous Case Studies Highlighted by Kiliii Yuyan in Guardians of Life Below are the most compelling stories shared during the podcast: 1. Inupiat Whale Management – Alaska Problem: 1970s International Whaling Commission claimed only 800 whales existed. Solution: Inupiat proved counts were off by 10×, secured legal right to manage whales. Result: Whale population tripled since 2011 while still supporting subsistence hunting. 2. Mongolia’s Shamanic Shrines Every hilltop & stream has a shrine, integrating spiritual practice with land stewardship. 3. Greenland’s Land‑Ownership Model No private land ownership → collective use, preventing exploitative mining or exclusive tourism. 4. Komodo Dragons – Indonesia Indigenous people revere the predators, building limestone pyramids over graves to protect bodies from dragons. 5. Fire Management – Australia & North America Indigenous fire regimes create mosaic habitats, increasing biodiversity and reducing catastrophic wildfires. 📖 How the Book Was Made – Behind the Scenes 2‑year fieldwork → ≈ 450 days on the ground 7‑8 years of idea incubation: research, grant proposals, and a $20k pandemic fellowship for six months of dedicated prep work Community collaborators (often called fixers but preferred “primary collaborators”) in every country – they facilitated introductions, logistics, and cultural trust Grant writing demanded deep “marination” of ideas – Yuyan emphasizes letting concepts simmer before pitching “Give your ideas time to marinate in the juices of experience.” – Kiliii Yuyan Takeaway for creators: Patience and genuine community partnership outweigh rapid production. 📸 Actionable Lessons for Photographers & Activists Focus on Story, Not Gear: Yuyan rarely discusses camera specs; he lets subjects drive the narrative. Build Trust First: Spend months in community life before shooting. Collaborate, Not Exploit: Co‑author captions with locals; let them approve text. Leverage Grants Early: Use fellowships to fund research before you need equipment. Use Two‑Eyed Seeing: Pair field observations with scientific data for richer storytelling. Bullet‑point Quick Checklist ☐ Identify a community advocate (a “hub person”) ☐ Secure a small fellowship for research only ☐ Conduct a two‑hour listening session with locals before any photoshoot ☐ Draft captions in partnership with community members ☐ Submit a grant with a clear “why this matters” narrative 🚀 What’s Next for Kiliii Yuyan? Living with Predators (National Geographic Society grant) – a multi‑year project exploring how Indigenous groups coexist with apex predators such as Komodo dragons and Greenland sharks. Continued storytelling through TEDx talks, photo essays, and future book chapters extending Guardians of Life. 🔑 Key Takeaways Indigenous territories protect a disproportionate share of Earth’s biodiversity. Two‑eyed seeing is a powerful framework for merging science with cultural wisdom. Community‑first approaches produce authentic, impactful photojournalism. Long‑term grant planning and “marinating” ideas are essential for large‑scale projects. Supporting Indigenous sovereignty offers the highest “bang for your buck” in conservation funding. 📚 Further Reading & Resources Resource Link Why Read Guardians of Life (book) Exclusive Signed with Print Deep dive into Indigenous stewardship Two‑Eyed Seeing Primer Two-Eyed Seeing TED Talk Intro to the concept National Geographic Indigenous Futures Issue https://www.nationalgeographic.com Context for editorial challenges Indigenous Land & Biodiversity Study (Mexico) Nature reviews statistics Original source of 80 % statistic AiPAD Conference – Ansel Adams AI Print Debate https://www.aipad.com Insight on modern tech & ethics 📣 Call to Action If you’re a photographer, writer, or conservation advocate, let Indigenous knowledge guide your next project. Subscribe to the 10 Frames Per Second podcast for more inspiring stories, and check out thumbnails of Guardians of Life from the link here. Photojournalism, Indigenous stewardship, Conservation, Traditional ecological knowledge, Two‑eyed seeing, Whaling management, Inupiat, National Geographic, Guardians of Life (book), Indigenous sovereignty, Land ownership concepts, Kayak building, Commercial photography, Documentary photography, Ansel Adams controversy, AI colorization, Pandemic fellowship, Grant writing, Indigenous Futures magazine issue, Wildlife management, Fire stewardship, Komodo dragons, Greenland sharks, Māori river rights, Mongolian shamanism, Secularism vs. spirituality, Indigenous territories biodiversity, Cultural compulsion, Collaboration with scientists, Indigenous knowledge preservation, Indigenous conservation case studies. The post Episode 184: Kiliii Yuyan (Documentary Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    1h 6m

  3. May 19

    10FPS Roger May

    ARCHIVE EPISODE: This is an archive episode with hosts Joe Giordano and Elena Volkova originally released in 2020. 📸 Seeing Appalachia Through a New Lens: An Inside Look at Roger May’s “Looking at Appalachia” Project Table of Contents Who Is Roger May? Why Appalachia Needs a Fresh Narrative The “Looking at Appalachia” Project – How It Works Key Takeaways for Photojournalists & Writers What’s Next for Roger May & the Project? Quick FAQ Take Action – Explore the Collection & Get Involved Who Is Roger May? Appalachian‑American photographer based in Charleston, West Virginia. Born on the Kentucky‑West Virginia border, in the heart of “Hatfield‑McCoy country.” Work appears in The New York Times, The Guardian, The Wall Street Journal, The Atlantic, National Geographic and many more. A single parent who balances a day‑job with his passion for photography, letting him stay intentional about every shot he takes. “Photography is primarily a tool for listening.” – Roger May (from the podcast) Why Appalachia Needs a Fresh Narrative The Problem: One‑Dimensional Media Coverage Coal‑centric storytelling: National outlets often reduce the region to “coal towns,” “poverty,” or “Trump country.” Historical lenses: Over‑reliance on legacy images from the 1960s FSA/War‑on‑Poverty era that focus on run‑down homes, broken‑down cars, and “barefoot children.” Missing the good: Positive developments (e.g., local environmental lobbying, cultural resilience) are rarely highlighted. Roger’s Perspective Media laziness and a lack of nuance lead to monolithic narratives. He believes the region is more than poverty—it’s a place of deep connection to land, culture, and community. The goal: Showcase the everyday beauty and complexity of Appalachian life, not just its hardships. The “Looking at Appalachia” Project – How It Works Step What Happens Why It Matters 1️⃣ Call for Submissions Open Instagram post (Feb 2014) invites anyone to photograph Appalachia in the current calendar year. No restrictions on equipment, experience, or style. Democratizes the visual narrative; captures diverse voices beyond traditional (mostly white‑male) photographers. 2️⃣ Crowd‑Sourced Collection Over 3,000 submissions in Year 1; 297 selected for the first archive. Subsequent years maintain an open‑call model. Builds a living archive that reflects how Appalachia looks today. 3️⃣ Editorial Review A rotating editorial team (photographers & documentarians) votes on each image. Ensures quality while keeping the community‑driven spirit. 4️⃣ Online Gallery Photos sorted by state and county (420 Appalachian counties across 13 states). Click‑through button reveals photographer credit, location, and a link to their personal site. Makes the collection discoverable and transparent. 5️⃣ Call‑and‑Response Writers (poets, essayists, journalists) pair with selected images to produce text‑photo dialogues. Highlights the synergy of image and word, encouraging deeper storytelling. 6️⃣ Exhibitions & Books Print exhibit scheduled at Piedmont College (GA) & The Juliet Museum (WV); plans for a comprehensive photo book. Transforms digital content into tangible cultural artifacts. Quick Stats (as of 2019) 600+ photographs in the archive. Under‑represented states: Maryland (only 3 counties), New York, Mississippi, Northern Alabama. Emerging talent highlighted: Matty McGarvey (Ohio), George Etheridge (NY/WNC), Maddie [Last Name] (MD). Key Takeaways for Photojournalists & Writers Context Over Clickbait – Editors are increasingly looking for photographers who bring deep knowledge of a place rather than a quick “poverty shot.” Build Trust, Not Just Access – Long‑term relationships (e.g., returning to the same community) earn deeper, more authentic images. Embrace Community‑Driven Projects – Crowdsourcing can surface stories you’d otherwise miss and position you as a connector in the media ecosystem. Balance Media Requests with Personal Vision – Roger keeps a separate day‑job, letting his creative side stay purpose‑driven rather than assignment‑driven. Use Photography as Listening – A photo is a conversation starter; aim to capture humanity, not just scenery. What’s Next for Roger May & the Project? 2019 submissions are being finalized and will soon appear on the website. Print exhibit slated for later this year at: Piedmont College (North Georgia) Juliet Museum at the Clay Center (Charleston, WV) Potential photo book: 50–60 curated images, paired with essays, maps, and community stories. Technical evolution: Roger is learning to use a 4×5 large‑format camera (film) to slow down his process and capture more intentional images. “I love books. I love photo books. I’m excited about the possibility of seeing Looking at Appalachia as a printed book someday.” – Roger May Quick FAQ Question Answer Can anyone submit a photo? Yes—anyone who takes a picture in the current calendar year within the Appalachian Regional Commission’s 420‑county map can submit. How are photos credited? Hover over the small information button on each image to see photographer name, date, location, and a link to their website. Where can I view the collection? Visit lookingatappalachia.com → Photographs tab. Images are organized by state → county → contributor. Is there a fee to submit? No. Submission is free; the project relies on community volunteers for curation. How can I support the project? Share the website, submit your own images, write a response piece, or contact Roger about hosting an exhibit. Take Action – Explore the Collection & Get Involved Visit the site – Dive into the visual archive and discover hidden Appalachian stories. Submit your own work – If you’re in one of the 420 counties, send a photo that reflects your own view of the region. Write a response – Pair a favorite image with a short poem, essay, or personal anecdote. Spread the word – Share the project on social media using the hashtag #LookingAtAppalachia. Attend an exhibit – Keep an eye out for upcoming shows at local universities, museums, or community centers. Final Thought Roger May’s “Looking at Appalachia” proves that when a community takes control of its own visual narrative, the result is richer, more humane, and far from the stereotypes that dominate mainstream coverage. Whether you’re a photographer, writer, educator, or simply curious about the region, the project offers a gateway to authentic, nuanced storytelling—one image at a time. Ready to see Appalachia differently? 👉 Explore the collection now: https://seeingappalachia.org/ Keywords used: Roger May, Looking at Appalachia, Appalachian photography, Appalachian photojournalism, crowdsourced photography project, visual storytelling, Appalachia narrative, Appalachian representation, photo book, large‑format camera, community‑driven photography, media representation of Appalachia. _________ Appalachia, photojournalism, poverty, coal mining, extractive industry, War on Poverty, FSA, WPA, crowdsourced photography, Looking at Appalachia project, media narrative, national publications, stereotypes, regional identity, community, environmental lobbying, West Virginia, Maryland, 4×5 camera, film photography, photo books, visual storytelling, dialect, accent, “Trump country”, American Dream, capitalism, representation, cultural heritage, rural‑urban divide The post Episode 70: Roger May (Documentary Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    1 hr

  4. Apr 29

    10FPS Melissa O'Shaughnessy

    Title: 🎙️ Street Photography Secrets from Melissa O’Sha­ughnessy   📚 Introduction – Why This Episode Matters If you’re passionate about street photography, you’ve probably heard of icons like Joel Meyerowitz, Gary Winogrand, or Helen Levitt. In the latest episode of the 10 Frames Per Second podcast (released every Tuesday on 10fps.net), hosts Joe Giordano and Molly Roberts sit down with Melissa O’Sha­ughnessy, New York‑based street photographer and author of the acclaimed monograph Perfect Strangers. In this blog post we’ll break down the most valuable take‑aways, packed with actionable tips for beginners, insights on gender dynamics, and her philosophies of optimism and Zen in street photography. SEO Keywords to watch: street photography, Melissa O’Sha­ughnessy, Perfect Strangers, 10 Frames Per Second, New York street photographer, street photography tips, street photography book, photography podcast, Joel Meyerowitz, optimism in photography, Zen photography 🎧 Episode Overview (Quick Summary) Segment Time (approx.) What’s Covered Intro 0:00 – 1:30 Podcast intro, guest bio, book info Backstory 1:30 – 5:00 Melissa’s late‑blooming journey into photography Influences 5:00 – 7:30 Joel Meyerowitz, Harry Callahan, Gary Winogrand, etc. Gender & Street Photography 7:30 – 10:30 Differences (or lack thereof) between men & women Essential Qualities 10:30 – 13:00 Curiosity, energy, “numbers game” Tips for Introverts 13:00 – 16:00 Overcoming fear, honesty, “no‑permission” shooting Optimism & Zen 16:00 – 20:00 Why you need an optimistic mindset & staying present Book‑Making Process 20:00 – 24:00 Themes, editing, number of images, layout Post‑COVID Street Life 24:00 – 26:30 How New York changed after the pandemic Archive & Legacy 26:30 – 30:00 Backup strategy, AI tagging, future plans Typical Day 30:00 – 33:00 10‑12 mile walks, lighting considerations, social connections Wrap‑Up 33:00 – End Final thoughts, thank‑you 📸 Key Take‑aways for Aspiring Street Photographers 1. Start Late, Start Strong Melissa began serious photography in her 50s after a finance career. Lesson: Age isn’t a barrier; dedication and consistent practice matter most. 2. Find Your “Why” – The Optimism Factor Optimism is essential because ≈ 999/1000 shots are “failures”. Staying hopeful keeps you shooting despite high failure rates. 3. Embrace the “Zen” of the Street Be present: “Now” is the only moment you have to capture. Use a ritual (e.g., “press the shutter as soon as you step out”) to get into rhythm. 4. No Permission Needed (But Be Honest) Melissa rarely asks for permission; she explains her intent when confronted. A simple compliment and brief explanation diffuse tension. 5. Build a “Numbers Game” Habit Walk 10‑12 miles a day, shoot consistently. Treat each outing as a learning session—the more you shoot, the higher the chance of a great image. 6. Leverage Your Unique Perspective As a mother, grandmother, and woman, Melissa focuses on family dynamics (mothers, daughters, children). Use your personal life experiences to shape subject matter—don’t copy others. 7. Organize Your Archive Early Back up triply (local, off‑site, basement). Keywording is tedious; Melissa hopes AI will soon automate it. 8. Curate a Cohesive Book Perfect Strangers contains ~ 90 images with recurring themes: wind, families, color, gestures. Keep the book tight (avoid “washing‑machine” fatigue) – aim for 60‑80 strong images. 🛠️ Practical Tips for Introverted Photographers Start at a Distance: Begin shooting from a comfortable distance, then gradually move closer. Use “Honesty” as a Tool: If approached, say, “I’m a street photographer; I love the light on you.” Do “No‑Permission” Exercises: Practice taking candid shots without asking—this builds confidence. Remember the “Numbers Game”: Even a day with no usable images is a step forward. 👩‍🎤 Gender Dynamics in Street Photography Melissa doesn’t want to be labeled simply a “woman street photographer”. Physical presence matters: At 5’3”, she appears less threatening, allowing her to get close. Community Support: She notes that male street photographers are generally welcoming, despite being more numerous. SEO tip: Use phrases like “women street photographers”, “gender differences in street photography”, and “female street photographer perspective” to attract targeted traffic. 📚 The Making of Perfect Strangers Step What Melissa Did Initial Culling Collected ~700 photos, sorted into A/B/C piles Theme Identification Noted recurring motifs: mothers/daughters, wind, color Editorial Guidance Worked with editor Denise Wolfe to keep the book under 100 images Design Choices Mixed layouts: double spreads, single images, varied sizes Final Count 91 images total (including intro) Takeaway: Even without a pre‑planned theme, editorial collaboration can surface natural narratives. 🌆 Post‑COVID Street Life in New York Crowd dynamics changed: Fewer commuters, more tourists, more athleisure. Scaffolding is now a city staple: Offers new visual elements for composition. Cell phones dominate body language: People hold phones against their chest; a fresh gesture to capture. 📂 Managing Your Photographic Archive Triple Backup: Primary drive → off‑site cloud → physical backup in basement. Keywording: Use descriptive tags (e.g., “shouldering‑through”, “hand‑to‑mouth”). Future‑Proofing: Anticipate AI tools for automated tagging. 🗓️ A Typical Day in Melissa’s Shoes Morning: Leave Union Square around 8:30 am. Route: Walk south to Chinatown, then up to Lower Manhattan, loop back north. Mileage: 10‑14 miles of walking, shooting throughout. Lighting: Adjust schedule based on season (2 pm cutoff in winter, 7 pm in summer). End of Day: Stops for lunch, optional return to apartment for a quick break. 📢 Call‑to‑Action (CTA) Ready to start shooting like Melissa? Subscribe to the 10 Frames Per Second podcast on 10fps.net for more street‑photography insights. Grab a copy of Perfect Strangers (Aperture, 2020) for visual inspiration. Join a local street‑photography walk or start a 10‑minute daily walk with your camera. Share this post on social media—tag @10FramesPerSecond and @MelissaOSha­ughnessy if you’re inspired! 📚 Further Reading & Resources Books: A History of Street Photography, Women Street Photographers, Reclaim the Street Podcasts: 10 Frames Per Second (new episodes every Tuesday) Online Communities: UP Photographers collective (25 international street photographers) SEO Checklist (for you) ✅ Primary keyword (“Melissa O’Sha­ughnessy street photography”) appears in title, first paragraph, and H2. ✅ Secondary keywords (optimism in photography, Zen street photography, how to start street photography) are naturally integrated. ✅ Internal links (suggest linking to previous blog posts about Joel Meyerowitz or street photography basics). ✅ External links (point to Aperture’s page for Perfect Strangers and the 10fps.net podcast homepage). ✅ Alt‑text suggestions for images: “Melissa O’Sha­ughnessy capturing a mother‑daughter moment in New York City” Happy shooting, and may your streets be ever full of unexpected moments! ____ street photography, Joel Meyerowitz, darkroom, film photography, black‑and‑white, New York City, “Perfect Strangers” book, Aperture publishing, UP Photographers collective, optimism, zen mindset, camera ergonomics, low shooting angle, gender perspective, mother‑daughter dynamics, “shouldering through” gesture, hand‑to‑mouth gesture, cell‑phone body language, pandemic impact, scaffolding architecture, Instagram influence, AI keywording, archive organization, backup strategy, street‑photography festivals, Instagram reels, travel photography, medium‑format vs 35mm, print size debate, large‑format exhibition prints. The post Episode 183: Melissa O’Shaughnessy (Street Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    1 hr

  5. Apr 22

    10FPS Rich-Joseph Facun

    🎙️ Inside the World of Photojournalism: Rich-Joseph Facun on Appalachia, Photobooks & Publishing Published on 10 Frames Per Second Blog – April 21 2026 Discover Rich-Joseph Facun ’s journey from skate‑boarding zines to award‑winning photobooks on Appalachia. Learn the differences between street photography and photojournalism, the responsibility of universities to their towns, and why creating an independent imprint like Liar’s Corner matters today. Table of Contents Who Is Rich-Joseph Facun? From Skateboards to the Darkroom Photojournalism vs. Street Photography Documenting Appalachia: The Three Books The Role of Ohio University in the Community Building an Independent Imprint: Liar’s Corner Is There a Golden Age of Photobooks? Key Takeaways for Emerging Photographers Listen to the Full Episode Who Is Rich-Joseph Facun? Otomi & Pinoy storyteller based in Ohio. Photographer, author, and publisher focusing on the intersections of geography, economics, culture, and community in Appalachia. Founder & Creative Director of Liar’s Corner, an imprint that amplifies marginalized voices. “My work is an ongoing inquiry into place and lived experience.” – Rich Rich-Joseph Facun: From Skateboards to the Darkroom Early Years: DIY Zines & Skate Culture 1980s: Started photographing skate tricks with Polaroids and 110‑film cameras. Published a DIY zine with a local skate shop’s Xerox machine – a free creative outlet. Life Detour Became a young parent at 17, dropped out of school, and worked to support his family. Lost touch with photography until a community‑college class in 1997‑98 reignited the passion. The Turning Point Attended a week‑long workshop in Portsmouth, Virginia (Visual Arts Center) with legends like Bill Eppridge and Carol Guzy. Realized photography could be a career, not just a hobby. Photojournalism vs. Street Photography Aspect Photojournalism Street Photography Purpose Document news, build relationships, tell a story for an audience Capture spontaneous moments, often anonymous Access Requires permission and often long‑term engagement No permission, often a snapshot of the public sphere Narrative Structured, with a pitch to editors More intuitive, free‑form sequencing Tools Interviews, research, editorial collaboration Quick reflexes, keen eye for composition Rich emphasizes that street photography skills are a foundation for strong photojournalism, but the latter adds depth through relationships and context. Documenting Appalachia: The Three Books Black Diamonds – Exploration of former coal‑mining towns in Southeast Ohio. Little Cities – Focuses on land use and cultural memory, weaving indigenous narratives. 1804 – A deep dive into Athens, Ohio, its youth culture, and Ohio University’s legacy (the first federally funded university, founded in 1804). What Sets These Rich-Joseph Facun Projects Apart? Intentional avoidance of over‑documented themes like opioid addiction and poverty. Research‑driven: Rich read both academic and narrative sources, even photocopying out‑of‑print books on Appalachia. Visual tone: Muted colors to avoid “moody” lighting that could bias viewers. The Role of Ohio University in the Community Economic powerhouse: Most residents rely on the university for stable, middle‑class jobs. Community responsibility: Open‑source medical pharmacy for low‑income retirees. Infrastructure support (roads, utilities) tied to university growth. COVID‑19 impact: The university’s shift to remote instruction left Athens “abandoned” for weeks, exposing the town’s dependency. Rich argues that any dominant institution—whether a university or corporation—must foster a reciprocal relationship with its host community. Rich-Joseph Facun on Building an Independent Imprint: Liar’s Corner Why Create a New Imprint? Creative control: Hands‑on involvement from sequencing to design. Cultural alignment: Desire for an imprint owned by marginalized voices (indigenous, Asian‑American). Future vision: Turn Liar’s Corner into a non‑profit that funds artists’ production costs. Lessons Learned from the Publishing World Traditional models often require photographers to fund $15k–$30k for production, leaving them with minimal returns. Successful imprints like Deadbeat, Trespasser, and Charcoal aim for fairer revenue splits and ethical practices. Is There a Golden Age of Photobooks? Yes & No: Pro: Technological tools (social media, email) make self‑publishing easier than ever. Con: Financial viability remains low; many photographers still self‑fund their books. Analogy: Like the 1990s skate‑boarding boom where skater‑owned companies disrupted the market, today’s photobook imprints are reshaping the industry. Key Takeaways for Emerging Photographers Research First, Shoot Later Dive into local histories, academic texts, and community narratives before you head out. Build Relationships Whether you’re a photojournalist or street photographer, trust and dialogue enrich your work. Own Your Narrative Consider starting an imprint or partnering with ethical publishers to keep creative control. Be Mindful of Community Impact Ask: What does my work add to the conversation? Avoid redundant or exploitative storytelling. Quick Checklist Identify a unique angle not already saturated in the field. Conduct both academic and anecdotal research on your subject. Draft a pitch that explains the story’s relevance to editors or funders. Choose a publishing model that aligns with your financial and ethical goals. Keep the visual tone consistent with your narrative intent (muted vs. saturated, color vs. B&W). Listen to the Full Episode with Rich-Joseph Facun Want the deeper dive? 🎧 Listen on 10fps.net (new episodes every Tuesday) 📱 Find it on all major podcast platforms 📻 Catch back episodes on WLOY.org Stay Connected Follow Rich-Joseph Facun on Instagram @facun and @liarscorner.press for behind‑the‑scenes shots. Subscribe to the 10 Frames Per Second podcast for future episode updates, photo essays, and publishing tips. Ready to start your own photobook journey? Share your thoughts in the comments below! —- photojournalism, skateboarding photography, DIY zines, 110 film, punk rock culture, Ohio University, Appalachian region, coal‑mining towns, Black Diamonds (book), Little Cities (book), 1804 (book), Liar’s Corner imprint, book publishing, Yaffe Press, Charcoal Book Club, Terry Eiler mentorship, Matt Eich collaboration, book sequencing, editorial collaboration, community impact, university‑town responsibility, COVID‑19 pandemic effects, Rich Joseph Facun, economic dependency, opioid crisis, poverty in Appalachia, indigenous heritage, marginalized voices, photo‑book industry, golden‑age debate, square‑format photography. The post Episode 182: Rich-Joseph Facun (Documentary Photography & Publishing) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    1h 3m

  6. Apr 8

    10FPS Gaëlle Morel

    🎞️ Gaëlle Morel Inside the Image Center: Photojournalism, Archives & Curatorial Insights Published: April 2026 | Author: Your SEO‑Friendly Copywriter Explore the fascinating world of the Image Center (Toronto Metropolitan University), its massive photography archives, and the stories behind iconic photographers like Bernice Abbott and Mary Ellen Mark. Learn how curators turn collections into compelling exhibitions, discover career pathways in photography curation, and find out which photography genres are still under‑explored. Perfect for photojournalists, archivists, students, and anyone passionate about preserving visual history. Table of Contents Why the Image Center Matters The Black Star Collection – A Photojournalism Treasure Bernice Abbott: Uncovering the “Lesser‑Known” Works Mary Ellen Mark’s Ward 81 Exhibition How Curators Turn Archives into Exhibitions Career Paths: From PhD to Collections Manager Under‑Explored Photography Genres Digital Access & Future Plans Key Takeaways FAQs 1️⃣ Why the Image Center Matters The Image Center is more than a museum—it’s a university‑based photography hub that: Holds ≈ 500,000 objects ranging from gelatin‑silver prints to cameras, notebooks, and patents. Serves as a research and teaching facility for students, scholars, and the public. Focuses on overlooked histories, especially women photographers from the 20th century. “We care about objects, not just images. Our mission is to explore photography as a medium, not just as an art form.” – Gaëlle Morel 2️⃣ The Black Star Collection – A Photojournalism Treasure What It Is 300,000 gelatin‑silver prints from the historic Black Star Agency (founded 1930s, New York). Primarily supplied images for Life Magazine and other American publications. Why It’s Important Captures analog photojournalism across the 20th century. Represents a medium‑centric approach, preserving both the art and its technology. Quick Stats Feature Detail Year Donated 2005 Origin Black Star Agency (NY) Focus American photojournalism, analog prints Current Home Image Center, Toronto Metropolitan University 3️⃣ Bernice Abbott: Uncovering the “Lesser‑Known” Works Who Is Bernice Abbott? A pioneering American photographer (1898‑1991) known for: Scientific experimentation (e.g., New York skyline documentation). Unpublished road‑trip project along U.S. Route 1 (1954). How the Image Center Acquired Her Archive Private ownership → sold to collector Ron Kurtz for preservation. Donation/ purchase → integrated into the Image Center’s collection. Scholarly partnership → curatorial research and exhibition development. Highlights of the Abbott Archive Negative contact prints, patents, camera equipment. Enlarged prints from the 1960s‑70s market. Personal artifacts: jackets, diplomas, scrapbooks. “Abbott’s archive lets us see the full breadth of her practice, beyond the famous cityscapes.” – Gaëlle Morel 4️⃣ Mary Ellen Mark’s Ward 81 Exhibition The Project Ward 81: a 1970s mental‑health institution in the UK. Mary Ellen Mark documented patients, focusing on women’s experiences. Curatorial Approach Collaborative ethics: worked closely with patients, used consent forms, and provided Polaroid “gifts.” Narrative structure: exhibition divided into portrait‑focused sections highlighting each woman’s story. Sensitive presentation: graphic images displayed with disclaimers and placed in a dedicated corner to avoid shock value. Why It Matters Shows how photojournalism can empower vulnerable subjects. Demonstrates ethical considerations in modern documentary practice (HIPAA, consent). 5️⃣ How Curators Turn Archives into Exhibitions Research & Contextualization Dive into archival material (prints, notes, objects). Identify under‑explored narratives. Storyboarding Map out exhibition flow (chronology, themes, subjects). Collaboration Partner with historians, photographers, and community stakeholders. Design & Media Use digital screens, media walls, and physical displays. Provide disclaimers for sensitive content. Publication & Outreach Produce scholarly books, podcasts, and online catalogues. “Photography is collaborative; there’s no isolated operator.” – Gaëlle Morel 6️⃣ Career Paths: From PhD to Collections Manager Role Typical Background Key Responsibilities Curator PhD in Photography History or Art History Research, exhibition planning, public programming Collections Manager Library/Information Science, Conservation Inventory, preservation, loan coordination Registrar Museum Studies Documentation, insurance, legal compliance Archivist Archival Studies Cataloguing, digitization, access facilitation Digital Asset Manager Digital Media, IT Database creation, metadata standards, online access “The competition is fierce now; a PhD often opens the curator door.” – Gaëlle Morel 7️⃣ Under‑Explored Photography Genres Science Photography – images from laboratories, experiments, and technical processes. Vernacular Photography – everyday family snapshots, community archives. Fashion & Commercial Photography – often overlooked in academic contexts despite cultural impact. The Image Center aims to bring these genres into the mainstream by integrating them into its three seasonal exhibitions. 8️⃣ Digital Access & Future Plans Current Online Presence: ~25 % of the collection searchable via a public database. Long‑Term Goal: Full digitization and searchable online portal for scholars worldwide. “It’s a long‑term project; we hope to see it finalized in the coming years.” – Gaëlle Morel How to Access: Visit the Image Center website and request a virtual tour or research appointment. Check the online catalog for limited preview images and object metadata. 9️⃣ Key Takeaways The Image Center is a medium‑centric institution preserving both prints and objects. Bernice Abbott’s archive reveals hidden scientific and travel work, enriching the narrative of 20th‑century photography. Mary Ellen Mark’s Ward 81 exhibition exemplifies ethical, collaborative documentary practice. Curatorial work hinges on research, collaboration, and thoughtful design. Career opportunities in photography curation now typically require advanced academic training. Science and vernacular photography remain under‑explored and ripe for future exhibitions. Digital access is expanding, but a complete online database is still a work in progress. 🔎 Frequently Asked Questions (FAQs) Q1: Can the public view the Image Center’s collection online? A: Yes, about 25 % of objects are searchable via the public database. Full digitization is a long‑term goal. Q2: How does the Image Center support emerging curators? A: Through its graduate program in preservation & collections management, internships, and hands‑on projects with real archives. Q3: What ethical guidelines does the Image Center follow for sensitive exhibitions? A: Consent forms, waivers, clear disclaimers, and careful placement of graphic images to respect viewer sensibility. Q4: Which photographers are highlighted in the Image Center’s exhibitions? A: Women photographers like Bernice Abbott, Mary Ellen Mark, Lee Miller, and Susan Masalis, as well as historic photojournalists from the Black Star collection. Q5: How can I contact the Image Center for research inquiries? A: Email imagecentre.collects@torontomu.ca or schedule an appointment through the university’s library portal. 📣 Call to Action If you’re a photojournalist, student, or archivist eager to dive into the world of photography archives, subscribe to the 10 Frames Per Second podcast for more behind‑the‑scenes stories, or plan a visit to the Image Center to experience the collections firsthand. Stay curious. Preserve history. Capture the future. Keywords used throughout: photojournalism, 10 Frames Per Second podcast, Image Center, Toronto Metropolitan University, Black Star Collection, gelatin‑silver prints, analog photography, darkroom practice, large‑format view camera, Kodak Heights, George Eastman Museum, photography archives, Bernice Abbott, Route 1 project, Mary Ellen Mark, Ward 81, mental‑health photography, ethics of photography, collaborative photography, Susan Sontag, Susan Masalis, Wendy Ewald, Richard Avedon, exhibition curation, preservation and collections management, graduate program in photography curation, vernacular photography, scientific photography, fashion photography, digital media wall. The post Episode 181 Gaëlle Morel (Photography Archives & Exhibits) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    1h 5m

  7. Mar 31

    10FPS Cengiz Yar

    Photojournalism With Cengiz Yar From High School Hobby to War Zones: Self‑Care Secrets & the Story Behind This Alabaster Grave 📚 Overview In this episode of 10 Frames Per Second, award‑winning documentary photographer Cengiz Yar (visuals editor at ProPublica) shares: How a high‑school love of photography turned into a career covering Iraq, Syria, and beyond. The challenges of freelance photojournalism – from finances to safety. The creative and emotional process behind his first monograph This Alabaster Grave. Practical self‑care and trauma‑informed strategies for journalists on the front lines. If you’re an aspiring photojournalist, a media professional, or simply curious about the human side of war reporting, keep reading. You’ll walk away with actionable tips, real‑world insights, and a deeper appreciation for the power of images. 🎞️ The Road From a Junior‑Year Camera to Conflict Zones Stage What Happened Key Takeaway High School Started shooting as a form of self‑expression (drawing, poetry, music). Photography can be a language for emotions before it becomes a career. College (Business Degree) Studied business to secure a stable income, while still shooting on the side. A non‑photo background can still fuel a later career in visual journalism. Study Abroad – China Borrowed a friend’s digital camera; first time abroad. Early exposure to new cultures expands visual storytelling perspective. Post‑Graduation (2008‑2009 crash) Traveled to Thailand to teach English; bought a Nikon D60. Economic downturn can catalyze bold, low‑cost adventures. Bangkok Protests (2010) Documented the Red‑Yellow shirt conflict for 10 weeks. First “real” fieldwork revealed photography as a job—documenting history. Freelance Leap Published in CBC; kept sharing with friends/family. Building an audience starts small—family, friends, local media. Syria (2012) & Iraq (2014‑2017) Learned on the job from peers like Alice Martins, Manu Bravo, Ivor Prickett. Peer mentorship is priceless; safety tips often come from fellow photographers. Mosul, Iraq (2016‑2017) Covered the nine‑month battle and its aftermath. Long‑term immersion yields depth and trust in the community. ProPublica & Editing Roles Transitioned to photo editor after the war; worked for The Guardian, Rest of World, Roads & Kingdoms. Editing experience rounds out a photographer’s toolkit and advocacy power. 📖 Inside This Alabaster Grave Why the Title Matters Alabaster – the soft stone used to build Mosul’s historic Old City. Grave – the same stone became literal tombs when bombing reduced neighborhoods to rubble. Cengiz says: “The alabaster that built Mosul turned into a graveyard for its own people.” From 5,000 Raw Shots to 150 Curated Images Initial Cut – narrowed 5,000 war‑time photos to ~150 that answered “What is the true cost of war?” Checklist Method – identified missing angles (architecture, portraits, cultural artifacts) and returned to Iraq for extra shots. Wall‑Testing – printed all 150, taped them on a studio wall for months, reshuffling until patterns emerged. Sequencing – worked with designer Jason Knoxville to create “undulating tension” – waves of visual emotion that rise and release. Publishing the Book Yourself Imprint: Ocotillo Press (named after a thorny desert plant in his backyard). Learning Curve: Shipping, print proofs, box selection, and distribution—all taught by industry mentors (e.g., Ben Brody). Goal: Not just a profit‑making product, but a platform to help other photographers publish without the usual barriers. 🛡️ Cengiz Yar Offers Trauma‑Informed Self‑Care for Photojournalists “If you don’t take care of yourself, you can’t take care of your family, your work, or the stories you want to tell.” – Cengiz Yar Core Practices Practice How It Helps Tips to Implement Therapy & Professional Support Provides a safe space to process trauma. Find a therapist experienced with first‑responder or journalist trauma. Nature Escape Physical activity reduces stress hormones. Schedule weekly mountain‑bike rides, hikes, or camping trips. Boundaries & “No” Skills Prevents burnout and dangerous over‑exposure. Practice saying “no” to extra assignments that compromise safety or mental health. Community & Peer Debrief Shared experiences normalize feelings and foster resilience. Host regular debrief meals (e.g., BBQs) with fellow freelancers. Trauma‑Focused Workshops Gives concrete tools for coping on assignment. Attend Dart Center’s Ochberg Fellowship or similar trauma‑informed programs. Digital Detox Limits re‑vicarious trauma from constant media consumption. Set “no‑screen” hours after a day’s work in the field. Quick Self‑Care Checklist (Print & Pin to Your Workspace) ☐ Schedule a therapy session each month ☐ Ride or hike at least once a week ☐ Decline one assignment that feels “too much” ☐ Host a peer debrief dinner every two weeks ☐ Complete a trauma‑informed workshop annually 📸  Cengiz Yar’s Practical Advice for Aspiring Photojournalism Students Start Small, Think Big – Use any camera you have. Your first impactful story (Bangkok protests) came from a borrowed DSLR. Leverage Your Business Skills – Understanding budgeting, contracts, and negotiations is a huge asset in freelance work. Network on the Ground – Live with other journalists and aid workers; they become your source of jobs, safety tips, and emotional support. Create a Personal “Litmus Test” – If your work changes the mind of one family member or friend, you’ve succeeded. Diversify Distribution – Don’t rely solely on Instagram. Use newsletters, zines, galleries, and printed books to reach audiences that actually engage. Document Systematically – Keep a master hard‑drive, backup daily, and maintain a spreadsheet of image metadata (location, subject, story idea). 🗺️ Where to Find More Podcast: Listen to the full episode on 10 Frames Per Second (new episodes Tuesdays, 10fps.net). Book: Purchase This Alabaster Grave through Ocotillo Press or major retailers. Work: Follow Cengiz Yar’s photo essays at ProPublica and his past pieces at The Guardian, Rest of World, and Roads & Kingdoms. Resources for Trauma Care: Visit the Dart Center for Journalism & Trauma for workshops, webinars, and toolkits. Takeaway Cengiz Yar’s story proves that creativity, resilience, and community can transform a personal passion into a career that documents history—and that caring for your own mental health is just as vital as caring for the truth you capture. Ready to pick up your camera and tell the world a story? Start now, stay safe, and remember: one powerful image can change one mind. photojournalism, war photography, conflict reporting, trauma care for journalists, This Alabaster Grave, Mosul, freelance photographer, publishing a photo book, ProPublica, self‑care for journalists, photojournalism, conflict reporting, human migration, Iraq war, Syria conflict, Thailand protests, business school, DSLR, Polaroid film, COVID‑19, trauma‑informed care, Dart Center, self‑care, mountain biking, book publishing, This Alabaster Grave, Mosul, displacement, refugees, freelance photography, visual storytelling, cultural translation, self‑censorship, press intimidation, journalism repression, digital camera, checkpoint safety, mentorship, peer learning, Ocotillo Press   The post Episode 180: Cengiz Yar (Conflict Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    55 min

  8. Mar 19

    10FPS Ben Mancin

    🎞️ How Self‑Taught Photographer Ben Marcin Turned House‑Hunting into a Award‑Winning Photo Book (Insights from the “10 Frames Per Second” podcast) 📌 Quick Takeaways Ben Marcin is a self‑taught fine‑art photographer who captures the stories of abandoned houses, holdout homes, and makeshift camps. Influences → Bernd & Hilla Becher, Andreas Gursky, Ben Shahn, and classic painters. Signature projects – Last House Standing, A House Apart, The Camps → compiled in the upcoming book The Holdouts (GOST Books, 2024). Shooting gear: Canon 5D Mark II for digital work; Synar P large‑format 4×5 for the most meditative shots. Publishing path: portfolio reviews → gallery → collector → museum acquisition → GOST partnership + Kickstarter campaign. Pro photographer tips: network through photo reviews, be patient with sequencing, and treat your book as a **legacy “premium business card.” 🔍 Who Is Ben Marcin? Fact Detail Born Germany (raised in a military/ CIA family) Current base Baltimore, Maryland Profession Senior programmer (retired) + fine‑art photographer First camera $159 Minolta (late 1980s) Self‑taught Learned exposure, aperture & f‑stop through trial & error and a lot of “Rite‑Aid” photo labs. Exhibitions Delaware Museum of Art, Center for Fine Art Photography (CO), Maryland Institute College of Art, Grimaldis Gallery (Baltimore). Collections Baltimore Museum of Art, Musée de la Photographie (Charleroi, Belgium). Upcoming book The Holdouts (GOST Books, spring 2024). “I have to explain I’m a photographer, not a city lawyer.” – Ben Marcin on approaching holdout homeowners. 🏠 Ben Marcin – The Core Projects 1. Last House Standing What it is: A lone house left standing while an entire block is demolished. Why it matters: Represents “defiance” and raises questions about eminent domain. Visual hook: Windows that look like eyes; houses that resemble faces. 2. A House Apart What it is: Isolated homes that survive urban renewal, often “holdouts.” Narrative: Shows how a single homeowner can thwart developers, sometimes turning down a million‑dollar offer. 3. Homeless Camps What it is: Temporary shelters built by homeless communities (often out of milk crates, doors, and scrap wood). Ethical stance: Ben photographs the structures without the people, avoiding exploitation. Key Quote: “I wanted the viewer to think about it. I didn’t want to answer who lived there.” 📷 Ben Marcin on Gear & Workflow Digital – Canon 5D Mark II Why: Fast, reliable, and able to capture large scenes where a 4×5 can’t fit (e.g., three‑story row houses). Post‑processing: Photoshop for straightening, noise reduction, and sharpening; printed on a 44‑inch Epson archival printer. Large Format – Synar P (4×5) Why: For “mindful” color‑negative work that feels like listening to a vinyl record. Process: Shoot → develop → scan → invert negatives in Photoshop → meticulous contrast & color balancing (often taking weeks). Archiving Lightroom catalog: ~297,000 images. Physical storage: 12‑drawer print archive for long‑term preservation. 📚 From Gallery to Book: Ben Marcin’s Publishing Journey Portfolio Reviews – Ben started attending review events in his early 50s, gaining critical feedback and contacts. Gallery Breakthrough – A chance meeting at Knight Gomez Gallery led to a solo show; curator Costa (Costas) bought a piece and helped place it in the Baltimore Museum of Art. Consultant Connection – Photo‑consultant Alexa Becker (former Kehrer Verlag editor) championed the project and submitted it to multiple publishers. GOST Books – Chosen for their design expertise (designer Stu Smith) and offset‑printing in Italy. Kickstarter – Launched to cover printing costs; reached the goal quickly, with advanced copies shipping May 2024. Ben’s tip: “Your book is a premium business card. Treat it like your legacy.” 🎙️ Highlights from Ben Marcin on the “10 Frames Per Second” Podcast Self‑Teaching: Borrowed art books from his librarian dad, then bought a cheap Minolta. Influences: Paintings (Bellini, Titian) > photographers (Beckers, Gursky). Ethics about Homeless Camps: Avoids exploiting subjects, focuses on the ingenuity of the structures. Travel & Walking: From a 4‑year‑old’s “railroad‑track” adventure in Maryland to walking 58 miles from Baltimore to D.C. on foot. Future Walks: Planning hikes in the foothills of the Dolomites, Northern Spain, and Italy (watch out for the big dogs!). 📈 Ben Marcin Tips for Emerging Photographers Leverage Portfolio Reviews – They provide priceless feedback and open doors to galleries & collectors. Network with Photo‑Consultants – A good consultant can get your work in front of editors who actually read it. Design Matters – Pair with a skilled book designer (e.g., GOST’s Stu Smith) to make a “visual story” that sells. Use Kickstarter Wisely – Set a realistic goal, offer compelling rewards, and promote heavily on social media. Document Your Process – Share behind‑the‑scenes videos of large‑format setup, scanning, and printing to engage audiences. 📅 What’s Next for Ben Marcin? Book Release: The Holdouts (GOST) – spring 2024 (US), May/June (EU). Exhibitions: Baltimore Photo Space (summer 2024) – book signings & talks. Future Walks: Dolomites foothills, Northern Spain, possibly a trek across Italy’s countryside. 👉 Take Action Listen to the full “10 Frames Per Second” episode for more anecdotes and inspiration. Support Ben’s Kickstarter (if still live) or pre‑order The Holdouts to own a piece of photographic history. Apply the portfolio‑review strategy: schedule at least one review this year and prepare a concise, well‑sequenced series. Experiment with both digital and large‑format tools to discover which workflow suits your vision. Keywords: Ben Marcin, self‑taught photographer, house photography, Last House Standing, A House Apart, Camps, The Holdouts, GOST Books, Kickstarter photography book, large format photography, Canon 5D Mark II, Synar P, photo portfolio review, photojournalism podcast, 10 Frames Per Second, 10FPS, photojournalism, self‑taught photography, Ben Marcin, house typology, Bernd and Hilla Becher, exhibitions, Baltimore Museum of Art, The Holdouts book, Last House Standing project, A House Apart project, Camps project, homelessness camps, opioid crisis, holdout houses, large‑format camera, Canon 5D Mark II, Synar 4×5 camera, Photoshop post‑processing, archival printing, Kickstarter publishing, GOST Books, portfolio review events, museum acquisitions, photography networking, walking/hiking expeditions, early influences (Ben Shahn, Andreas Gursky), legacy archives, gatefold book design, photographer‑consultant Alexa Becker. The post Episode 179: Ben Marcin (Documentary Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    58 min

  9. Mar 11

    10FPS Bryan Anselm

    Photojournalist Bryan Anselm on Climate Change Photography, Storytelling & Changing Minds The 10 Frames Per Second podcast (new episodes every Tuesday) brings together photojournalists who turn complex stories into powerful images. In this episode, host Molly Roberts (Joe Giordano was out for this one) sits down with Bryan Anselm, a New‑York‑based photographer whose work chronicles the long‑term impacts of climate change across the United States. If you’re a: Photojournalist looking for inspiration on climate‑related assignments Emerging visual storyteller seeking practical career advice Editor or curator interested in the intersection of documentary and fine‑art photography 📚 Who Is Bryan Anselm? Detail Info Base New York, USA Education Western Kentucky University (graduated during the recession) Specialty Long‑term climate‑change documentation (hurricanes, floods, wildfires) Publications The New York Times, The New Yorker, Time, The Atlantic, The Washington Post, ProPublica Awards Finalist – 2021 Aperture Portfolio Prize Fellowship Center for Contemporary Documentation (worked with Alice on a plastic‑waste project) Gear Canon 5DSR (full‑frame, 35 mm) + tripod + portable lights Books Sound the Sirens (2025, Overlaps Images) – a slow‑crafted photo book on U.S. climate disasters 🎥 Bryan Anselm Career Highlights 1️⃣ From the South to the North – How Brian Anselm Got Started Grew up in Carmel, Indiana; discovered a love for photography in high school. Chose Western Kentucky University after a campus visit; drew inspiration from the South (Faulkner, Appalachian stories). Graduated during a recession, forcing him to be resourceful: freelance gigs, a Getty grant, and an Alexia Foundation student grant. 2️⃣ Early Career: Uganda, Africa, & Post‑Conflict Work Internship with an NGO in Kampala, Uganda (rehabilitating former child soldiers). Covered the Somali famine (2011), Boko Haram insurgency, and the Rwanda genocide aftermath. Preferred a slow‑photography approach—spending weeks in a place to capture nuanced, human moments rather than breaking news speed. 3️⃣ The “Slow” Aesthetic – Light, Mood & Film Influence Uses high‑resolution digital (Canon 5DSR) with tripod and portable lights to shape mood. Inspired by film lighting, especially directors like Gregory Crewdsen and photographers John Divola, Josef Koudelka, Viviane Sassen, Luc Delahaye. Works at dusk/twilight (≈ 10 min window) to combine natural light with subtle artificial light—creating a claustrophobic, tactile feel. 4️⃣ Sound the Sirens – A Book That “Sounds” Like a Disaster Published 2025 by Overlaps Images. Format: ~9 × 6 inches, French‑fold pages with solar‑flare‑style prints under images, plus inserts. Designed to be portable, interactive, and accessible—a deliberate move away from bulky coffee‑table books. The book doesn’t overwhelm with data; instead, it uses historic meteorological illustrations as visual clues to evoke the climate‑change malaise. 5️⃣ Climate‑Change Narrative: From Ephemeral News to Persistent Storytelling Media coverage spikes during disasters but fades quickly. Bryan aims to return to affected communities later (6–9 months or more) to capture the lingering trauma and displacement. Discusses the concept of “Solastalgia” (Glenn Albrecht) – the grief felt when cherished landscapes change irrevocably. Calls attention to the looming climate‑refugee crisis (250 M displaced, many internal). 6️⃣ Ethics, Advocacy & the Photo Market Gallery sales vs. human suffering – he wrestles with commodifying tragedy. Believes NGO collaborations must be thoughtful; political neutrality is key. Emphasizes that photographs should spark curiosity, not replace scientific data. 7️⃣ Advice for Emerging Photographers Get out there: “Just take photos.” Be adaptable: As a student, Bryan worked from his car, bringing food, and staying flexible. Focus locally: Start with stories in your own community before chasing distant assignments. Embrace slowness: Spend time, build relationships, and revisit locations. 🛠️ Bryan Anselm – Practical Takeaways (Bullet List) Gear: Canon 5DSR + tripod + portable LED lights ⇒ high‑resolution, controllable lighting. Workflow: Scout location days in advance. Shoot at golden hour or twilight for mood. Use f/11‑f/16 for deep depth of field and detail. Book Design: Small, portable size → easier to transport. Interactive folds & printed solar‑flare layers add tactile depth. Storytelling: Pair visual clues (weather illustrations) with human narratives. Return to sites to document long‑term impact. Career: Leverage grants (Getty, Alexia) and freelance work during economic downturns.   ✅ Final Thought Bryan Anselm’s journey shows that patient, purposeful photography can turn fleeting disaster headlines into lasting visual narratives. By marrying film‑inspired lighting, compact book design, and a commitment to revisit stories, he offers an actionable roadmap for any emerging visual storyteller who wants to make a meaningful impact on climate‑change discourse. Ready to start your own slow‑photography project? Grab your camera, hit the road, and remember: the story is never truly over. 🎞️📸 ____ photojournalism, climate change, climate disasters, climate refugees, climate displacement, plastic waste, sub‑Saharan Africa, Uganda, child‑soldier rehabilitation, Somali famine, Boko Haram insurgency, Rwanda genocide aftermath, Aperture Portfolio Prize, Canon 5DSR, 35 mm digital, cinematic lighting, John Divola, Josef Koudelka, Viviane Sassen, Luc Delahaye, Solastalgia, Glenn Albrecht, FEMA trailers, UNHCR displacement data, climate policy, IPCC, fossil‑fuel transition, climate activism, PTSD in photographers, photo‑book design (French fold, solar flares) The post Episode 178: Bryan Anselm (Climate Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

    52 min

  10. Mar 4

    10FPS Ian Bates

    🎞️ Inside the Wildfire Lens: Ian Bates on The Weight of Ash & The Meadowlark Project Published on 10 Frames Per Second Blog – Your go‑to source for photojournalism, storytelling, and incredible photography 📚 Quick Overview Topic Key Takeaways Who is Ian Bates? Bay Area‑based photographer, author of The Weight of Ash (2025), former A&E, NYT Magazine, Bloomberg client. The Weight of Ash Black‑and‑white photo book documenting the eerie calm after western U.S. wildfires. Meadowlark Project A road‑trip series searching for the Western Meadowlark across six states, exploring habitat loss & climate change. Creative Influences Poetry (Jim Harrison), music (Adrian Lenker, Big Thief), and collaborative editing process with Clint Woodside & Matt Advice for Emerging Photographers Follow curiosity, build community, and let books become the lasting platform for your work. 🎙️ About the Podcast Episode Show: 10 Frames Per Second – a photojournalism podcast hosted by Joe Giordano & Molly Roberts. Release: Tuesday, March 4 2026 (originally recorded at WLOY, Loyola Radio, Maryland). Guest: Ian Bates, photographer and author. Main Themes: Wildfire aftermath, the paradox of beauty & terror, the role of poetry & music in visual storytelling, and practical book‑making advice. 📸 Meet Ian Bates Background: Grew up in New Jersey; mentored by a high‑school photography teacher who introduced him to Matt Aitches. Education: Ohio University – photojournalism program, summer internships, and a shift toward personal projects during sophomore year. Career Highlights: Clients: A&E Networks, The New York Times Magazine, Bloomberg, Wired, Rolling Stone, Smithsonian, etc. Projects: 2014‑2020 West Coast wildfire documentation, The Weight of Ash (2025) published by the Dead Peak Club. Current Focus: Living in the Bay Area, photographing local landscapes, the Sacramento‑Joaquin River Delta, and exploring community‑based projects. 🌲 Ian Bates – The Weight of Ash – A Book Like No Other What the Book Captures Timeframe: The “in‑between” moment after a wildfire burns, before humans return. Visual Style: Black‑and‑white images that highlight quiet terror, ash‑covered landscapes, and the muted colors of post‑fire ecosystems. Narrative Tone: “Beauty and terror can exist in the same moment” – a recurring line Ian repeats when describing the book’s emotional core. Why Black & White? “Most fire pictures in the news are bright orange. I wanted to strip away that spectacle and let the viewer linger on the silence, the ash that muffles sound, and the subtle textures of charred land.” Editing Journey Wall‑to‑Print Process – Ian prints 4×5 in photos, stacks them, and iteratively sorts on a magnet‑covered wall. Collaboration: Clint Woodside (Deadbeat Club) – external editorial voice that forced tough cuts. Matt … – led 20‑30 edit rounds, helping shape sequencing for a page‑turning rhythm. Final Touch: QR codes linking to curated playlists (see “Music & Photography” section). 🐦 Ian Bates – The Meadowlark Project – Following a Ghost Concept: Travel across six states where the Western Meadowlark is the state bird (ND, WY, MT, OR, KS, NE). Goal: Use the elusive bird as a metaphorical guide to explore habitat loss, farming expansion, and climate change. Outcome: A series of images that convey a sense of “place without a name,” letting viewers feel the shared landscape of the American West. Key Insights from Ian The bird itself rarely appears; its presence fuels the narrative. The project became a vehicle for exploring borders, government policies, and the universal prairie environment. 📖 Poetry & Music – The Secret Sauce Poetry Influence Jim Harrison’s “I Believe.” – Opened the Meadowlark book. Ian likens his photographic practice to gathering beliefs “enough to press the shutter.” Poetry guides his “open‑ended” book structures, encouraging viewers to draw personal meaning. Music in the Studio Typical Soundtrack: Adrianne Lenker, Big Thief, atmospheric “sad and quiet” tunes. Music shapes mood while driving, shooting, and editing, turning the process into a multi-sensory experience. 🛠️ How Ian Bates Turns a Wall of Prints Into a Published Book Print & Pin: Small prints on a magnetic wall. Sort & Shuffle: Group by theme, remove “nagging” images (a technique inspired by photographer Ron Jude). Digital Drafts: Create PDFs during COVID, send to editors for feedback. Physical Review: Throw prints on a floor/table, spend days arranging sequences. Final Cut: Trust external editors for objective cuts; produce a limited‑edition book through Dead Peak Club. SEO tip: Use “photo book editing process” and “how to publish a photography book” as long‑tail keywords for blog traffic. 🎓 Advice for Emerging Photographers Follow Your Curiosity: Let unexpected projects (like the Meadowlark search) guide you. Build Community: Connect with mentors, editors, and peers—Ian credits dozens of contacts for his books. Read Widely: Poetry, photography monographs, and even music can reshape your visual language. Embrace the Book Format: In a saturated gallery market, books give you control over presentation. Stay Flexible: Allow the project to evolve; Ian’s Meadowlark and Weight of Ash were born from serendipity. 📦 Where to Get The Weight of Ash Publisher: Deadbeat Club (2025). Online: Purchase through the publisher’s website or major retailers like Amazon.  Standard Edition or the Special Edition Physical Locations: Check local independent bookstores; many carry the Deadbeat Club catalog. CTA: Grab your copy today and experience the haunting beauty of post‑wildfire landscapes—plus a curated soundtrack 📣 Join the Conversation Listen to the full episode: 10 Frames Per Second – available every Tuesday on 10fps.net or your favorite podcast platform. Follow Ian Bates: Instagram @iancbates Share Your Thoughts: Which part of The Weight of Ash resonated most with you? Drop a comment below or tag us on social media with #WeightOfAsh. Ready to dive deeper into the world of photo books? Subscribe to the 10 FPS newsletter for exclusive insights, upcoming episodes, and behind‑the‑scenes content. ___ Lost Dog, The Weight of Ash, Meadowlark Project, wildfire photography, photo book editing, poetry in photography, music and photography, emerging photographer advice, photojournalism podcast, photojournalism, wildfire, ash, Bay Area, Meadowlark Project, Western meadowlark, habitat loss, climate change, black‑and‑white photography, poetry, Jim Harrison, editing process, wall of prints, book publishing, Deadbeat Club, Clint Woodside, Matt Aitches, music, Adrian Lenker, Big Thief, QR‑code soundtracks, playlists, community building, advice for emerging photographers, Ohio University, photography books, library collections, color vs monochrome, fire seasons, hope The post Episode 177: Ian Bates (Documentary Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

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