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.

🎙️ 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.

🎞️ 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 [email protected] 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.

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.

🎞️ 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.

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.

🎞️ 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, hopeThe post Episode 177: Ian Bates (Documentary Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.

Stephen Shames – A Legendary Documentary Photographer (Part 2) 📷 Who Is Stephen Shames? American documentary photographer with a career that began in 1966 – now over 60 years of shooting. Known for long‑term, immersive projects that blend social documentary with an intimate, “dream‑like” visual language. Creator of the acclaimed monograph “Steven Shames – A Lifetime in Photography” (published by Klaus Carer, Germany). 🌟 Signature Achievements Year Project / Photo Why It Matters 1970‑73 Black‑and‑white series on the Black Panther Party Captured a pivotal civil‑rights movement from inside. 1985 Iowa farm‑crisis reportage Built a multi‑year relationship with a struggling family; later provided them with treasured photos after a tragedy. 1990s Drug‑dealer & police collaboration in Philadelphia Showed the nuanced humanity behind street‑level crime. 2003 Stephen Hawking portrait series(Philadelphia Inquirer Magazine) Gained unprecedented access by reading Hawking’s book cover‑to‑cover and proving deep commitment. 2023 Release of “A Lifetime in Photography” First book presented as a non‑chronological, dream‑sequence, mixing B&W duotone and color plates. 📚 Stephen Shames Book: “A Lifetime in Photography” Concept: Not a chronological retrospective, but a dream‑sequence that moves the viewer fluidly from image to image. Process: Scanned ~20,000 negatives, rated them in Adobe Bridge, collaborated with designer Caleb Kane Marcus, and completed the layout in 1–2 months. Production quirks: Separate signatures for duotone B&W and full‑color plates; careful handling of gutter‑cropping for double‑page spreads. 🎯 What Makes Stephen’s Work Stand Out? Deep Relationships: He treats subjects as family, earning trust that lasts decades (e.g., the Iowa family calling him 30+ years later). The “Zone” Mindset: Total, intuitive focus while shooting; emotions surface only after the shutter clicks. Consistent Visual Voice: Central composition, intimate close‑ups, and a blend of documentary realism with artistic abstraction—what he calls his “shames‑style.” Commitment Over Convenience: Willing to stay with his son instead of flying to a war zone; chooses projects that align with his personal values. 📖 Quick Bio for Press Stephen Shames creates award winning photo essays on social issues for foundations, advocacy organizations, the media, and museums. •• Author of twelve monographs. •• Steve’s images are in the permanent collections of 42 international museums and foundations. •• Outside the Dream won numerous awards including the Kodak Crystal Eagle Award for Impact in Photojournalism. •• 2008 bus shelter and subway ads for the NYC DADS campaign of the City of New York received a Pollie award from American Association of Political Consultants. ** PBS named Hine, Wolcott, and Shames as photographers whose work promotes social change. ** American Photo called him one of the “15 Most Underrated Photographers”. ** Profiled by People, CBS Sunday Morning. Esquire, US News, Ford Foundation Report. ** The Ford, Charles Stewart Mott, Robert Wood Johnson, and Annie E. Casey Foundations have underwritten his work. ** Started an NGO which locates forgotten children (AIDS orphans, former child soldiers, and children living in refugee camps) with innate talents and molds them into leaders by sending them to the best schools and college Steve is represented by: Amar Gallery, London, UK (vintage & contemporary art prints Steven Kasher Gallery, New York (vintage & contemporary art prints Polaris Images, New York (editorial & stock) 🔗 Where to Find His Work Official Book: Purchase a signed copy on eBay (search “Steven Shames signed book”). Online Galleries: Steven Shames Archive – Briscoe Center for American History, University of Texas at Austin. 10FPS Episode 175 – Part 1 of the full interview discussing his process and philosophy. Exhibitions: Periodic shows at major museums (e.g., Museum of Modern Art, New York; International Center of Photography). 📌 Takeaway for Photographers Build trust: Treat subjects as collaborators, not just subjects. Cultivate a signature style: Consistency in composition and tone makes your work instantly recognizable. Embrace the Zone: Focus fully while shooting, then allow space to process emotions afterward. ______   farm crisis, Iowa family portraits, suicide remembrance, long‑term photographic projects, building trust with subjects, photographer’s dedication/commitment, beeper/assignment culture, Israel‑Lebanon conflict coverage, child soldier imagery, color vs. black‑and‑white printing, book editing process, scanning thousands of negatives, Briscoe Center archive, dream‑sequence book concept, collaborative design with Caleb Kane Marcus, double‑page spreads, duotone production, gutter cropping, celebrity portraiture (Obama, Sadat), Tokyo subway kids photo, style development (Meyerowitz, Eggleston), photographer’s “zone” focus, athlete‑like preparation, Stephen Hawking week‑long portrait, involving subjects in project planning, farm‑state poverty documentation, drug‑dealer and police access, Bronx street photography, Philadelphia Inquirer assignments, Panthers civil‑rights photography, NGO/non‑profit photography work, news‑magazine contracts (Time, Newsweek, NYT), Stephen Shames photographer, Stephen Shames biography, Stephen Shames photojournalism, Stephen Shames book, Stephen Shames styleThe post Episode 176: Stephen Shames (Documentary Photography) Part 2 first appeared on 10FPS A Photojournalism Podcast for Everyone.

Stephen Shames: A Lifetime in Photography – Lessons on Social Documentary, the Black Panthers, and Child Poverty (Part 1) Introduction In the latest episode of “10 Frames per Second,” host Molly & Joe interview legendary American photojournalist Stephen Shames. Over a 50‑year career, Shames has documented everything from the Black Panther Party to child poverty in America, testifying before the U.S. Senate and publishing twelve monographs. If you’re a photographer, journalist, activist, or anyone who cares about visual storytelling, this interview is a goldmine. Below we break down the most actionable takeaways, organize them into easy‑to‑read sections, and show you how to apply Shames’s methods to your own work. Who Is Stephen Shames? Fact Detail Profession Photojournalist & documentary photographer Career span 50+ years (1960s‑present) Focus Social issues – child poverty, racism, civil rights Notable achievements Testified before the U.S. Senate (1986), 42 museum collections, 12 monographs (e.g., Power to the People, Outside the Dream), new book Stephen Shames – A Lifetime in Photography – Purchase Directly with Autograph and Print from Stephen via eBay HERE Key collaborations Black Panther leader Bobby Seale, New York Times reporter Earl Caldwell, various grassroots organizations How Stephen Shames Discovered Photography College activism – While studying at UC Berkeley during the 1960s, he witnessed the civil‑rights movement and anti‑Vietnam protests. First camera purchase – After hitch‑hiking to New York’s East Village, he bought a camera at a pawn shop. Choosing the “artist of the movement” – Frustrated by student‑government politics, he decided to capture the larger picture rather than be a “politician.” “I just wanted to look at the big picture and try and move people with photography.” Working with the Black Panther Party Why the Panthers Accepted a White Photographer Shared goals – Economic and social justice, not just race. Pragmatism – Panthers needed allies outside the Black community to build coalitions (Peace & Freedom Party, Young Lords, Young Patriots). Personal connection – Bobby Seale liked Shames’s images and invited him to use them in the Panther newspaper. Key Facts About the Panthers (From the Interview) Founded: October 1966 (initially ~20 members). National expansion: Post‑1968, 10,000+ members, 50‑60 chapters. Community programs: “Breakfast for School Children,” feeding 10,000+ kids daily. Self‑defense model: Legal gun ownership (California) + law books; later, they shifted to “cameras are better weapons.” Lesson for Photographers Build trust by aligning with a group’s mission, not merely your identity. Stephen Shames Research‑First Approach “Journalism is two‑dimensional; you need to experience the culture you want to document.” Steps to Deep‑Dive Research Read nonfiction – History, journalism, policy reports. Read fiction – Novels written by members of the community. Listen to music – Understand emotional tone and cultural references. Watch movies / documentaries – Visual language and storytelling cues. Live the bubble – Immerse yourself in daily life, food, rituals. Why It Matters Breaks the “bubble” of your own biases. Helps anticipate reactions and capture authentic moments. Stephen Shames on Building Trust & Relationships Core Principles Honesty: Be transparent about your intent. Respect: Never mock or look down on subjects (e.g., drug addicts, police). Reciprocity: Offer subjects control—let them tell you when to stop. Presence: Stay physically in the community (sleep on sofas, eat meals together). Practical Tactics Find a community “gatekeeper.” Example: a nun from Catholic Social Services who introduced Shames to Chicago projects. Sit down for a conversation before shooting – explain the project, listen to concerns. Share your work later (photos, stories) to reinforce the relationship. “If you’re honest, people will accept you, even if you’re a ‘liberal New York Jew.’” Bullet‑Point Checklist Identify and contact a respected local figure or organization. Explain your project in plain language. Offer a clear “opt‑out” for subjects. Spend time off‑camera – meals, conversations, errands. Follow up after the shoot with thank‑you notes or shared images. Cameras vs. Guns: The Evolution of “Weapons” 1960s‑70s: Panthers used firearms legally to patrol police. Today: Shames notes that cameras and smartphones are the most powerful weapons for exposing injustice. Why the shift? Legal restrictions on open carry. Instant global distribution of visual evidence. “The camera is a much better weapon because it puts the story directly in front of the world.” Lessons for Modern Photographers Insight How to Apply Research beyond headlines Read novels, watch local films, listen to playlists from the community. Immerse, don’t observe from a distance Stay in the neighborhood for days or weeks, not just a single shoot. Earn trust through honesty Share your intent, give subjects a “stop” word, and be transparent about usage. Leverage community allies Partner with NGOs, churches, or trusted locals to gain entry. Think of yourself as a “doctor,” not a “tourist” Your presence should be accepted as part of the environment, not an intrusion. Use the camera as an activist tool Publish work on platforms that reach decision‑makers, not just art galleries. Document, don’t dictate Let subjects tell their own story; avoid imposing your narrative. Why Shames’s Story Matters Today Media fragmentation & AI‑generated images: Shames emphasizes that authentic, verified photography is more vital than ever. Social justice resurgence: The same patterns of protest, police scrutiny, and grassroots organizing repeat across generations. Educational relevance: Teachers can use Shames’s methods to teach research, empathy, and ethical storytelling. Conclusion Stephen Shames’s career shows that powerful photography comes from empathy, rigorous research, and deep community ties. Whether you’re documenting the modern Black Lives Matter movement, child poverty, or any social issue, the principles he shares—exit your bubble, build trust, and let the camera speak—remain timeless. Ready to start your own documentary project? Apply the checklist above, stay authentic, and remember: your camera can change policy just as much as any courtroom testimony. Call to Action Start a research journal today for the community you wish to photograph. Subscribe to our blog for more interviews with visionary photojournalists. Share this post with classmates, activists, or anyone interested in visual storytelling. Steve is represented by: Amar Gallery, London, UK (vintage & contemporary art prints Steven Kasher Gallery, New York (vintage & contemporary art prints Polaris Images, New York (editorial & stock) _____ child poverty, Black Panther Party, civil rights movement, Vietnam War, documentary photography, social justice, racism, university protests, student government, activism, police brutality, COINTELPRO, gun control, media ownership, AI-generated deepfakes, fake news, community immersion, research methodology, cultural immersion, trust building, ethics in photography, hunger crisis, farm crisis, poverty in America, Senate testimony, camera as weapon, Rainbow Coalition, Young Lords, political coalitions, storytelling through imagesThe post Episode 175: Stephen Shames (Documentary Photography) Part 1 first appeared on 10FPS A Photojournalism Podcast for Everyone.

Inside the Front‑Line of Resistance: Photojournalist Stephanie Keith on Visual Anthropology, ICE Protests & the Power of Community Observers 📸 Who Is Stephanie Keith? Background: Studied cultural anthropology at Stanford. Photojournalism degree from the International Center of Photography (ICP). Master’s in photography from NYU. Career Highlights: Pulitzer‑Prize finalist (2022) for breaking‑news coverage of a deadly Bronx fire. Works with Getty Images, Reuters, The New York Times, Bloomberg, and New York Magazine. Specialties: Brooklyn culture, Coney Island, drag‑queen competitions, Muslim holidays, Caribbean life, Haitian‑American voodoo. Since 2017 – chronicling the rise of white nationalism and ICE actions across the U.S. “Anthropology taught me to live inside a community, not just look at it from a distance.” – Stephanie Keith 🧐 What Is “Visual Anthropology” and Why Does It Matter for Photojournalism? Visual Anthropology Traditional Breaking‑News Coverage Immersive – Long‑term, relational storytelling. Immediate – Focus on the moment of impact. Emphasizes culture, rituals, and everyday lives. Emphasizes who, what, when, where of the event. Seeks multiple angles (social, political, personal). Prioritises speed and exclusivity. Stephanie explains that her anthropology training helped her “get involved” with stories, allowing her to capture nuances a standard news shoot might miss. 🚦 The “Observers” of Minneapolis: Community‑Driven Resistance Who Are They? A loose, hyper‑local network of volunteers who monitor ICE vehicle movement. Operate in Signal chat groups (encrypted messaging). Work in shifts – morning, afternoon, evening – armed only with a whistle, phone, and cold‑weather gear. How They Operate Spotting ICE Vehicles – When an ICE convoy appears, an observer posts its location in the chat. Alerting the Neighborhood – Whistles or car horns sound to warn residents. Some “guard” establishments (e.g., Marissa’s Bakery) lock doors and screen entrants. Documenting the Scene – Many observers carry phones, providing live footage that journalists later verify. “If ICE represents fascism, observers are the front line of American resistance.” – Stephanie Why This Model Works Decentralized – No single command structure; anyone can join a shift. Hyper‑local – Neighbors protect neighbors. Low‑cost – No paid staff, just community solidarity. 📷 Behind Stephanie Keith‘s Iconic New York Magazine Photo Location: Outside the Whipple Federal Building, Minneapolis – a known ICE hotspot. Subject: A woman in a fur‑trimmed hood, glasses, and a full‑face gas mask (the only mask that works in tear‑gas scenarios). Process: Stephanie asked for consent, then shot 30‑plus frames to perfect focus and framing. Result: The image became the cover story, symbolizing everyday resistance. 🤝 Collaboration in the Field: How Journalists Share Information Signal Chats: Real‑time location sharing, ICE alerts, safety tips. Buddy System: Journalists travel in pairs or small groups, often in cars, to stay warm and safe. Cross‑Outlet Support: Reporters from Reuters, New York Magazine, Star Tribune, European outlets (Finland, Germany) all contribute intel. Editors like Jodi Kwan at New York Magazine shape story angles (e.g., focusing on the observers rather than ICE vehicles). “If it weren’t for the observers, we’d have far less knowledge of what’s happening.” – Stephanie 🛡️ Staying Safe: HEFAT Training & Practical Gear HEFAT (Hostile Environment Field Awareness Training) – Key takeaways from Stephanie’s Reuters training: Situational Awareness: Constantly locate threats and your nearest exit. Exit Planning: Park cars a few blocks away; know multiple escape routes. Crowd‑Control Devices: Full‑face gas mask for tear‑gas or pepper‑spray. Know how to don it quickly, even with glasses. Physical Gear Checklist: Helmet, vest, body armor. Extreme‑weather clothing – insulated jackets, gloves, thermal layers. Gas mask + cartridges (full face). Stephanie’s advice: “Pack like you’re preparing for the worst – the weather, the gear, the exit route.” 📚 What Early‑Career Photographers Can Learn 1. Find a Mentor Adrees Latif (Reuters) helped Stephanie refine technique, gain confidence, and navigate assignments. 2. Embrace Community Over Competition Share locations, tips, and safety info in chat groups. Prioritise collective safety over exclusive scoops. 3. Blend Anthropology with Journalism Immerse yourself in the community you’re documenting. Aim for story depth rather than just “the headline moment.” 4. Prepare Logistically Bring all essential gear (mask, cold gear, backup batteries). Use buddy system; never work alone in high‑risk zones. photojournalist Stephanie Keith visual anthropology in journalism Minneapolis ICE protests community observers resistance HEFAT training for journalists how to stay safe covering protests collaborative journalism Signal chat New York Magazine ICE photo role of observers in anti‑ICE actions photojournalism mentorship 🎯 Quick Take‑Away Checklist Read & understand visual anthropology principles. Join local Signal/WhatsApp chats for real‑time updates on protests. Never go solo – use a buddy system and park away from the crowd. Carry full‑face gas mask and learn to use it with glasses. Seek mentorship early; a single experienced photographer can reshape your career. If you’re a budding photojournalist, activist, or simply curious about how community‑driven resistance is documented, Stephanie Keith’s story offers a powerful blueprint for ethical, immersive, and safe storytelling. Stay curious, stay safe, and keep the truth in focus. ___ photojournalism, visual anthropology, ICE actions, observers, community resistance, Minneapolis protests, white nationalism, Pulitzer finalist, breaking news coverage, signal chats, HEFAT training, situational awareness, full‑face gas mask, whistle alerts, hyper‑local organizing, decentralized activism, New York Magazine series, Instagram portrait series, collaboration among journalists, mentorship, Reuters, Getty Images, Bloomberg, New York Times, crowd‑control devices, winter field gear, car “buddy‑up” strategy, unprepared protest participants, AI misinformation, civil‑rights activism, anti‑fascist front line.The post Episode 174: Stephanie Keith (Documentary Photography) first appeared on 10FPS A Photojournalism Podcast for Everyone.