Episodios

  • Episode 180: Cengiz Yar (Conflict Photography)

    Episode 180: Cengiz Yar (Conflict Photography)
    Mar 31 2026
    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 StageWhat HappenedKey TakeawayHigh SchoolStarted 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 – ChinaBorrowed 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 LeapPublished 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 RolesTransitioned 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 PracticeHow It HelpsTips to ImplementTherapy & Professional SupportProvides a safe space to process trauma.Find a therapist experienced with first‑responder or journalist trauma.Nature EscapePhysical activity reduces stress hormones.Schedule weekly mountain‑bike rides, hikes, or camping trips.Boundaries & “No” SkillsPrevents burnout and dangerous over‑exposure.Practice saying “no” to extra assignments that compromise safety or mental health.Community & Peer DebriefShared experiences normalize feelings and foster resilience.Host regular debrief meals (e.g., BBQs) with fellow freelancers.Trauma‑Focused WorkshopsGives concrete tools for coping on assignment.Attend Dart Center’s Ochberg Fellowship or similar trauma‑informed programs.Digital DetoxLimits 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☐ ...
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    55 m
  • Episode 181 Gaëlle Morel (Photography Archives & Exhibits)

    Episode 181 Gaëlle Morel (Photography Archives & Exhibits)
    Apr 8 2026
    🎞️ 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 MattersThe Black Star Collection – A Photojournalism TreasureBernice Abbott: Uncovering the “Lesser‑Known” WorksMary Ellen Mark’s Ward 81 ExhibitionHow Curators Turn Archives into ExhibitionsCareer Paths: From PhD to Collections ManagerUnder‑Explored Photography GenresDigital Access & Future PlansKey TakeawaysFAQs 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 FeatureDetailYear Donated2005OriginBlack Star Agency (NY)FocusAmerican photojournalism, analog printsCurrent HomeImage 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 RoleTypical BackgroundKey ResponsibilitiesCuratorPhD in Photography History or Art HistoryResearch, exhibition planning, public programmingCollections ManagerLibrary/Information Science, ConservationInventory, preservation, loan coordinationRegistrarMuseum StudiesDocumentation, insurance, legal complianceArchivistArchival StudiesCataloguing, digitization, access facilitationDigital Asset ManagerDigital Media, ITDatabase 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 ...
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    1 h y 5 m
  • Episode 179: Ben Marcin (Documentary Photography)

    Episode 179: Ben Marcin (Documentary Photography)
    Mar 19 2026
    🎞️ 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? FactDetailBornGermany (raised in a military/ CIA family)Current baseBaltimore, MarylandProfessionSenior programmer (retired) + fine‑art photographerFirst camera$159 Minolta (late 1980s)Self‑taughtLearned exposure, aperture & f‑stop through trial & error and a lot of “Rite‑Aid” photo labs.ExhibitionsDelaware Museum of Art, Center for Fine Art Photography (CO), Maryland Institute College of Art, Grimaldis Gallery (Baltimore).CollectionsBaltimore Museum of Art, Musée de la Photographie (Charleroi, Belgium).Upcoming bookThe 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...
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    58 m
  • Episode 177: Ian Bates (Documentary Photography)

    Episode 177: Ian Bates (Documentary Photography)
    Mar 4 2026
    🎞️ 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 TopicKey TakeawaysWho is Ian Bates?Bay Area‑based photographer, author of The Weight of Ash (2025), former A&E, NYT Magazine, Bloomberg client.The Weight of AshBlack‑and‑white photo book documenting the eerie calm after western U.S. wildfires.Meadowlark ProjectA road‑trip series searching for the Western Meadowlark across six states, exploring habitat loss & climate change.Creative InfluencesPoetry (Jim Harrison), music (Adrian Lenker, Big Thief), and collaborative editing process with Clint Woodside & MattAdvice for Emerging PhotographersFollow 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) ...
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    49 m
  • Episode 178: Bryan Anselm (Climate Photography)

    Episode 178: Bryan Anselm (Climate Photography)
    Mar 11 2026
    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 assignmentsEmerging visual storyteller seeking practical career adviceEditor or curator interested in the intersection of documentary and fine‑art photography 📚 Who Is Bryan Anselm? DetailInfoBaseNew York, USAEducationWestern Kentucky University (graduated during the recession)SpecialtyLong‑term climate‑change documentation (hurricanes, floods, wildfires)PublicationsThe New York Times, The New Yorker, Time, The Atlantic, The Washington Post, ProPublicaAwardsFinalist – 2021 Aperture Portfolio PrizeFellowshipCenter for Contemporary Documentation (worked with Alice on a plastic‑waste project)GearCanon 5DSR (full‑frame, 35 mm) + tripod + portable lightsBooksSound 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 ...
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    52 m
  • Episode 176: Stephen Shames (Documentary Photography) Part 2

    Episode 176: Stephen Shames (Documentary Photography) Part 2
    Feb 24 2026
    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 YearProject / PhotoWhy It Matters1970‑73Black‑and‑white series on the Black Panther PartyCaptured a pivotal civil‑rights movement from inside.1985Iowa farm‑crisis reportageBuilt a multi‑year relationship with a struggling family; later provided them with treasured photos after a tragedy.1990sDrug‑dealer & police collaboration in PhiladelphiaShowed the nuanced humanity behind street‑level crime.2003Stephen Hawking portrait series(Philadelphia Inquirer Magazine)Gained unprecedented access by reading Hawking’s book cover‑to‑cover and proving deep commitment.2023Release 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, ...
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    50 m
  • Episode 175: Stephen Shames (Documentary Photography) Part 1

    Episode 175: Stephen Shames (Documentary Photography) Part 1
    Feb 18 2026
    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? FactDetailProfessionPhotojournalist & documentary photographerCareer span50+ years (1960s‑present)FocusSocial issues – child poverty, racism, civil rightsNotable achievementsTestified 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 HEREKey collaborationsBlack 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 InsightHow to ApplyResearch beyond headlinesRead novels, watch local films, listen to playlists from the community.Immerse, don’t observe from a distanceStay in the neighborhood ...
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  • Episode 174: Stephanie Keith (Documentary Photography)

    Episode 174: Stephanie Keith (Documentary Photography)
    Jan 27 2026
    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 AnthropologyTraditional Breaking‑News CoverageImmersive – 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 Keithvisual anthropology in journalismMinneapolis ICE protestscommunity observers resistanceHEFAT training for journalistshow to stay ...
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