10FPS A Photojournalism Podcast for Everyone

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.