Landscape Photography Tips by Teri Fullerton

While in Barcelona, this past summer, Teri Fullerton, a Minneapolis-based photographer known for portraits of veterans returning from war, shifted her attention to a subject more often taken for granted than well shot. In photographing the landscape and how people—whether tourists, beach-goers, or other photographers—experience its beauty, she sought clear evidence of wonder.

Awe, the Small Self, the series started in Barcelona, is self-referential. Photographs of the landscape include portraits of other people shooting the same scene. “I was interested in observing other people looking and the complicated relationship between being and documenting,” she writes. The photographs also present a vast backdrop of ocean and sky. When seen from this scale, the body becomes small, the land more pronounced. “The world is infinitely large and man is a small player . . . [the camera] helps us appreciate our place in the world by paying close regard to it.”

I talked with Fullerton over email about her ideas on photography and Awe, the Small Self.

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To show what sustainability looks like on a personal and intimate level, Edgar Cardenas, a Ph.D. student in the School of Sustainability at Arizona State University, began a series of photographs that would document his own land-conscious practice. He looked for the efforts made every day. Each photograph captured in one hundred little dramas was found in the backyard of his desert home.

Heavily influenced by the ideas of Aldo Leopold, the conservationist, ecologist, and “amateur” environmental philosopher, Edgar Cardenas embraced a personal narrative. There are portraits of his girlfriend basked in the red light of dusk, journal entries that poetically explain the stories behind several albumen prints, and meditations on loss. “Looking deeply at a small and personal space is actually not that common,” he notes. “I wanted to express that these [ecological] processes aren’t something that happen far away in the wilderness but in our backyards if we just pay attention.” 

I spoke to Edgar Cardenas about this project and about his ideas on photography and sustainability.

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Documentary Photography Ideas: Enter Your Past

In 2008, Susana Raab traveled to Peru, the country where she was born, to begin a six-year-long project about her lost homeland. Her family had left Peru when she was two, and she figured her photographs would take an anthropological vein—noting the land, people, and culture. But once back she soon realized how much her lost history was influencing her photography.

Cholita, both a term of endearment and an insult in Peru, became the title of her project. Originating in a colonial context, the word is used to identify children of indigenous and black parents. While traveling, Raab noticed she was being affectionately called La Cholita. Knowing the history of the word, at once a signal of familiarity and foreignness, she decided to document those who, like her, lived between worlds. And in exploring their history, she began exploring her own past.

I spoke to Raab over email about Cholita and about her ideas about photography.

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Once exclusive to those with access and money, photography is now in the hands of anybody with a phone. To communicate today is to know how to Instagram your meal in the right light or how to picture yourself in the right pose. Literacy in the language of photography fast approaches a necessary education. Nearly everywhere you go an ever-present camera may do what it pleases with your image. Has there ever been a time when knowing how your image is viewed has mattered so much?

Yet a flood of images—from memory, from painting, from poetry—has always been with us. What hasn’t been witnessed before is an availability of image-seizing tools. The freedom to shoot is now everybody’s. Perhaps in response to this flood of picture-making, some photographers, including a stable featured this past May at the J. Paul Getty Museum, in Los Angeles, have stepped back to older tools with a forward thrust. Labeled by the New Yorker as “photo-materialists,” they’ve taken an older language to direct contemporary eyes to what’s still possible in the frame.

Some like John Chiara have gone back to the very beginning and reclaimed the camera obscura. On the streets of San Francisco, Los Angeles, and Coahoma, Mississippi, he drives around with one as big as a small shed. In this retro-wormhole of a camera, a new view can be revitalized with an old physicality. Chiara’s images are objects. In his language, those objects can then become pictures of memory and space. “I feel photography has a long and complicated relationship with memory and the madness of the self-encounter,” he says. Mystery, a purposely darkened insight, is part of his process, and so is chance and intuition. But it can all be as simple as doing what has always been done, too. “People approach me all the time when I am out shooting and ask what I’m doing. I answer simply: this is a large camera and I am taking a color photograph.”

I spoke to Chiara over email about his work and his experimental photography techniques.

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The interview that follows has been edited for readability. The editing has been limited to concerns of form. Mark Alor Powell’s one of great street photographers answers and my questions have in no way been abridged. The opposite is true, in fact. Where story and metaphor required refining or expanding, story and metaphor have been refined or expanded.

The result is an honest attempt to imagine how two strangers, strangers who have never heard each other’s voice or seen each other’s face, and who live thousands of miles apart, would have spoken to each other if they had met one day. This interview may in fact be considered a true conversation. The conversation may in turn be considered a true fiction.

Mark Alor Powell lives and works in Mexico City. His newest photobook, Open at Noon, is out now.

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A candid moment with Andrea Margaret on her thoughts

There are three people in the above photograph, and it would also be true to say that there are none. What starts as a familiar scene—a young beautiful woman staring into her reflection—has been complicated. Questions peek out. You begin to wonder why her unreflected body is obscured. Who exactly is she hiding? The photograph no longer looks like a self-portrait but one taken by a friend or a partner in a quiet hurry. You can imagine this friend wondering the same questions: “What is she thinking? Why is she making that face?” This friend, or lover, would stand just behind her shoulder, his or her head resting weightlessly on her floral wallpaper. He’s close enough to her, yes. He can almost hear her breathing, but his questions have no answers.

Andrea Margaret is a model and emerging photographer based in California. In this short interview, she talks to me about her recent work in photography, her modeling, and her thoughts on vulnerability.*

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