Interview with photographer Terry Ratzlaff

The Tide Goes North 1

The Tide Goes North 1

F-Stop Magazine: How did you first become involved in photography and what led to you working in this medium as an artist?

Terry Ratzlaff: I became interested in photography during my senior year of high school when my brother gave me a book of the work of Andre Kertesz. I had never seen images like that before and it inspired me to the point where I began making photos in my spare time. 6 months later I decided to go to school and study photography. My first semester of school was terrible, I struggled in most classes and nothing made sense. During my second semester, things started coming together and I found that I really enjoyed photographing. 12 years later I don’t know what I would be doing without photography and story telling.

F-Stop: The current issue of F-Stop Magazine includes images from your project “The Tide Goes North,”  can you tell us about this project? How did this project come about?

TR: A culture has thrived for thousands of years, but now, the proposal of North America’s largest open pit mine, Pebble, is threatening its existence.  Drawing inspiration from writer and anthropologist, James W. VanStone, who spent time on Nushagak Point in the early 1900’s.  The Tide Goes North is concerned with the complexities of human interaction between the Pacific Salmon and the immediate environment of the Bristol Bay watershed.  Having spent 13 weeks over the last two years on Nushagak Point, this work addresses the concept of sustainability between man and nature in a time of uncertainty of future destruction.  If this mine is built, the salmon ecosystem will cease to exist.  Preserving the people and landscape is the main reason for my work in this area.

The Tide Goes North 3

The Tide Goes North 3

F-Stop: Can you discuss your process for making these images or your creative process more generally? What were you looking to capture?

TR: I took a fairly simple and natural approach to making these images and decided not to interfere with what the people were doing and set out to capture mostly natural moments.  I didn’t want my presence to shape a photograph in any way, this is something I struggled with on the daily and I don’t think I was successful in that sense, mostly due to the fact that I was working in large and medium formats.

F-Stop: Do you think that it is possible for a photographer to not shape or affect a photograph they take?

TR: Yes, I think it’s possible, but in my situation, I was making large format portraits of people I’d never met, and in this case I think people are generally interested in the camera which creates a conversation of its own.  At that point I feel direction is needed to achieve the desired feeling, so interfering with the moment is inevitable.

F-Stop: What do you hope people see or feel or perhaps learn when they look at your photographs?

TR: The conversation in these images is one that questions sustainability between man and nature in a time of uncertainty. When people look at these images I hope they think about the way they interact with nature and the affect that we have on it, whether the affect is positive or negative, I’m interested in questioning both sides.

The Tide Goes North 4

The Tide Goes North 4

F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

TR: I don’t think I do have a favorite image from this project, instead I feel that this is my favorite body of work I have created. It was a big transition for me from how I used to photograph and I feel it has opened a door into my mind of how to see the world. If I can approach other projects similar to the way I’ve approached this one then I think I will be on the right path.

F-Stop: Are you working on any other projects currently?

TR: I’ve been working on a project revolving around found objects and the places they were found with hopes of creating a narrative about the person who left the objects behind. I’m currently in the process of making into a book and I’m excited to see where it goes.

The Tide Goes North 7

The Tide Goes North 7

F-Stop: What photographers or other artists inspire you?

TR: I’m inspired by other artists and photographers working to make a difference in this world. There is a bigger picture that we all need to talk about. There is so much in this world that is unknown, those who are interested in what we do not know are the ones that inspire me.

For more of Terry Ratzlaff’s work: www.terryaratzlaff.com

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@ KLOMPCHING GALLERY

Adrienn with Mosaic ©Bill Durgin

Adrienn with Mosaic ©Bill Durgin

the wall/the page/the internet FRESH 2015
July 8–August 1, 2015

Artist Reception: July 8th, 6:00–8:00pm

FRESH 2015 is co-curated by Darren Ching and Debra Klomp Ching, from an international open call for submissions. Five new voices are presented, each presenting distinct bodies of work, but united in bringing the subject of the photograph(y) itself into scrutiny through their different methodologies of merging subject and image construction.

KLOMPCHING GALLERY
89 Water Street
Brooklyn, NY 11201

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ANNE SCHWALBE @ L Parker Stephenson Photographs

unnamedANNE SCHWALBE: The Life Within
July 1 – September 12, 2015

Quiet. Thoughtful. Delicate. Simple on first appearance yet layered. Schwalbe’s images awaken the senses and invite extended inspection. The landscapes and silent moments illustrate the poetry of seeing. They trigger the imagination: childhood memories, mysteries, or foreboding fairytales.

L Parker Stephenson Photographs
764 Madison Avenue NY

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Antone Dolezal and Lara Shipley @ Filter Space

© Antone Dolezal and Lara Shipley

© Antone Dolezal and Lara Shipley

Antone Dolezal and Lara Shipley: Devil’s Promenade
July 11 – August 22

Reception: July 11, 7 – 9 PM

Filter Space
1821 West Hubbard Street, Suite 207
Chicago, IL

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Glasgow 1955 + 55 @ Gallery 103

Image © CSG CIC Glasgow Museums Collection.

Image © CSG CIC Glasgow Museums Collection.

Glasgow 1955 + 55
3rd July – 2nd August

Reception: Thursday 16th July, 6pm-7.30pm

In 2008, the People’s Palace in Glasgow featured an exhibition called “Glasgow 1955: Through the Lens”. The exhibition presented images taken in 1955 as part of a project involving several Glasgow camera clubs.

Queen’s Park Camera Club, as the only surviving club of those that took part in the original survey, decided to undertake an update project. In the course of carrying out this work throughout 2010, Queen’s Park members tried to record as many aspects as possible depicting Glasgow in 2010 to feature in an exhibition to show the comparison between Glasgow in 1955 and 55 years later.

Gallery 103 : Trongate 103, Glasgow, G1 5HD

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Ramadan 2015 selection of Fine Art photography @ The Empty Quarter

Ramadan 2015 selection of Fine Art photography

Ramadan 2015 selection of Fine Art photography

Bruno Barbey – Kai Loffelbein – Mario Marino – Roland & Sabrina Michaud – Peter Sanders
30th June until 13th September 2015

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EDITION VI: Film(ic) @ The Wapping Project Bankside

Thomas Zanon-Larcher, Nora, Trainstation II, Oslo, August 2006

Thomas Zanon-Larcher, Nora, Trainstation II, Oslo, August 2006

EDITION VI: Film(ic)
2 July – 21 August

a group exhibition that explores the overlaps and tensions present in the mediums of film and photography.

The Wapping Project Bankside
37 Dover Street, Ely House
W1S 4NJ London

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Grace of Intention: Photography, Architecture and the Monument @MoCP

Ana Vaz, Entre temps, 2012

Ana Vaz, Entre temps, 2012

Grace of Intention: Photography, Architecture and the Monument
OCT 15 – DEC 23, 2015

GEERT GOIRIS
IMAN ISSA
FLORIAN JOYE
NADAV KANDER
JAN KEMPENAERS
BASIM MAGDY
NICOLAS MOULIN
ANA VAZ

Monuments are deliberate gestures—objects or structures created to commemorate an event, person or era. Their meaning is usually imposed, and they often serve as vehicles for the communication of civic qualities like valor and duty, or to underscore a foundational political narrative. But their meaning can transform, changing over time as the relevance of their symbolism ebbs and flows due to social and political shifts. Like monuments, architecture and photography are also inflected with a grace of intention, and both have the ability to commemorate or represent a nation, event, time or place. Like monuments, their meaning often shifts due to time and context. Furthermore, the act of photographing monuments and buildings transforms them, sometimes revealing some of their original qualities and more closely evoking the responses that they were originally intended to have.

MUSEUM OF CONTEMPORARY PHOTOGRAPHY AT COLUMBIA COLLEGE CHICAGO
600 S. MICHIGAN AVE CHICAGO, IL 60605

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Interview with photographer Kate Schneider

Senior Centre. Atkinson, Nebraska

Senior Centre. Atkinson, Nebraska

F-Stop Magazine: How did you first become involved in photography and what led to you working in this medium as an artist?

Kate Schneider: I’ve used photography since I was sixteen. I am in my mid-30s now. I quickly fell in love with the medium – it was fast, easy (even in the film days), and it provided a nice barrier where I could hide behind my shyness. Also, I’ve always loved politically driven work based in realism. Photography was the perfect medium to investigate the world around me, and to make sense of what confused me. Ironically, what I am working now and what I was interested in at that time are strongly related – I use photography as a tool to comment on the human condition, and our relationship to the natural world.

F-Stop: The current issue of F-Stop Magazine includes images from your project “We, the Heartland,” can you tell us about this project? How did this project come about?

KS: We, the Heartland is about the cultural landscape along the proposed Keystone XL pipeline route in Nebraska and South Dakota, and the protest movement against the proposed pipeline. I became interested in this topic in 2012 when my father and I went on a trip through the American plains states. During our trip I met countless self-professed Republican farmers and ranchers who were staunchly against the proposed project. I also became fascinated with the landscape of the prairies.

I went back to Nebraska a year later with the intent of photographing the landscape along the proposed route, and to show the viewer what could happen to the land if the pipeline is approved. I also wanted to show how the protest movement counters our idea of what an environmentalists is. The people fighting the KXL in Nebraska and South Dakota are not granola-eating college-age environmentalists, but the grandmas, ranchers, Lakota native, and other people who are directly affected by the proposed pipeline.

Kilmurry Ranch. Holt County, Nebraska

Kilmurry Ranch. Holt County, Nebraska

F-Stop: Can you discuss your process for making these images or your creative process more generally? What were you looking to capture?

KS: As a documentary photographer, my process is dependent on the project participants and my relationship with them. In this instance, the landowners thought I was a spy for the pipeline company, TransCanada, and were not willing to let me onto their land. Eventually, the landowners began to trust me, but this only happened through luck and by helping out on several of the ranches in the area. Once the landowners could see that my intentions were honest, I was then able to make photographs in the region. Really, this work would not exist if it was not for the participants – the people involved in the project were willing to let me photograph on their lands and helped me to meet other people who are affected by the proposed pipeline.

Leota Watches a Kite. Ideal, South Dakota

Leota Watches a Kite. Ideal, South Dakota

F-Stop: What do you hope people see or feel or perhaps learn when they look at your photographs?

KS:I want the viewers to get a sense of the prairies and what is at stake in the fight against the KXL. Most people have not been to the Sandhills of Nebraska or the Rosebud Sioux (Lakota) reservation in South Dakota, but both places are part of a rich mythology of westward expansion and cowboy culture that is constantly recycled in the media. I want this project to be read within this mythology and to counter the mythology. I also want the viewer to see the complex voices of the white and indigenous peoples fighting against the proposed pipeline

F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

KS:This is a hard question to answer. There are the images that I love because of my memories of that day, there are the photos that I love because of how well the image speaks to the story, and then there are the photos that I am still amazed how everything seamlessly came together without any orchestration on my end.

Bonny Kilmurry. Holt County, Nebraska

Bonny Kilmurry. Holt County, Nebraska

F-Stop: Are you working on any other projects currently?

KS:I have a few ideas that I am starting to work on, but it’s far too early to discuss the work. I’m now just wondering if what I have is a “thing,” as my friends and I like to say. Going from concept to thing-ness is challenging and can take awhile. You might have a thing or you just might have a pile of dung. Right now it could go either way!

Beck Farm. Holt County, Nebraska

Beck Farm. Holt County, Nebraska

F-Stop: What photographers or other artists inspire you?

KS: There are many artists that inspire me, and the works of these artists are focused on the human condition in the North American context. I just picked up a copy of Paul Graham’s Does Yellow Run Forever. That book is an excellent example on how to tell a complex story in a simple way.

For more of Kate Schneider’s work: kateschneider.net

 

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MAX DE ESTEBAN @ KLOMPCHING GALLERY

unnamed
MAX DE ESTEBAN: HEADS WILL ROLL
SEPTEMBER 12 – OCTOBER 30, 2015

OPENING RECEPTION WITH THE ARTIST:
SATURDAY, SEPTEMBER 12, 6-8PM

Heads Will Roll critique and reflect upon the state of our world and the role photography plays in how we receive, see, and process information in the digital age.

KLOMPCHING GALLERY

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