[KELP JOURNAL] Can you talk about why you chose photography? What does this form provide that other media does not?
[FABRICE POUSSIN] I have in fact worked with others, specifically painting. I saw others use cameras when I was a child and found the whole thing intriguing. What I believe got me hooked was the ability to print my own photographs. It was until recently something I did with regular 35mm all the way to larger format. When digital began to become much better I began scanning my negatives and printing in that format. Now of course I use only digital camera while my antique medium to large format equipment lays dormant. Capturing the moment specifically at the moment is something which cannot be done any other way. Manipulating my photographs as I please, seeing them change as I imagine them to be, and sharing the product of the moment so easily is, I believe what will keep me going back to this media. It may be the best way to quickly communicate a special moment to others across great distances; it allows me to share the beauty I see with all those who are interested and I find that this is the most rewarding part of photography.
[KELP JOURNAL] What do you look for when framing a shot? What draws you to the pictures you take?
[FABRICE POUSSIN] Good question and not an easy one to answer. Balance for sure, enough room to know that I will not have my subject in dead center, creating a dynamic image within which the viewer can lose him/herself, a balance of color and darker shades to also include an element of mystery.
[KELP JOURNAL] Should photographers be cognizant of the narrative they create of a place or time when exhibiting photos?
[FABRICE POUSSIN] That is a great question. I believe they might be cognizant of a certain narrative, yet they should be willing to allow any other narrative introduced by other eyes. As is true with literature, a piece of art only perishes if not allowed for the interpretation of another party. There is little I enjoy more than listening to the suggestions others make when they look at what I am showing. That is exciting, because that is when one realizes that his/her work is making a difference and causing a reaction,
[KELP JOURNAL] How has the digital age affected photography?
[FABRICE POUSSIN] The digital age has allowed those who could not otherwise afford photography to begin dabbling with the artform. That is a great benefit. It has also allowed all photographers to expand their talent without the usual financial strain. Of course, it has also brough a fait number of pseudo photographers in the field, who have no talent, but that is a worthwhile risk as it is with all other means of expression. Ultimately the viewer always decides what will remain of the creations we see.
[KELP JOURNAL] Are there any photographers that have influenced your work?
[FABRICE POUSSIN] Many have in fact influenced be, although I am ashamed to say that I will never be good as they were. I will shamelessly mention Ansel Adams. He taught us to be patient and to give nature a chance to reveal all its beauty. I love going to Yosemite and imagine him, alone, with his big wooden box.
Fabrice Poussin teaches French and English at Shorter University. Author of novels and poetry, his work has appeared in Kestrel, Symposium, The Chimes, and many other magazines. His photography has been published in The Front Porch Review, the San Pedro River Review as well as other publications.
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