English
DeutschThe Australian photographer has been travelling through countries such as Australia, Angola, Burma, Burundi, Cambodia, India, Iraq, Israel, Rwanda, Somalia and Zaire for over 30 years. His long-term projects shed light on a wide range of topics such as war and climate. He is equipped with various Leica cameras, as he no longer wants to do without the advantages they bring. In addition to his reportages, Dupont also gives time to artistic projects. His latest book, Fucked Up Fotos, is published by Steidl. The production puts the spotlight on incorrect exposures, film errors and other accidents with the camera. In this interview, he provides insight into his photographic approach, how he finds his subjects, how he processes his archive and his artistic projects.
What does street photography mean to you?
For me photography has always been about having fun and there’s no better enjoyment than street photography. I love the freedom and enjoyment that street photography brings to me. You are entering the unknown where anything is possible, and if I’m not feeling a sense of happiness along the way, then my eyes will be shut. It’s about looking and then waiting for the moment to unfold in front of you.
How do you recognise this moment?
You can feel when everything is coming into place, the subject, the light and the mood. When you’ve captured that moment, it is very special, very exciting. The whole parade is like a kind of dance with strangers and you need to be at the rhythm of the street. Then it’s fun and challenging. Even when you miss the moment or are not seeing it, it’s ok, it will come soon enough. Patience is key and great photographs come from those who wait.
Do you draw inspiration from books or other media?
I read a lot books and research many of my projects before I set foot in some places. I always feel a great responsibility to honour those I photograph, and try and present my work in the most honest and compelling ways I can. It’s funny, well maybe not so funny, but lately I’ve been thinking about producing a large body of photographic archival work and memoir rated writing. I seem to be following “death” in much of my work; or has it been following me? Gazing down at the dead through my viewfinder and dodging my own death more times then I can count on two hands.
How did you decide on the edit, the selection of images? How big are your archives?
Over 30 years of archives is a big job! I narrowed my selection down to the photographs I took on Leica M cameras and then chose the ones that personally moved me. Some are award-winning pictures that people might recognise and others more quiet. The final edit needed to cover each Leica M camera I have owned, starting from the M3 and stopping at the M11. Editing for a portfolio is like editing for a retrospective, you are never quite satisfied, you wonder what you missed from your life’s picture vault. In the end, these photographs are window’s into others’ lives and into your own soul. I am very proud of all of them.
You like to explore new and innovative ways with photography, often collaborating with other artists, writers and creatives through books, exhibitions, film and theatre.
Being a photographer for so many years on the road can become quite lonely and self indulgent. The art of taking photographs is mainly a solo journey, which I love; but I suppose over time I have come to appreciate the role other artists may have with my works and ideas and how best to collaborate. I work a lot with a wonderful writer, Jacques Menasche, because we totally understand the collaborative process that brings out both of our strengths and talents to produce rewarding projects. Jacques comes from a strong photography background and we share music and literature tastes, and this ends up being incredibly creative when we do stuff. I am constantly exploring different mediums and ways to present my photography and make art.
Bringing photography and art together is a good thing.
My one man show I performed some years ago was an idea I came up with to bring the power of my photography, stories and my life to a live audience, that could witness the raw authenticity and emotion of not just the photographs, but also an insight into my private world and revelations. If I am being challenged creatively and I can combine other artistic elements with the photography to make the impact stronger or more interesting, then that’s a great thing.
Your latest book that will be out this autumn is titled Fucked Up Fotos. What is it about?
This book features only the work that I originally overlooked, and takes my philosophy of imperfections to a whole other level. In it are the mishaps, mistakes and general fuck-ups along the way, photographs that would have never seen the light of day. Now they stare back at me with a vengeance, reminding me of the times I opened up the back of my camera exposing the negative to sunlight, forgetting I still had an unwound roll of film inside or x-rayed film at customs. There is very little of me in these photographs. In fact, the images were not exactly made by me at all. It’s the imperfections in photographs that makes them unique; beautiful; makes them great. Perfection is boring.
Self-taught photographer Stephen Dupont was born in Sydney in 1967, and has a Master’s in Philosophy. In addition to documentary photography, he works in the fields of art and film. His long-term projects cover comprehensive subjects such as war and climate. He is the recipient of numerous awards, including the W. Eugene Smith Grant for Humanistic Photography in 2007 and a number of World Press Photo Awards. He works regularly for TIME, Newsweek, The Sunday Times Magazine, GEO, Vanity Fair and The New York Times Magazine. He is exhibited around the world at galleries, museums and festivals (NYPL, Peabody Museum, ICP, Polka, Noorderlicht, Visa pour l’Image). In the autumn of 2024 his latest book titled Fucked Up Fotos will be published by Steidl. Find out more about his photography on his website and Instagram page.
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