#onchain
About this series
History reveals that some photojournalistic images have become well known due to the momentous, history-altering events they capture. Examples include veteran Magnum photographer David Hurn's photographs of an 1968 anti-Vietnam protest that turned violent outside of the London apartment he was living in.
Individual acts of defiance that were caught on camera later became iconic of the movement they represented. Photojournalist Leslie Spurlock reflects on her protest works she captured in the US and what makes images of resistance resonate so loudly.
Interview
Can you tell us about moving to Haiti how it affected your vision as a photographer?
Just to clarify, I didn’t move to Haiti.
Oh, I did not know that. I was always thinking you have been living there for a few years. So, how often do you went there?
I went there 6 times to cover different things. The first time, I went to do some documentary work. The second time, I went during the uprising and lived with the rebels. The third time, I went to cover a flood that killed over 3000 people. Hmm, how it affected my vision. I think, most importantly, it affected my humanity. I realized material things were no longer important. I also realized how important is was to be thankful for what you have. As far as my vision, Haiti was the first time I did this type of work. I think it taught me how to photograph emotions and anticipate things that might happen. I was shown a world I hadn’t seen before and saw things no person should have to see, yet I also saw beauty and tried to capture both in my work.
How much preparation do you put into taking a photograph/series of photographs?
I’m actually one that doesn’t like to prepare a lot. I like the element of surprise, and I like challenging myself to deal with the unexpected. Now, I do prepare for certain things, like when I go to cover natural disasters. I do bring medical supplies, extra gas, extra food and water, etc.
And what's the biggest difference in terms of preparation comparing your documentary and staged photography?
Well, I would say in some ways, there are similarities. Since I don’t really preplan my photojournalism a lot, I am the same way with my creative portraits. I get on location and work spur of the moment. If I preplan, and things go wrong, then that tends to throw you off. I tend to create my vision while I’m on location. I do plan certain outfits and where we are shooting, but it’s usually just “anything goes”.
Have you always been a visual person with a form of creative expression?
I think, in a way, I have been, but I was never an artistic person before I picked up a camera. I thought I would end up in public relations, but I discovered photography at the age of around 20, and my life changed.
What is it that you work to express through your photography?
I really try to express emotions in my work, whether it is photojournalism or creative portraits. I want the viewers to “feel” something.
One of my favorite series of yours is your raw and moving collection of protests in Minneapolis. Can you tell us more about this documentary?
Sure, this occurred during the height of covid. My husband and I were just staying home, but after George Floyd was killed, I knew something was happening in terms of the protests. They just felt different. I felt it was going to be a huge moment in history, so I told my husband we need to go and cover this, just because I needed to for myself. The next day, May 29, 2020, we drove from Texas to Minneapolis, MN. We arrived that night, and went to the spot where Floyd was killed, then proceeded to the 5th precinct. That is where we came across the fires and the protesters. That was also the first of many times I would be tear gassed. After that, I ended up getting back on with Zuma Press (it had been over 10 years), and I ended up covering 17 protests across the nation, on my own dime. This lead to being published worldwide, many times.
What was you decision to make some of the protest series in Black and White and some in color?
I really like to show emotion with black and white photography, but some scenes, like the fire ones, work better in color. I originally did even those in black and white, but then decided to convert some of those back to color for more of an impact.
Where is your photography going?
That’s a good question that even I can’t answer. I hope to continue to do more photojournalism, but I really want to do a lot more documentary work. I’m also inspired every day by this community to try new things, so who knows where I will end up.
What projects would you like to accomplish?
I would really love to eventually have a solo exhibit in a real life gallery. My biggest project I hope to accomplish, is just helping humanity, as best as I can. I want to do my own part to make this world a better place. I will leave you with my favorite quote, "Be the change you wish to see in the world." – Mahatma Gandhi
Artist Bio
With 21 years of experience photojournalist Leslie Spurlock is bold with her pictures and capturing the world through her eyes. She has covered stories all over the world from the USA, to the Amazon, and Haiti making photographs and documenting wherever she goes.
After those times in Haiti she took a break from photojournalism and started shooting weddings and portraits, but soon she was led back into photojournalism in 2020.
Spurlock was watching the riots unfold with George Floyd. It was there, that she covered 17 protests across the country. Capturing the most astonishing and captivating moments in US history.
She has been published worldwide including in Time, Wall Street Journal, NY Post, The Guardian, CNN, Yahoo and many more.
Photographer: Leslie Spurlock
Twitter: @LeslieASpurlock
NFTs: Leslie Spurlock
Photos copyright Leslie Spurlock
DRAWLIGHTS | 1/1 – one post/one photographer, weekly. Off-chain and on-chain. By Peter Nitsch, lens-based artist, a member of Jenny Metaverse, RawDAO and lifetime Member of the Royal Photographic Society of Thailand.
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