SeeSaw Magazine: Observation Full and Felt
In 2004, I attended a conference at the Birmingham Institute of Art and Design, 'The 3rd Space: Mapping the Magazines of Photography', which presented lectures and panel discussions with an number of influential photography editors, critics, writers, photographers and curators - from Creative Camera, Camera Austria, Source, Useful Photography, The Photographers Gallery, the Victoria and Albert Museum and so on. I became very inspired. At the same time, a good friend of mine was running an online non-fiction literary journal, Palaver, and it seemed that, by simply locating his magazine on the internet, he'd discovered an ideal way of sharing work that he admired with the widest possible audience, and with the least amount of hassle. I knew of a lot of incredible photography, which didn't necessarily have entirely practical purposes or commercial outlets, but which was fascinating and moving and important nevertheless. So I decided to create another outlet by putting a photography magazine online.
SeeSaw Magazine is an online photography journal dedicated to promoting and publishing photographic work and criticism that successfully presents serious and acute observation via the photographic medium. The magazine engages with both established and emerging photographers, and is directly inspired by Walker Evans’s statement, ‘[Photography] is the capture and projection of the delights of seeing; it is the defining of observation full and felt’.
SeeSaw also encourages writers to engage directly with photography, and regularly presents photo-related essays, reviews and interviews. Having featured works by and interviews with notables such as Stephen Shore, Alec Soth, Carrie Mae Weems, Roger Ballen, Todd Hido, Richard Misrach, Jackie Nickerson, Christopher Stewart and Edward Burtynsky, as well as portfolios by a number of today’s most promising emerging photographers, the magazine has developed a dedicated following, and a strong reputation as a source for important and critically engaging photography. Evidence of SeeSaw’s importance as a research resource came in June 2006, when it was selected for preservation by The British Library; it will continue to be archived regularly within their collection, in collaboration with the UK Web Archive Consortium.
Within the context of SeeSaw, I have published a wide range of extensive portfolios, interviews and essays that have drawn international attention, and have been cited in other important publications. It has also led to a number of written commissions from some of the medium’s most respected publications, including Aperture, ArtReview, Hotshoe International, the British Journal of Photography, Modern Painters and Fotografie Museum Amsterdam (FOAM).
"Congratulations for SeeSaw - it's about time someone did it; the publication is great! Stick with it. It may take time, but eventually, people will appreciate what an important and pioneering effort you're making."
(Richard Misrach, Photographer)
"SeeSaw Magazine is definitely a must-look-at for the consumer of fine photography online."
(Jorg Colberg, Concientious.com)
"SeeSaw is very impressive! Your latest issue is fantastic. I am going to write a book regarding the business of being a photographer, as I did one ten years ago but it needs updating. Would you write about running an online magazine?"
(Rhonda Wilson, Director: Rhubarb-Rhubarb)
"Seesaw Magazine shows off some extremely interesting work."
(Photo District News)
"SeeSaw Magazine is an outstanding new online photography site. Brilliant."
"Seesaw Magazine’s first issue appeared in Winter 2004. The magazine believes that "the most powerful and compelling photography is made in response to reality itself", in line with my own views on the medium. In the new issue there is an extensive portfolio by Richard Misrach, as well as an interview with him by Aaron Schuman, along with a shorter portfolio of work by other artists. Earlier issues included Edward Burtynsky, Alec Soth, Stephen Shore and Jem Southam. Furthermore there is plenty of work in these issues by photographers unfamiliar to me that is worth looking at, for example Greta Pratt's “Americana”, Kevin Romaniuk's “Self Portrait” and work by Wyatt Gallery and Will Steacy from the aftermath of Katrina."
(Peter Marshall, About.com)