Students and instructors alike were in awe of the concept of “just one frame,” just one rule—part of a promise photographer Thomas Joshua Cooper made to himself at the start of his career. Cooper visited SFUAD this week in advance of his Feb. 28 opening at Lannan.

Jackalope photographers look for and find beautiful sights on the SFUAD campus.

SFUAD graduate C Alex Clark discusses ‘soft glitch’ photography in this audio-visual interview.

On April 29, the Marion Center for Photographic Arts was filled with a group of approximately 20 adults, many of whom had never before seen the inner-workings of SFUAD’s photography department, as the first of three interactive seminars with SFUAD enrollment staff, recruiters and other visitors.

SFUAD Graphic Design student Abel Anaya discusses his love of design and photography, and his goals for a future career using both.

Cristina Kahlo, great-granddaughter of Guillermo Kahlo and great-niece of Frida Kahlo, is a practicing photographer and member of Maestro Julio Galindo’s Platinum Print Workshop in Mexico City. She visited Santa Fe this October to attend the Alternative Photographic International Symposium sponsored by Bostick and Sullivan, Inc. and chatted with The Jackalope Magazine about her relationship to photography. Kahlo’s photographs will be on exhibit at the Santa Fe University of Art and Design’s Marion Center  Gallery with four other photographers until Nov. 8. The following interview has been edited for brevity. Jackalope Magazine: When did you discover photography? Cristina Kahlo: My father was an amateur photographer—he was always playing with cameras. The darkroom was a place for adults. Children were not allowed. There was a special lock on the door so that children could not get in. So when I was 10 or 11 years old and my father invited me in, it was like I was being allowed into a forbidden room. He enlarged a picture of a family picnic and showed me how to submerge the photo paper in the chemicals, and that moment of seeing the image appear on the paper was magic. That is when I discovered what it means to make a photograph, and the moment when I fell in love with photography. JM: How did you pursue that newfound love? CK: My father died young. He was 42, and I was 13. But after he died, his darkroom was still in the house. A brother of a friend of mine did photography, and he said, ‘you like photography, don’t you,’ and he showed me the ABCs. That’s how I started printing. Then when I was 16 years old, I started at the Escuela Activa de Photographia, the only school...

Cliff Shapiro graduated from the College of Santa Fe, now known as the Santa Fe University of Art and Design, in 2010 with a BFA in Photography. He is a New York native but has recently planted some rivaling roots in Santa Fe. Like the rest of us, the land has enchanted him beyond his expectations and he has been living and working in Santa Fe for the past five years. Working like a true photographer, he has enrolled in classes at the Community College to grasp a better understanding of his newest photographic subject… food.  Not only has he enrolled in culinary classes to broaden his understanding of food but to fine tune his existing skills in the kitchen. He has hopes of someday combining his two passions of food and photography by finding his way into what I imagine would be a fine art/fine dining...

In Spring, 2013, students from the Jackalope pre-cursor class Collaborations toured several exhibits at Site Santa Fe, producing writing and photography that was then published by SITE as a gallery guide. View the guide online here. Photography student Sandra Schonenstein also created an audio visual piece interview with SITE intern Diana Padilla: And photography student Shayla Blatchford also created an audio visual piece with Linda Mary Montano, whose show, “Always Creative,” was part of the SITE...

During the Spring of 2013, SFUAD writing and photography students worked with and published a variety of articles in The Santa Fe Reporter newspaper as part of the coursework leading up to Jackalope magazine. How to Spy a Turquoise Lie by Charlotte Martinez/ photos by Shayla Blatchford Skies the Limit by Brandon Ghigliotty/ photos by Michelle Rutt Silly Rabbit by Nick Beckman/ photos by Amanda Tyler An Alternative Space by Mark Feigenbutz/ photos by Tim Kassiotis The Personal Touch by Arianna Sullivan/ photos by Luke Montavon Trash Talkin’ by Natalie Abel The Bright Outdoors by Clara Hittel/ photos by...

John Willis does not consider himself a photojournalist, or even strictly a documentary photographer. Willis, who teaches photography at Marlboro College in Vermont, has collections of work that would be hard not to coin as documentarian, but he sees a distinct differences between the types of storytelling that photographers can do. “There are a lot of ways to experience and to explore storytelling,” he explains, “and for me, it is always connected to something I’m experiencing—I choose my topics out of a need to work through my own stuff emotionally.” At the same time, Willis is acutely aware of the responsibility that comes with storytelling—perhaps even more so than many journalists. While he takes his pictures “to understand how I feel about things in my life,” Willis believes that, “if you are taking pictures of somebody, telling stories about somebody, you are an outsider, because it is not you that the story is about.” As an outsider telling somebody else’s story—or taking a photograph of somebody else—you have a responsibility, Willis believes, to that subject. You are responsible for telling their story to the best of your ability, honestly and respectfully, so that ultimately you will help others develop an empathic understanding of that subject. For Willis, this extends even further than just sharing his own photographs. For Willis, the difference between a journalist and a documentarian boils down to time. A documentarian affords themselves more time with their subject, something a journalist being paid by the story may not be able to do. “I have the luxury of making my images because they’re what I’m drawn to,” Willis explains, “because I make my living as a teacher.” When Willis sells an image, he thinks of it more as “extra-credit” than another step along...

By Arianna Sullivan/Photos by Natalie Abel The Marion Center is alive with a plethora of energy when I enter. A group of Monte del Sol Charter School students grouped in the corner of the main gallery sing energetically, accompanied by an electric keyboard. The walls are filled, seemingly top to bottom, with an eclectic mix of different mediums—from photography to 3-D dolls—all a product of the spirited Monte del Sol art department, and the efforts of its two key players: Michael Webb and Nancy Sue Michels. The place is absolutely swarming with middle and high school students, Santa Fe University students and faculty, parents of the Monte del Sol students, and even Santa Feans who came to the Marion Center to view the two other shows opening in the space, and then wandered into the charter school’s show with pleasantly surprised looks on their faces. When Natalie and I finally track down Michael and Nancy Sue, they are both buoyant and enthusiastic about the show, and the turn-out for its opening. “This might be the best show we’ve ever had,” they agree, referring to the success of the Marion Center as a space to showcase their students’ work after 13 years of working together to put up an annual show of the student work being created in Monte’s art department. Nancy Sue is excited, she explains, by the energy that is constantly buzzing about the Marion Center Gallery. “Even when we were hanging the show the other day,” she says, “there were people coming through here, going about their business. It’s not like a gallery space that closes up at night and after that nobody sees the artwork. Plus,” she concedes with an almost mischievous smile, “it gives me this little flashback to being...

Story by Arianna Sullivan/Photo by Natalie Abel “Really,” says Tony O’Brien earnestly, “enjoy the photography. Be who you are.” The Santa Fe University Photographic Society meeting is still for a moment, digesting, and then works itself back up into the excited planning frenzy that preceded Tony’s statement. “So what are we photographing,” inquires one student eagerly, “the people, the streets, of just everything?” Tony looks at the array of confused, enthused and jittery faces and responds simply, “as you see it.” The group has gathered to discuss the Santa Fe Grid Project—the photo department’s plan for involvement in this year’s Outdoor Vision Fest. Outdoor Vision Fest is an annual outdoor art show of design, animation, video, photography and other visual imagery, and the photo department is preparing to be a larger and louder presence in 2013 than it has been in past years. The project that the photo department has decided to embark upon, the Santa Fe Grid Project, has potential to grow in influence beyond the festival and even the campus as well. The Grid Project, brainchild of Photography freshman Chris Beran, will be a photographic documentation of Santa Fe’s neighborhoods by SFUAD Photo Society members. Photo students from the school will document designated neighborhoods of the city by means of whatever photographic medium speaks to them—be it still image, analog or digital, time lapse, alternative processing, with or without the accompaniment of interviews or music—as Tony O’Brien puts it, “as you see it.” Both Chris Nail and Tony O’Brien, the faculty members heralding the Photo Department’s involvement in OVF 2013, are enthusiastic about the project’s potential to be the beginning of a continued relationship between SFUAD and the city of Santa Fe. “It will be a living document, a sort of micro-version...