In October we posted a short, straightforward conversation with Shane Lavalette about Lay Flat, the independent publisher of limited edition photography books and multiples that he founded in 2009. The questions from the conversation with Lavalette have been adapted and given to 11 more publishers and editors that represent a variety of sizes, orientations, and audiences in the photography publication market - both on and offline. As a whole, the 12 posts aim to provide a snapshot of the current publishing landscape.
Today's post features responses from Ray Potes of Hamburger Eyes Photo Magazine.
Other expected respondents for the series include Jeffrey Ladd (Errata Editions), Alec Soth (Little Brown Mushroom), Jason Fulford (J&L), Daniel Augschoell (Ahorn Magazine), David Bram (Fraction Magazine), Barry Hughes (SuperMassiveBlackHole), Jack Woody or Maggie Blanchard (Twin Palms), Bryan Formhals (LPV Magazine), and Lee Grant and Tom Williams (Timemachine Magazine). Already published are responses from Michael Itkoff of Daylight Magazine.
Publication: Hamburger Eyes Photo Magazine
Location: San Francisco
Format: Print
fototazo: What gave you the drive to create a photography magazine and what is the backstory on how you formed?
Ray Potes: actually, we started as a zine, then it became a magazine. the website is just a sidekick to the magazine. i started making zines a long time ago, one day i made one titled "hamburger eyes" and it seemed more popular than any other zine i made. so i made a second issue and the ball started rolling.
f: What is particular or unique about what Hamburger Eyes offers its readers in terms of content? What separates it from other magazines?
RP: im not sure. i just think we have certain backgrounds and interests that people can relate to.
f: How much different has the reality with Hamburger Eyes been from your expectations before launching the magazine?
RP: when making zines, there is no expectations. thats what great about them. you just make it and put it out there and if it sucks, then it sucks. anything good that happens after production is just bonus. i feel lucky about it.
f: What is your process for deciding what to publish from the submissions received?
RP: we look through everything, certain things pop out and you start from there. it also has a lot to do with the flow of a particular layout. often people will ask, "why did you run this dumb photo?" but for me, it makes sense on that particular page or group of pages or the publication in its entirety.
f: What has been your highlight working with the magazine so far?
RP: just getting to meet all kinds of photographers and work with them and getting to see their photos.
f: How has working in the publishing business influenced your personal work and your aspirations in photography?
RP: we get to talk a lot with different photographers, cameras, techniques, ideas, etc. it's fun to bounce around topics and talk shop. its makes everyone shoot more, which is always good for your photography.
f: What are your next steps with Hamburger Eyes?
RP: just to keep publishing and producing by any means necessary.