{"id":1492,"date":"2017-03-09T16:00:32","date_gmt":"2017-03-09T16:00:32","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2017\/03\/09\/5ish-questions-jesse-lentz-and-the-collective-quarterly-magazine\/"},"modified":"2025-01-21T14:58:39","modified_gmt":"2025-01-21T14:58:39","slug":"5ish-questions-jesse-lentz-and-the-collective-quarterly-magazine","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2017\/03\/09\/5ish-questions-jesse-lentz-and-the-collective-quarterly-magazine\/","title":{"rendered":"5(ish) Questions: Jesse Lenz and The Collective Quarterly magazine"},"content":{"rendered":" \n
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In today\u2019s world of impossibly speeded-up journalism, with Twitter bursts its high-velocity symbol, a small group of renegades has resolutely slammed on the brakes to practice what it calls \u201cslow journalism.\u201d<\/a><\/p>\n\n <\/div>\n <\/div>\n \n

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Jesse Lenz and Seth Putnam, who met on the not-exactly-slow site Instagram four years ago, joined the club when they launched the magazine Collective Quarterly soon after. Their aim is to create an outlet for journalists who are willing to take their time and, as Lenz says, \u201cshow genuine interest in another human being.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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“Anyone can photograph a sunset in a national park, sexy models or friends in a hot spring. But not everyone can photograph the soul of a stranger.”<\/p><\/blockquote><\/figure>\n\n <\/div>\n <\/div>\n \n

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Each Quarterly is a 200-page collection of dispatches from one geographic region that take the reader behind even the most tightly locked doors in places way off the radar of now-now-now journalism. Volume 4 \u2013 \u201cPisgah\u201d \u2013 <\/em>buskers, wild food eaters, communes and more in N. Carolina\u2019s Pisgah National Forest.   Volume 5 \u2013 \u201cPenobscot\u201d \u2013<\/em> sea bugs, life and death on the edge of Maine.  Volume 5 \u2013 \u201cMojave\u201d \u2013 cadaver holes, moonshiners, freedom and looking for normal in California\u2019s edge-of-infinite desert.<\/p>\n\n <\/div>\n <\/div>\n \n

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The Collective is composed of freelance journalists from around the country assigned \u201cthe difficult task of embedding with a subject so that he or she can capture those intimate moments,\u201d Lenz says.<\/p>\n\n <\/div>\n <\/div>\n \n

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Lenz tends to assign photographers who shoot film instead of digital images.  He says film can determine \u201chow photographers act on location.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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As a photojournalist who matured with 35mm film cameras in the last century, I know exactly what Lenz means.  With just 36 frames per roll of film I took it real slow — to find the rhythm of a scene, to anticipate the decisive moment — before I squeezed off a shot. A digital \u201croll of film\u201d with 900 or more frames available can be a temptation to blast away at 10 frames a second.<\/p>\n\n <\/div>\n <\/div>\n \n

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Documentary journalism and publishing on paper is expensive \u2013 especially when it\u2019s the soft, waxy kind that Collective Quarterly uses — and it\u2019s fading fast.  We all know the newspaper and magazine industry is crossing a wobbly bridge from ink to the promised land of digital.<\/p>\n\n <\/div>\n <\/div>\n \n

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Nevertheless, Lenz talks a mile a minute against digital publication.  \u201cThere\u2019s tons of free information out there [on the Internet], but it\u2019s crap!  With 20 bucks and an iPhone, anybody can be a photographer on Instagram.  Quality publication is like a good, modern automobile.  Cars today cost a lot because they\u2019re so well-designed and made.  And they last like never before.  Same with print: It must be super good to sell.\u201d<\/p>\n\n <\/div>\n <\/div>\n \n

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His passion for the printed magazine notwithstanding, if you go to www.collectivequarterly.com\/<\/a>,<\/em> you\u2019ll find a gorgeous website.<\/p>\n\n <\/div>\n <\/div>\n \n

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But it\u2019s like foreplay. There are four or five tempting layouts flickering before your eyes.  If you want to go all the way and enjoy the other 15 or so pieces, you\u2019ll have to subscribe.<\/p>\n\n <\/div>\n <\/div>\n \n

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I chatted with Lenz about the Mojave edition. Here\u2019s what he had to say about \u201cslow journalism\u201d and hunkering down in weird places.  The answers have been slightly edited for length and flow. For the images, I decided to photograph the spreads as they appeared in the magazine.<\/p>\n\n <\/div>\n <\/div>\n \n

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Let\u2019s start with the cover photo of Issue #6, \u201cMojave.<\/em>\u201d (See image at top of post.) You have a portrait of a shirtless adolescent licking a lollipop — with a scorpion imbedded in the transparent blue-green candy!  The photo reveals the texture of the boy\u2019s teeth lashed together with green braces, his peach-fuzz mustache and the out-of-this-world topography of his shiny, wet tongue.  Tell us about the photo, Jesse; and where on God\u2019s green earth did you find this deadly sucker?<\/strong><\/p>\n\n <\/div>\n <\/div>\n \n

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We saw those suckers all over the place when were we caravanning through the Mojave Desert. To me, those suckers are the perfect analogy to what the desert is: candy-coated-death. I remember when my family and I came crashing into the Mojave after wintering in Montana and Idaho in our Airstream, we thought the desert was paradise. It was warm, there were incredible sunsets, and it served as a giant sandbox for our children and dog to play in. But the longer we stayed, we had an increasing level of anxiety that we had never encountered before. So when I was working on the cover, I didn\u2019t want to make the typical \u201cLA\u201d interpretation of the desert: a hippie paradise where everything is beautiful and spiritual.<\/p>\n\n <\/div>\n <\/div>\n \n

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“I didn\u2019t want to make the typical ‘LA’ interpretation of the desert: a hippie paradise where everything is beautiful and spiritual.”<\/p><\/blockquote><\/figure>\n\n <\/div>\n <\/div>\n \n

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We\u2019re a pretty different publication than most, since we don\u2019t ever do special cover shoots or plan our covers in advance. I was working through multiple different versions without any real luck or inspiration\u2014nothing was fitting what I knew needed to be the cover. One day, a good friend of mine, Eug\u00e9nie Frerichs, director of photography at Patagonia, shot me a text to let me know she was just releasing some work she had been creating for her master\u2019s degree before accepting the job at Patagonia. I clicked into her project, which was all about the Mojave, saw this image, and knew it was the one. She laughed so hard, since it was a photo of her nephew.<\/p>\n\n <\/div>\n <\/div>\n \n

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\"Collective<\/figure>\n\n <\/div>\n <\/div>\n \n
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Speaking of \u201cdeadly,\u201d the very first story in Mojave is titled \u201cHoles in the Desert.\u201d Your title page photo hints that these holes aren\u2019t golf targets, tortoise burrows or meteor craters but a place to clean out your trunk.   Reporter Kim Stringfellow describes California\u2019s vast Mojave region as \u201c\u2026an isolated out-of-the-way destination to conduct a variety of illicit activities\u2026\u201d  — like filling up holes with dead bodies.  Your photomontages of clandestine burials, train robbing, meth cookeries and sex do a good job of helping us imagine what hell looks like after the sun goes down.   Tell us how you crafted these images and how well they describe the story.<\/strong><\/p>\n\n <\/div>\n <\/div>\n \n

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I believe imagery is best when it not only captures what is in front of the lens, but also conveys all the other senses without them being present. In a story like this, you want the viewer to feel<\/em> the cold wind and the harsh sun and to smell<\/em> the foul stench of a rotting carcass. Sometimes it\u2019s almost impossible to capture in photos the things that we know are happening (as in this story). When that happens, you have to be able to portray it through illustration. Every image-making tool is useful at one time more than another.<\/p>\n\n <\/div>\n <\/div>\n \n

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Despite beginning my career as an editorial illustrator, this was the first time I had ever illustrated anything for Collective Quarterly. I typically tried to keep those two areas of my life separate, but also because we\u2019ve never had content dark, intense, creepy enough for me to want to illustrate it. I took some of my photography from our trip to the Mojave and collaged, edited, painted on and manipulated them in order to show something that was present yet unseen. The result was a very vivid scene depicting real events in a way that I could not have done with photography.<\/p>\n\n <\/div>\n <\/div>\n \n

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\"Collective<\/figure>\n\n <\/div>\n <\/div>\n<\/div> \n
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Your philosophy of slow journalism blooms in the chapter, \u201cA Man Called Cuervo.<\/em>\u201d Photographer Kevin Russ obviously returned multiple times to shadow Craig Kline on the road, in a barbershop and his squatter\u2019s tent.  We see Kline in plaid pajama bottoms and electric hair, in dark pants and a knit headscarf, and with long braids and no pants at all.  Russ and Collective co-founder Seth Putnam, who wrote the story, undoubtedly devoted many days and nights with this eccentric fellow who commutes via mule \u201c\u2026between Purgatory and hell.\u201d  Did photographer Russ\u2019 patience enable him as a confidant to Kline or was the desert nomad so drunk he allowed himself to be photographed nude?<\/strong><\/p>\n\n <\/div>\n <\/div>\n \n

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I got a text from Kevin, whom we\u2019ve been close friends with since our first issue, to see if I was interested in a story about a \u201ccowboy living in a mud hut\u201d that he was working on. He had devoted about three months to living with \u201cCuervo\u201d in order to learn about desert living and mule packing. He met Cuervo a few years back when he was visiting\/living in Slab City and took a liking to him, so he decided to come back down and learn as much as he could from him. Cuervo taught him how to purify water, grow food, forage, avoid rattlesnakes and more. He is a very genuine, open and fascinating man, and Kevin certainly became a confidant for him. It\u2019s a testament that if you show genuine interest in another human being, you can open up even the most tightly locked doors.<\/p>\n\n <\/div>\n <\/div>\n \n

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Kevin is one of the best photojournalists I know. He has the ability to make people feel seen, comfortable, respected and loved without saying a word. It\u2019s his kind soul that even the roughest of folks find soothing and trustworthy. Over the six months we lived in the desert, I visited Kevin and Cuervo every couple of weeks. During those visits, it was incredible to see the relationship they had formed. Kevin had to leave after a while to prepare for a long solo trip to Mexico, which is when Seth arrived on the scene for the story. It was very interesting, after spending so many nights with Cuervo and Kevin, how much different Cuervo became around some of his other acquaintances. There was a notable depression and fragility that was not present when Kevin was there. It was really important for the story to have been able to see both sides of the equation\u2014and to be able to witness how a person can be influenced by others.<\/p>\n\n <\/div>\n <\/div>\n \n

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\"Jesse
Jesse Lenz wrote about life “On the Road” for the magazine. Don Bartletti<\/small><\/figcaption><\/figure>\n\n <\/div>\n <\/div>\n<\/div> \n
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Jesse, your first-person \u201cOn The Road\u201d photo essay and story is, as you admit, the antithesis of a \u201ccarefully curated\u201d Instagram feed.  Your six-month wanderlust in an Airstream trailer took your family to Joshua Tree National Park and the Alabama Hills near Lone Pine, CA.  One of the first magazine spreads shows several postcard-perfect compositions of your smooth silver trailer nestled in a desert oasis of massive, wrinkled boulders. Turning the pages gives us your three young towheads playing trucks in the world\u2019s biggest sandbox, bobbing in a hot spring, and crying for mommy amid a skin shredding landscape.  Then you reveal the inside of the trailer.  I had to laugh, as it\u2019s familiar to any parent: your mobile home is, aaaah,<\/strong> let<\/strong>\u2019s say — lived in.  Jesse, please tell us how doing long-form journalism with three kids in \u201ca tin can\u201d yielded a travelogue that\u2019s like no other.<\/strong><\/p>\n\n <\/div>\n <\/div>\n \n

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It was the best of times, and it was the worst of times. Living in a sardine can with a family and a Bull Terrier puppy is tough, and it\u2019s not always thrilling. My kids have slept under redwood trees that have been standing for hundreds of years and parked in front of some of the country\u2019s most stunning vistas. But they\u2019ve also slept in too many Walmart parking lots to count.<\/p>\n\n <\/div>\n <\/div>\n \n

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Living on the road for almost 1.5 years gave us a really unique look into the feelings of fear, anxiety, isolation felt by many families in lesser-developed or hostile locations. I think those feelings were really important, specifically for this issue, for me to fully realize the duality of the Mojave Desert. When it is just you in a place, you don\u2019t think or worry about things the way you do when your innocent children are in the same (potentially hazardous) situation. When you are far away from civilization and you see small shacks with children\u2019s toys outside, you hear the distant yipping of coyote packs traveling across the descant land and the screams of a heated argument somewhere off in the distance it is impossible not to think: \u201cHow can\/do you normalize this? How do you not always feel like you have a brick in your stomach?\u201d But then I think back to growing up as the son of missionaries in the former Soviet Union, and I realize that for most of the world, this is normal.<\/p>\n\n <\/div>\n <\/div>\n \n

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\"Residents
Residents like the freedom they find in Slab City. Don Bartletti<\/small><\/figcaption><\/figure>\n\n <\/div>\n <\/div>\n<\/div> \n
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The 12-page spread titled \u201cSlab City \u2013 The Last Free Place in America\u201d is written by Genevieve Allison and photographed by Howl Collective.  Allison well describes this squatter camp three miles east of the California\u2019s Salton Sea as populated by people yearning to be free \u2013 from laws, bills and landlords.  She quotes retired nurse Trish Abbott, who settled in Slab City: \u201cbecause it\u2019s free \u2013 and freedom.\u201d  As a career- long Southern California photojournalist, I know this self-governing enclave as a visual treasure chest of enigmatic characters.  The Howl Collective of photographers obviously fit in, as every beautiful young face we gaze upon appears relaxed in front of the camera.  How many photographers were in the Howl Collective? How much time did they spend at Slab City?  And tell us why the dozen published photographs are uncaptioned, don\u2019t identify the subjects or say anything about the subject.<\/strong><\/p>\n\n <\/div>\n <\/div>\n \n

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I wish I could say that the lack of captions was intentional or a bigger statement about the story, but I can\u2019t. When we started the magazine, we didn\u2019t run a lot of captions except on photos that demanded an explanation\u2014mainly due the seesaw nature of our early content. For example, in our Montana issue, you\u2019re reading about a Blackfoot Indian man named Mouse Hall riding his horse, and then you see of photo of the exact thing just described in the story. In those early days, most of our photography and reporting was done side by side and often had a first-person element to it, with a focus on single characters. However, our last three issues have evolved into more conceptual writing with specific details highlighted by photos and illustration. With that comes a new need to explain what the reader is seeing\u2014but old design habits sometimes die hard and can be glaring in hindsight.<\/p>\n\n <\/div>\n <\/div>\n \n

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Howl is a group of two photographers (Forest Woodward and Elliot Ross) and two producers (Jim Lind and Patrick O\u2019Brien). They accompanied Genevieve to Slab City for us and spent about a week there. They\u2019re a very talented group of creatives, and it was a great learning experience for us, as it was the first time we assigned a story to such a large group of people.<\/p>\n\n <\/div>\n <\/div>\n \n

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\"Ewan
Ewan Telford’s photo essay \u201cThe Autoasphyxiation of Trona, California.” Don Bartletti<\/small><\/figcaption><\/figure>\n\n <\/div>\n <\/div>\n<\/div> \n
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Photographer Ewan Telford<\/strong>\u2019s photo essay \u201cThe Autoasphyxiation of Trona, California\u201d opens with a concise essay and a panorama of a chalky white valley where sodium carbonate is sucked from beneath the surface of a prehistoric lake bed.  Telford\u2019s shoots the people of Trona like a street photographer \u2013 but with permission.  They\u2019re stopped dead in their tracks, and most look directly into the camera.  What caught your eye about Telford\u2019s work?  What do you look for in choosing a photographer for The Collective Quarterly?    <\/strong><\/p>\n\n <\/div>\n <\/div>\n \n

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I look to see if a photographer has the ability to photograph people in an intimate way. I feel when you look through Instagram, portfolio sites or any other presentations, the one thing that always stands out is when someone has pulled off the difficult task of embedding with a subject so that he or she can capture those intimate moments. Anyone can photograph a sunset in a national park, sexy models or friends in a hot spring. But not everyone can photograph the soul of a stranger.<\/p>\n\n <\/div>\n <\/div>\n \n

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Ewan\u2019s work was able to bring together environmental photojournalism with a sense of polished high-fashion color photography. This is one of the benefits when you are looking for work created in out-of-the-way places; You don\u2019t find it often, but when you do, it\u2019s usually by the kind of enterprising photographer you hope to work the rest of your life with.<\/p>\n\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

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