Faculty Spotlight: “Resisters: 50 Years of Social Movement Photography in the Bay Area”

Resisters: 50 Years of Social Movement Photography in the Bay Area
Curated by Professor Ken Light and Melanie Light.

From the Free Speech Movement in 1967 to the 2017’s Women’s March, this exhibition features images by some of the foremost photographers in the Bay Area, including Stephen Shames, Nacio Jan Brown, Robert Altman, Janet Delaney, Noah Berger, Geoffrey King, Sarah Rice, Kelly Owen and Santiago Mejia. Over generations, they have witnessed social history in powerful imagery, seen in newspapers, magazines, posters books and new media.

Friday, September 22nd
Free and open to the public. Seats are first come, first served.
Reception: 6:00-7:00 p.m. North Gate Hall Courtyard
Photographers in Conversation: 7:00-8:30 p.m. Room 105 North Gate Hall
Exhibit Dates: September 5 – December 22, 2017 Monday – Friday: 9:00 a.m. to 6:00 p.m.

Nacio Jan Brown

© Nacio Jan Brown | Sunrise at the Oakland Induction Center. Stop the Draft Week, 1967.


CCSF Photo Club’s Group Exhibition – “Quiet”



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Peer Mentors Available to Help


SF Camerawork Upcoming Events

Begin Anywhere: Paths of Mentorship and Collaboration
Co-hosted with California Sunday Magazine
Thursday, September 7, 2017
6 – 8 PM


Please join us Thursday, September 7th from 6 – 8 PM for the Opening Reception of our exhibition Begin Anywhere: Paths of Mentorship and Collaboration featuring artists Amanda Boe, McNair Evans, and Kevin Kunishi along with their mentors – Jason Fulford, Todd Hido, Mark Mahaney, Mike Smith, and Alec Soth. We are proud to co-host this event with California Sunday Magazine, and to have Fort Point Beer Company as an event sponsor.

You can read more about this exhibition here

KEVIN KUNISHI, #0002, Wailuku, Maui, 2014

KEVIN KUNISHI, #0002, Wailuku, Maui, 2014


Amanda Boe, McNair Evans, Kevin Kunishi, and Todd Hido
Wednesday, September 13, 2017
6 – 8 PM

On Wednesday, September 13th artists Amanda Boe, McNair Evans, Kevin Kunishi, and Todd Hido will be in the gallery to discuss their work and current exhibition Begin Anywhere: Paths of Mentorship and Collaboration. Please join us to learn more about the artists’ approach to artistic mentorship, and to hear them discuss the collaborative efforts that produced this current exhibition.

From the Exquisite Corpse series; Amanda Boe, 002, 2015, McNair Evans, 003, Cardinal 14006, 2017 and Kevin Kunishi, #0355 Black Nazarene, Manila, Philippines, 2016

From the Exquisite Corpse series; Amanda Boe, 002, 2015, McNair Evans, 003, Cardinal 14006, 2017 and Kevin Kunishi, #0355 Black Nazarene, Manila, Philippines, 2016


Amy Osborne & Josh Smith
Tuesday, September 19, 2017
6 – 8 PM
General Ticket Price: $10
SF Camerawork Member Ticket Price: $5

Our Storytellers Lecture Series resumes this fall featuring photographers Amy Osborne and Josh Smith. Amy Osborne, contributing photographer for the San Francisco Chronicle, will discuss her most recent project, documenting Lieutenant Taylor Miller, the first openly transitioning officer in the Coast Guard. Photographer Joshua Smith will share his latest body of work, The First Years, in which he documents his expanding family and explores the contradictions and intricacies of parenthood.
You can read more about this event here
Amy Osborne, Taylor Miller’s aunt, Jenny Lindsey, pins a shoulder board during Miller’s promotion to Coast Guard lieutenant at the Long Beach, Calif., base in January. Miller’s aunt and her husband accept her transition. Miller’s parents have disowned her.

Amy Osborne, Taylor Miller’s aunt, Jenny Lindsey, pins a shoulder board during Miller’s promotion to Coast Guard lieutenant at the Long Beach, Calif., base in January. Miller’s aunt and her husband accept her transition. Miller’s parents have disowned her.

Alex Webb & Rebecca Norris Webb
Slant Rhymes
Tuesday, September 26, 2017
6:30 – 8:30 PM

Please join us on Tuesday, September 26th from 6:30 – 8:30 PM for an artist talk and book signing with photographers Alex Webb and Rebecca Norris Webb.  They will show work from a number of projects, both published and unpublished, and discuss the creative challenges of working together and apart over the past three decades. The creative couple will show photographs from individual projects — including Rebecca’s My Dakota, her meditation on loss and landscape, and Alex’s La Calle some 30 years of work from Mexico — as well as their new collaborative book, Slant Rhymes, and joint work-in-progress The City Within.

Read more about the event here

Left: Rebecca Norris Webb, Stained Glass; Right: Alex Webb, Arcahaie, Haiti

Left: Rebecca Norris Webb, Stained Glass; Right: Alex Webb, Arcahaie, Haiti

Faculty Spotlight: Photography Exhibition curated by Professor Stephanie Williamson


Featuring photography by
Laura Epstein-Norris
Richelle Semenza
Ed Ford Summerfield
Laurie Wagner
Jan Watten
Stephanie Williamson


Opening Reception, Friday Sept. 8. 6-9pm
Closing Reception, Friday Oct 13. 6-9pm

Jingletown Art Studios
3001 Chapman St. Oakland, CA 94601

Solo Exhibition: Goh Takaya “When The Mind Becomes Pure”

When The Mind Become Pure

This is a series of conceptual, B&W portrait photography. Shooting was with an old manual film camera, processing film was with chemicals of my choice, and printing was on papers with gelatin silver emulsion. From shooting to printing, all processes were done without computer, but by my hands. The concept is to see the purity of the mind within us. I looked for people at work with passions and senses of responsibility, radiating their purer state of mind which can be said Zen-kind. Hoping to inspire viewers for the merit of mindfulness, and for the subtle joy of quietness

Goh Takaya  
On display at Gallery Obscura
August 23 – September 15, 2017

Reception: Thursday, August 31, 6-8pm

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Student Spotlight: Jung Fitzpatrick

Jung Fitzpatrick is a continuing student and recent alumni of the Photography Department at City College of San Francisco, earning two Photography Certificates,  Studio LightingPortrait Lighting.

In addition to being a photographer specializing in portraiture and food photography, Jung also works as an assistant to San Francisco based, Professional food and still-life photographer, Sue Tallon. Read the interview with Jung below:


©Jung Fitzpatrick

Why did you choose to take classes in the Photography Department at CCSF?
I took classes at CCSF because I wanted to jump into this field as a second career. Specifically, I wanted technical training in and knowledge of photography (I had an “eye” and love for it but no other foundation). I also wanted to meet and start building a community/network of peers interested in professional photography.

©Jung Fitzpatrick

What is your role at Sue Tallon Photography?
I have worked with Sue Tallon since March 2016. My responsibilities with Sue are twofold: provide support to her photography work and help manage her studio rentals.

For Sue Tallon Photography (SueTallon.com), I help prep and break down client shoots as well as provide client and crew care during the shoot while Sue is busy photographing. Client and crew care means ensuring that the folks on set have what they need – coffee, food, wifi, gear, etc. I also assist other crew members on-set, especially during load-in and load-out, and will run errands for Sue if needed during a shoot. Additionally, I do some administrative tasks for Sue such as resizing images for her online portfolios, gathering client contact information for marketing, and following up with web account issues.

For SF Photo Space (SFPhotoSpace.com), I respond to and book rental inquiries, manage the studio rental calendar, and make sure that the studios are clean, serviced, and fully stocked, and am on-site to open, supervise, and close the studio for renters. I also help troubleshoot issues that may come up during rentals and assist Sue with marketing, organizing, and other admin tasks related to the studios. Basically, other duties as assigned!


©Jung Fitzpatrick

What is a typical day like working for Sue Tallon?
There is no “typical” day with Sue since my schedule is flexible, part-time, and mostly on-call. Some days or weeks are very busy with rental inquiries or shoots or both, and others are quiet. Usually I work during Mon-Fri but occasionally, we have inquiries or renters over the weekend. Responding to rental inquiries and renters is probably the most frequent task I have, and helping to maintain the studios.

Nite Yun - Studio 20160317-183 RTweb

©Jung Fitzpatrick

How do you feel CCSF PHOTO prepared you for this position?
I learned of Sue Tallon during my first semester at CCSF when I took the lecture series Photo 52: Photographers and Their Images. At that point I had never thought about commercial photography but fell in love with Sue, her story, approach to photography, and work (commercial food/product and conceptual photography). I asked her a ton of questions and although I did not formally introduce myself to her at the lecture, I told myself that I would reach out to her when I felt I could be of more value to her, potentially as a photo/studio assistant. One year later, I e-mailed her, referencing the lecture I had attended, and introduced myself. I related my experience and knowledge in the field up to that point, and asked if she needed an assistant by chance? At the time, she did not but one month later, she had an opening and she followed up with me.

The classes, resources, and opportunities at CCSF Photography helped prepare me to work with Sue. I’ve taken all the lighting classes in addition to other fundamental courses and worked in the CCSF Photo Issue Lab as an assistant.  The foundation of technical knowledge and familiarity with photography language and equipment gave me more credibility as a candidate to assist professional photographers and work with a local event photography company before I reached out to Sue. These initial photography work experiences gave me the confidence to contact Sue last year. I’m grateful for everything I’ve learned at CCSF, the access to resources as a student and “young” professional starting out in a costly industry, the supportive folks in the photography department, and the opportunities that have led me to where I am today.

What advice would you give CCSF Photo Students to prepare them for a similar position?
1. Take as many photography classes as you can – both technical and non. Exposure to different photographers and their work, and types of photography will inform or open up possibilities that you may not have considered for yourself. Who knows if I would have otherwise reached out to Sue?

Also, to be taken seriously in the field you must have technical knowledge. I recommend taking all the lighting classes, whether you see yourself ultimately shooting studio or ambient lighting. Light is light and photography is about making images with light so you need to understand how to work with it. Starting out, I was interested in photojournalism, which is more reliant on ambient light, but after attending Sue’s lecture and at the recommendation of a photojournalist, I took the studio lighting classes and fell in love with being able to manipulate light in a more controlled way.

2. Work at the CCSF Photo Issue lab! It’s a great way to gain more familiarity with different types of photographic equipment, and, if needed, build your customer service, organizational, and administrative skills. A lot of my work with Sue is administrative and customer-service related. Having a combination of business, people, and photography skills has made me a more effective assistant to her. And having that combination of skills will make me a more successful professional photographer.

Photography is a second career for me, so I already had a lot of organizational and administrative experience but understanding key terminology and having basic competency in photography and handling studio equipment has been essential. And working as a lab attendant was a fun way to get to know photography students, staff (the lab supervisors are awesome!), and faculty and appreciate the work on both sides of the lab window.

3. Be open to different types of photography work and pay attention to what you enjoy (or don’t) and can do well or not so well. When I worked at the event photography company I quickly realized I didn’t want to continue on that trajectory but I made some great friends and contacts there, and the experience looks good on my resume.

Likewise, knowing your own strengths and what you enjoy and are interested in learning will help you determine if managing a photography studio and assisting a photographer is something to pursue. Each studio and photographer will have different needs but generally, I’d say these are the following skills that both require and will determine your success in those roles: strong written and verbal communication, good organization and orientation to detail, hard work ethic, and humility. By humility, I mean asking for help when you need it/don’t know something and the willingness to do grunt work including cleaning and schlepping equipment.
More specifically, for studio management: ability to stay calm and resolve conflict and issues as they arise (a renter’s crew member has a run in with the building manager? freight elevator not working?), and flexibility with your schedule to be on call as needed.

For assisting a photographer on and off set: being observant and anticipating the needs of the people you’re working with, and knowing when and how to communicate with others – often you will be on the sidelines and silent but that doesn’t mean people won’t notice you.

Benefits of assisting a photographer on-set or in a studio:
  • Exposure to the day-to-day business of photography and/or running a studio
  • Networking with other professionals in the field such as other assistants, retouchers, digital techs, producers, stylists, models, etc.
  • Potential for mentorship from the photographer(s)

4. Don’t be afraid to reach out to someone you admire or with whom you want to have a conversation. If you never ask, the answer will always be “No.”


©Jung Fitzpatrick

For more Jung Fitzpatrick: