Our discussion with Stephen Somerstein proved to be so fantastic (and long) that we simply could not bring ourselves to cut it down to a singular episode… So, we broke this one in half and today we are publishing Part 2 of this very special, and extended discussion on documenting history.

If you have not listened to Part 1 – Stop and Click here.

In this second half, we explore much more of Stephen’s fascinating photographic journey. Including a battle with Paramount Pictures in using his images to develop the marketing visuals for the Emmy award winning documentary “Selma”. Selling artwork during an Elton John AIDs Foundation charity auction. We even analyze the importance of photo editors in journalism, the advantages they offer new photographers and the deteriorating (yet hopeful) state of American journalism in the 21st century.

I think it becomes more important in times of stress, or difficulty in the country. That we’re reminded that there can be better days. That there are people who have been here. Who have drawn from the best of what America has to offer.

Stephen speaking on the power of the image and its relation to the current climate of a nation.

You can have a great photographer, but you need an editor…. What I have experienced, is that there are great photographers out there. They are talented people. [But] the photographer is not gonna see the public eye, unless they have a good editor who not only recognizes the image, but also presents it properly. Unfortunately magazines and newspapers do not spend the money to hire those good people.

Stephen speaking on the importance of photo editors and the deteriorating quality of journalism today.

If you missed our last episode, stop now, click here and go back and give it a listen. You don’t want to miss a minute.

This episode brought to you by Glass Key Photo in San Francisco – Get your analog gear, film, repairs and more at 1230 Sutter Street, just off Van Ness Avenue in mid-town San Francisco. Open 7 days a week, 12pm-6pm.

More Samples from Stephen Somerstein’s Portfolio

Show Notes:

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