exclusive: peek at ben weller’s unpublished images of montana ranchers for 'true photo journal'

'True' provides a space for photographers to share personal and unseen projects. Here's a taste of what to expect from its second issue.

by Lula Ososki
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22 June 2016, 2:15pm

Featuring 200 pages of exclusive and personal photo-essays, True is a photo journal like no other. In a world saturated with commercial imagery, this independent publication offers a space for photographers to express "true" creative freedom, not held back by unnecessary rules or guidelines. Issue two features previously unpublished work by the late Corinne Day, an iconic British photographer and frequent i-D collaborator whose work defined a generation. The images by Day and photographer/filmmaker Mark Szaszy capture the early years of their relationship in the late 80s, including some of Corinne's earliest taken pictures. Alongside the Corinne and I cover story, the issue also features photographic series from Cheryl Dunn, Greta Ilieva, Arnaud Lajeunie, Suffo Moncloa, Marton Perlaki, and Ben Weller, each page a personal and honest insight into their work. We caught up with creative director Peter Hughes, who shares an exclusive look at some of Ben Weller's unpublished images, to find out more about True.

What lead to the creation of True?
We wanted to engage photographers in a creative conversation without commercial constraint.

How did you go about choosing which photographers to feature?
We showcase the unpublished and personal work of photographers who create work we love. We always work with artists who are excited about the collaboration and who want to create something special with us.

Can you tell us a bit about Ben Weller's contribution to the second issue?
Ben's photographs were taken on various trips through Montana in 2015. The series contributes to an ongoing body of personal work which has seen him travel across Europe and America. We spent a long time selecting a strong edit for the magazine, but there were so many more shots we loved. We're pleased to be able to showcase them here.

Why did you decide to name the publication True?
It's a one-word brief for our contributors. In an editorial landscape often confused by commercial restrictions, all the work we print has to feel true to us.

Do you think it's become harder for photographers to be creative?
Photographers certainly need to work much harder to be individual. But everyone is always looking for new creative stimulation! We think our industry needs to be braver and take more risks by giving photographers the opportunity to excite the audience with something new rather than more of the same established aesthetic.

What's your favorite image that you've discovered while working on True?
I can't pick a single image. But giving a platform to amazing unseen shots that have been in storage since the 80s or 90s is always really exciting.

If you could look through any photographer's personal photo album, who would it be?
Gerard Malanga's snaps of the New York art scene in the 60s and 70s.

What role do you think printed photography publications have in 2016?
Print is about presenting photography in a way that transcends 2016. Unlike digital channels or events, we hope our magazine will long outlast us!

How do you want to develop the project in future issues?
Our ambition is to continue working with photographers, both established and emerging, whose work we admire and respect. We hope True continues to contribute to the changing perception of commercial fashion photography and give our collaborators a chance to tell a different story.

Follow True Photo Journal on Instagram to see more. The launch exhibition for the second issue of True will take place at the Webber Gallery Space, London on Thursday, June 23.

Credits


Text Lula Ososki
Photography Ben Weller

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