We're honored to feature new photography by Fabrice Poussin in Issue Two of Orson's Review. Issue Two of Orson's Review will be released on March 19th, 2019. 

We're also very fortunate for the time Fabrice took to sit down and chat with us about his journey as a photographer. 

*The following interview involves Orson's Publishing (OP) and Fabrice Poussin (FP). 

OP: How did your journey with photography begin?
FP:  That little journey began when I was about ten and I saw my older sister begin her journey with photography as well. I was given a small camera made of plastic, so it did not last that long. Later, when I was 14, I invested all of my savings in an SLR and started photographing everything while providing my parents with the bills for film and processing. Year after year, I improved on my gear and added travel to the experience. I would have to say that it built on itself over the years, so much so that I cannot be sure as to where it will lead me next, but I am confident in saying that it will be very exciting. 

OP: Is photography your occupation?
FP: It is not at this time. It was for six years — it was the only thing I did — but I found that I was very limited with the need to make a living. I would much rather continue shooting thousands of images and not being paid for it! I am a professor, and teach literature; that too is an adventure in dreams and creativity.  

OP: What about these photos are you most proud?
FP: I will have to say that I am in no way proud of anything, but lucky yes, that I am. What I am also happy or pleased with is the opportunity that I had traveling to these amazing places, and being able to see the colors and to now be able to share them with as many people as possible. So there is no pride here, just contentment. Of course, I am also glad the images turned out.

OP: Tell us about your process. Do you approach all photographs in the same way?
FP: In the case of these images, as it may be for those for which I do not create the space, the main process is to observe and in my mind imagine what I will be able to do with the captured moment. But I do not crop what I photograph, and only add contrast, or transfer to black and white. I always keep the image as close to the original scene as possible. When I see a worthy subject, I simply take a fairly high number of shots with very slight variations or frame, light and speed. When working in the studio, I know what objects I want to work with but I do not necessarily know what the results will be. There should always be an element of surprise in the result, something I did not foresee, something that happens on its own, and for whatever reason.  

OP: As a child, what did you want to be when you grew up? How has that impacted your photography?
FP: In fact I wanted to make movies, so that has very much impacted my interest in photography. Now with digital HD film I am going back to that as well.  

OP: Tell us about the biggest sacrifice you’ve made while pursuing photography.
FP: The biggest sacrifice may have been people. I never stop for a conversation if I see something which must be photographed. I am not speaking of friends or family, but of the beautiful stranger I will never know because I did not take the time to exchange more than a few words with him or her. 

OP: Tell us about the best shoot you've ever been on. What made it so good?
FP: All shoots are good or great. One of the best was when I worked with found objects two years ago. I shot everything outside using old windows, jars, paints and free flowers. I have to say it was a great one because possibilities just multiplied as the light changed. It may have been an infinite number of options. I shot some 22,000 photos.

OP: What do you cross your fingers for as a photographer?
FP: Light! The right time of day, morning and evening, and not too much sun.  

OP: Where do you see your journey with photography going?
FP: I think I will continue going back to the Western United States, the Northwest and hopefully Alaska. It is the communion with nature, and what it allows me to capture of it that keep me going back. I believe I will juggle this with studio work, and using diverse objects, such as windows to create certain dream-like experiences for myself and the viewer. 

Fabrice Poussin teaches French and English at Shorter University. Author of novels and poetry, his work has appeared in Kestrel, Symposium, The Chimes, and dozens of other magazines. His photography has been published in The Front Porch Review, the San Pedro River Review as well as other publications. 

Be sure to check out Fabrice’s latest photography in Issue Two of Orson’s Review.