Jane Fulton Alt has spent a lifetime shooting and just as long doing social work. The connection shines through in her work. Fotoflock.com spoke with Jane.

You are an extremely serious photographer. You have the education to show for it, tons of exhibiting experience and, on top of it all, a blog! What do you think has been the secret to your success?
I have been doing what I believe in. My photography has always been very personal, never trying to "make it" or please anyone else but myself.  I think that's where the strength of the images comes from.

Your work spans so many different styles and themes; it's hard to figure out where to start! Nevertheless, what kind of photography would you say is descriptive of your style and statement?
I have been a clinical social worker for thirty-five years in addition to raising a family, so my life's experiences have really impacted what I've chosen to photograph. I'm interested in the human condition and used photography to explore the universality of life.  I have explored the subjects of birth and death in trying to further understand the world around me and what it means to be alive.

Your website is comprehensive, with many informative sections. One in particular stands out and that is 'Musings'. Tell us more.
I started that section before blogging became popular as a way to communicate  my philosophy of life and encourage other people's expression of their creative vision. Now the blog serves as an  ongoing dialogue about the creative process (and some politics).  I have kept the Musings section up because it includes  important writings by others that I have found helpful in living the creative life.

Hurricane Katrina affected you tremendously. Where were you at the time? Was it the tragic state of affairs that drove you to shoot the pictures showcased on the site?
I travelled to New Orleans to help out as a clinical social worker and I was assigned to what you would call here 'Ground Zero': the site of the devastation. I worked with a team of 16 mental health professionals.

After three days of taking residents back to their homes for the first time since they fled, I developed something called  the 'Katrina cough' as a result of breathing the toxic air. I felt very overwhelmed with what I was seeing and hearing from the displaced residents of the Lower Ninth Ward. Feeling extremely fatigued, I  left the site early on the third day.  Once I returned to my hotel, I realised I needed to do more.
Making photographs would be a way to share the story with others.

Photography helped me to deal with the trauma. The photographs are coming out in a book next August, Look and Leave : Photographs and Stories of New Orleans's Lower Ninth Ward.

Do you rely on technology for your work?
I used to do traditional black and white photography using a dark room with film. The Katrina portfolio was the first time I photographed with a digital camera. Those pictures are true to the initial photograph with little adjustments on the computer. When exhibited, many people
thought they were black and white pictures and couldn't imagine a place with so little colour.

Ever since then I've been using the digital camera. More recently I have been merging images. I strongly feel that it doesn't matter how you arrive at your final image; what is important is that the image is strong and reflects what it is the artist is trying to convey.

Tell us more about the Chiapas photographs you've taken. The colour balance and tone are incredible!
That work was taken with a plastic $20 medium format camera called the Holga, and the pictures were inspired by a trip to the San Juan Chumula church in San Cristobal, Mexico. The experience was otherworldly.  I had never been to such a spiritual, mysterious place.

They didn't allow photography inside.  I bought candles there thinking when I returned home I would try to make a piece of art reflecting the experience. I have many objects in my studio that I have collected over time. I scanned them (candles, butterflies, milagros) and then merged them with the film images in  photoshop. I then mounted the photograph onto wood and covered the image with beeswax, giving it a soft milky texture.

Tell us about exhibitions. What kind of knowledge have you taken away from them? Any lessons learned that have withstood the test of time?
It is very important to show work. The wonderful thing about making art is seeing its effect on others. That said, mounting exhibitions is very time consuming and can take away from making new work! There is a balance each artist needs to find for themselves.

What would you say are the three things all photographers must know and apply in their professional lives?

To trust yourself,  do what you love and  have fun!

What's your everyday schedule like? How do you maintain a balance between your work life and family life?
I try to work on some aspect of my photography each day. Some days are spent preparing for an exhibition or tending to aspects of the business.
Other days I spend in the creative zone which is pure bliss. I am always confronted with the challenges of wanting to be more organized and disciplined with my time. I will be attending an artist's residency in a few weeks where I can work on creating new work with no distractions from the outside world...a welcomed state. The beauty of the residency is that I will not be in the role of mother, wife, sister, daughter, aunt or friend. My only responsibility will be that of an artist! True bliss!

Please give us a few tips on how we can develop an individualistic style of photography yet survive in an increasingly commercial world.
Each and every day during your lunch break, take a few moments to go outside and MAKE a photograph that reflects your own personal vision.
Nurture your own creativity each and every day of the year.

Photos by Jane Fulton Alt | Fotosocial