Laughlin, Clarence John. Combinations, Volume One, Number Two, Winter 1977-78 with interview of Clarence John Laughlin.

Scarce copy of the short-lived, Combinations: A Journal of Photography, Mary Ann Lynch, editor and Publisher, Greenfield Center, New York. Features a 9-page interview with Clarence John Laughlin by John and Tania Messina, with a self portrait and four of his photographs that also appeared in Aperture, 17:3-4, which did not include the interview. Stapled wraps, 44 pages, near very good with two small brown spots on front cover that are visible on the back of the front cover.  Issue also includes images  by photographers: Donna Nakao; Judith A. Levy; Floris M. Neususs; Robert Schiappacasse; Walter Chappell; R. Valentine Atkinson; Janice Golojuch; Ron Chamberlain; Art Braitman; Michael Hogan; John D. Mercer; Barbara Traisman; and Jim Wallace. Poetry by Edward Lense and Duane Niatum. Fiction by Kenneth Shorr. Summary:

Combinations: A Journal of Photography, Volume One, Number Two (Winter 1977-78), edited by Mary Ann Lynch, was a specialized boutique publication that sought to bridge the gap between photography and other art forms, particularly literature and psychology. This specific issue is highly sought after for its extensive and revealing interview with the "Father of American Surrealism," Clarence John Laughlin.

Core Themes and the Laughlin Interview

• The "Third Image" Philosophy: In the central interview, Laughlin discusses his concept of the "third image"—the psychological or poetic meaning that arises when two or more visual elements are combined or when the photographer’s imagination interacts with a physical object.

• Photography as Poetry: Laughlin argues vehemently against photography as a purely "documentary" medium. He views the camera as a tool for "visual poems," focusing on his work in New Orleans and his obsession with decaying Victorian architecture and the "phantasms" of the subconscious.

• Beyond the Lens: The issue explores the theme of "Combinations" literally—how text and image work together, and how photographers combine disparate elements to create a new, non-literal reality.

Visual and Technical Scope

• Surrealism: The imagery featured in this issue leans toward the high-contrast, atmospheric, and often double-exposed style favored by Laughlin. The shadows contain as much information as the highlights.

• The Gothic Influence: The publication highlights Laughlin’s ability to find "monsters" and "ghosts" in the ornamentation of 19th-century buildings, treating the camera as a device for "psychic excavation."