The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
This was a personal project that had been on my mind for some time, and in the Spring of 2016 all the pieces finally came together. The idea was relatively simple, creating authentic portraits of people struggling with homelessness, but it involved quite a few moving parts that needed a team of people to solve. After multiple rounds of meetings and pitching we landed on building a studio-like space at the Springs Rescue Mission in Colorado Springs (https://www.springsrescuemission.org/) and allowing for 30 minutes with each subject. Our goal was for these people to feel seen and heard, for someone to look them in the eye and tell their story, maybe for the first time.
We spent most of every session talking to each person, finding out about them, hearing their story and memories from their childhood. In the beginning I was nervous about asking them some of these questions, things like “what’s your favorite food?” or “tell us one of your fondest memories from childhood?”, but in the end they were happy to tell us, more than that, they were excited that someone wanted to know. We heard beautiful stories that day, from pet racoons to strawberry festivals and everything in between. As they spoke, I was struck by how we are all connected through this desire to feel seen and heard, yet so often they are treated with such contempt. We pretend not to see, we look another direction, cross the street, busy ourselves on phones to seem unaware. Even though this project was done in 2016, how much truer is this today?
After about 20-25 minutes talking with each person, while drinking a cup of coffee and having a snack together, we created a portrait. What I realized right away was how incredibly vulnerable this moment was, they were allowing me to show them at what is typically the lowest point they have been in their life. When we started the first portrait I knew this was different than any portrait I had done, we were going to have to break through shame and discomfort in just a few minutes, but how? After a few seconds of looking through the camera I realized that wasn’t going to work, so I stood up with my hand on the button and started talking to them again. I would ask about something from their story, looking at them in the eye and listening. While they talked, I pressed the shutter button, only a handful of times, and never for more than 5 minutes…some of them didn’t even realize I had started or finished. What we ended up with was beautiful, they were moments of story and connection.
My goal with this project was never to just take some images and post them on social media or a website somewhere, it was always to create something that would inspire people to change how they see. Because of this there was the pursuit of another big idea, having them displayed in a museum. We had the images printed huge (4 ft x 6ft), and thanks to the Fine Arts Center in Colorado Springs, we were able to display them in a gallery for three months. There was a beautiful opening where people from all walks of life came together to support our community, and perhaps to see these people in a way they never have before.
In the end this project was even bigger than I could have dreamed of, and the images are still being used to this day to raise money and awareness in our community. I hope this project can inspire you to use your gifts to give people a voice, to bring light and connection through your art in a way that only you can.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
The Arby’s cowboy hat sign on Sunset Boulevard in Los Angeles still remains while the location is now a Prince Street Pizza pop-up
America’s oldest surviving McDonald’s dates to 1953: Architect Stanley Clark Meson initially outlined the tall sheet metal arches with flashing pink neon. Subsequent corporate modernization mandates got ignored since this franchise predated the McDonald’s Corporation. After McDonald’s purchased the property with demolition plans, the National Trust for Historic Preservation listed it as endangered, in 1994. The stucco shed structure and canted plate glass windows were subsequently restored.Norm’s Coffee Shop: Restauranteur Norm Roybark opened this Googie 1957 landmark by Louis Armet, Eldon Davis, and Helen Fong. Currently the oldest in his Norm’s diner chain, it preserves the nautical sign and sharp cantilevered canopy. In 2015, real estate investors applied for demolition, but the local cultural commission voted for preservation as a Historic-Cultural Monument.Pann’s: Original family owners lovingly maintain this space-age 1958 diner with a “tortoise shell” roof by Louis Armet, Eldon Davis, and Helen Fong. Classic Googie features include the animated neon sign, tropical plantings, terrazzo floors, plate glass windows, and stone walls. Frequently used in films, the building received a 1993 Conservancy Preservation Award following restoration.Apollo Theater, 253 West 125th St., ManhattanRainbow Room, 30 Rockefeller Ctr.White Horse Tavern 567 Hudson Street, Greenwich Village, Manhattan Early evening view of LED signDublin House
Heidi: “Just as today’s brands are built to shine on Instagram and TikTok, Googie structures were built to entice through a car window” – The New York Times noted people are looking out the window decades later you peer from an airplane seat. What are the creative parallels? Ashok: I have been intrigued by LA’s love affair with the automobile and how it shaped the city’s built environment, tracing back to a time when cars themselves were objects of beauty. Those cars are no longer on the streets today but the buildings from that era (built in the ‘Googie’ architectural style) still remain. These buildings were like advertising billboards – symbols of consumerism that sent a universal messaging to the drivers and beckoned them to come inside. The Googie project recently published in NYT is a continuation of my personal photo series and book titled ‘Gas and Glamour’ and allowed me to connect with that lost design history and capture LA’s car-culture-induced optimism and ambition reflected in polychromatic, star-spangled coffee shops, gas stations, car washes, and others that once lured the gaze of passing motorists.
As luck might have it, I was recently assigned to photograph a similar story for the NYT, but this time in New York about the city’s disappearing neon signs. This year marks the centennial anniversary year of the first neon sign in Times Square, yet it has been marked with a loss of one vintage neon sign after another, either because the business it hangs on is shuttered or its owners opt for LEDs. This photo series captures an urban landscape in transition, highlighting iconic New York City neon signs that are about to be turned off, and others that have already been dismantled or replaced by LEDs. Much like the last of the Googie establishments in LA, the story about neon signs highlights the typography, graphic design, and curbside appeal and neon’s importance in luring the gaze of passing pedestrians of New York City. Fittingly, it might be the beginning of a sequel to the west coast Googie project- ‘Glass and Glamour’ this time, perhaps?
How did the visual experience of programming satellites for the U.S. government inform your personal work? Working on satellites is often a lonely and solitary affair (and I frankly hated it). However, it does give you a sense of humanity’s place in the universe and how we are just a tiny part of that giant extraterrestrial equation. The work is monotonous, but you do get to dream a bit and get lost in that world on a daily basis.Looking back at those years, I believe that that mindset of logical thinking, patience, problem-solving and daydreaming all contribute to the way I manifest my thoughts and ideas through my photography work today.
Exacting Proportion asks the viewer to consider the sense of place and self—why are these considerations important to you? Many years ago, when I visited the top of the Empire State Building one foggy night, my view of the world changed. I was consumed by the immense sky to which very few people have access in Manhattan. That led me to document a view of the world that put the scale of our communities in perspective. Living in a big city like New York, we often lose ourselves in the world surrounding us and fail to realize civilization is limiting, even at its best. Only when you start looking under the prism of a collective horizon can we evoke the constraints of our existence and better understand the delicate balance between us and the universe we all share. Through my photographs, I wanted to point out the environmental and cultural similarities between all of us, taking delight in the colorful differences, as well as infuse a hint of humor by positioning humankind as tiny in such a large universe.
Tell us about the self-made camera modification for your work “New York to LA.”What were the considerations around the seat assignments and weather conditions? The entire body of work was shot through airplane windows and made over many years of personal trips between New York and Los Angeles. Minimizing reflections on the (plexiglass) airplane window was my main goal for creating an ad hoc attachment to the camera lens. Using black cine foil and gaffer’s tape, I devised a flexible “tent” to put the entire camera inside it and get the lens as cloo the plexiglass as possible.
Seat assignments were crucial. You ideally want to be sitting forward of the wing, otherwise, the engine turbulence creates blurry areas in the image. I also studied airplane seat maps and flight paths to make sure I was sitting on the correct side of the airplane, what terrain the airplane would be flying over etc. Most importantly, I only shot when the flight was below cruising altitude, and only at those moments whne the airplane (window) is almost parallel to the ground below, which usually means a few minutes while the airplane is turning and pitching during takeoff and landing. In order to maximize my chances of “usable” photography time, I often opted for multi-stop flights over nonstop ones.
What were some of the biggest lessons while creating this body of work since there are so many variables?
Weather was also a big factor and while I had no control over it, I used it as much as possible to work in my favor. For example, I have photographed the same landscape over different times of the year and have been delighted by the results.
While this project has definitely taught me the power of preparation and planning before any shoot, it has helped me in having an open mind and remaining flexible because the best pictures are often made that way.
Your architecture and interior work celebrate clean lines, structure, and beauty – how do your personal projects and initiatives contrast this work? I have a curious mind that is constantly working overtime! As much as I enjoy and relish the minimalist simplicity in architecture and interiors, my personal projects are an outlet to explore other topics and subjects that I’m interested in. For example, my interest in human-driven stories has resulted in short documentaries (Forgotten Artisans of New York, Pigeon Kings of Brooklyn, Sticker City), while my affinity towards the natural world has led me to create several bodies of work that explore landscape (Exacting Proportion, New York to L.A.) and lastly, my curiosity about identity and self-expression has resulted in portrait projects (The Hindu Bagpipers of Secaucus in NYT and the Languages of New York short video interview series.)
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
“I feel that my mother was not fully recognized during her lifetime, nor after she died. Between being a mother and an artist, with this work, and the time I’ve spent with the images and documents, I honor her. I’m expressing my love for her, bringing her back to life, and giving her a voice.” — Loli Kantor
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
PACIFIC PALISADES, CALIFORNIA – JANUARY 08: Embers fly through the air in the Highland neighborhood during the Palisades Fire.PACIFIC PALISADES, CALIFORNIA – JANUARY 08: Firefighters battle flames from the Palisades FirePACIFIC PALISADES, CALIFORNIA – JANUARY 08: A tree remains intact, in the devastationPACIFIC PALISADES, CALIFORNIA – JANUARY 08: Power lines hang on broken power poles, in the middle of a streetPACIFIC PALISADES, CALIFORNIA – JANUARY 09: Gail Wirth, whose home of 35 years on Charm Acres Place was destroyed in the Palisades Fire, says she thought she’d be back in to get things after a couple days, only to lose everythingPACIFIC PALISADES, CALIFORNIA – JANUARY 08: Melted metal near a destroyed carPACIFIC PALISADES, CALIFORNIA – JANUARY 09: A firefighter walks back to his vehicle after checking out a spot fire along Pacific Coast HighwayBRENTWOOD, CALIFORNIA – JANUARY 11: A Cal Fire plane drops fire retardant over the Palisades Fire, along Mandeville Canyon, photographed from the Mountaingate development, above MandevilleBRENTWOOD, CALIFORNIA – JANUARY 11: A man on his mountain bike stops to take a picture, while a watering dropping helicopter prepares to drop on the Palisades Fire, along Mandeville Canyon, photographed from the Mountaingate development, above MandevilleBRENTWOOD, CALIFORNIA – JANUARY 11: An L.A. County Fire watering dropping helicopter drops on the Palisades Fire, along Mandeville Canyon, photographed from the Mountaingate developmentBRENTWOOD, CALIFORNIA – JANUARY 11: Flames are seen behind homes in the Mountaingate development, above Mandeville Canyon, After the sun went down and fire air operations worked to extinguish flamesBRENTWOOD, CALIFORNIA – JANUARY 11: A fire air operations helicopter drops water along Mandeville Canyon during the Palisades Fire, photographed from the Mountaingate development
PACIFIC PALISADES, CALIFORNIA: Cars left behind in driveways following evacuation.
Since leaving the Los Angeles Times, Jay Clendenin has primarily been photographing corporate and commercial projects, mostly in the entertainment world where he spent the majority of his 16 years at the LAT.
“When doing editorial work, I’ve started distributing my news and enterprise images through Getty Images and entertainment work through Shutterstock – all that got turned on its head last week with the merger of these two companies.”
We caught up about his experience covering the LA fires.
Heidi: Please share your thoughts on citizen journalists and what they need to consider.
Jay: The term “citizen journalist” makes me cringe. I am very aware of human behavior and the desire to “know” and “report” what’s happening (in particular when it’s their neighborhood). But there are a couple of significant distinctions between said “man-on-the-street” spreading a “story” and a trained Journalist (capital J) reporting: ethics and facts. It’s true that the Rodney King video (dating myself) was “citizen journalism” and was incredibly impactful on society – unfortunately, not enough to convict?! Where as today, I’m seeing people abusing the homeless with humiliating videos of their circumstances, all in the name of “citizen journalism.” And with the fires, people are sharing wild accusations/aspersions about the number of fire personnel, water supplies, and who happened to be on vacation when the fires broke out. No investigating for facts, just hitting “share” and adding “this has to stop,” as if the things said were facts vetted by credentialed journalists.
You were a staff photographer for the Los Angeles Times where editorial integrity was essential. How have things changed when stories go unchecked or lack empathy for the crisis? Being a trained, experienced Journalist as part of a major news organization comes with great responsibility. We try for multiple sources, probe officials for more info, and try to be on the ground to see things first-hand. It is also important to vet people we talk to. During the Palisades fire, after a couple of questions to some people on e-bikes, I realized they did NOT live in the neighborhood, and I said they shouldn’t be riding around amongst the ruins. If they didn’t have bad intentions, they could easily have been accused of it. And thankfully, there are curfews now and they’re making arrests.
LA Magazine and Wired were recently called out for posting illegal drone footage – how has the increase in social media and scooping news impacted traditional media gathering practices? Drones are an incredible tool that can add a very visceral, immersive effect to story telling. I’ve embraced it, even got my Part 107 license. Part of getting a license and being “legal” is following FAA regulations and local laws. During major disasters, especially fires, a Temporary Flight Restriction (TFR) often goes out, to keep the skies clear for fire and safety aircraft. You don’t fly your drone. Period. When these media outlets choose to run these very “clickable” videos acquired illegally, they encourage the behavior. And for the “haters” on social who love saying “you’re just jealous you didn’t think of it first!” Let me tell you, all of us licensed operators, are VERY aware of the visual impact of these scenes and have interest in capturing the scene with our drone, but we KNOW the safety considerations and are very conscious of the illegal behavior by un-licensed “content creators” and hobbyists.
Explain the danger of flying drones during an active fire of this magnitude while a Temporary Flight Restriction (TFR) is in place. The near-worst-case-scenario of flying a drone during a TFR happened during the Palisades fire, when a fire righting aircraft hit a drone, damaging the aircraft and knocking it out of commission. Someone’s greater interest in clicks, lead to interrupted fire-fighting capabilities during this horrific disaster. I can’t imagine the anger of homeowners who see that story while they’re praying all the efforts can save their home and community. Losing the air attack is huge. I was at the top of Mandeville Canyon last night (Saturday) and the fire retardant and water drops did the majority of flame suppression, slowing the growth on the eastern flank. Further update on drone activity and arrests can be read about here. “California authorities say there have been at least 40 incidents in which unauthorized drones have forced firefighting aircraft to pause operations, putting more lives at risk as the fires continue to spread and firefighters on the ground are left without air support.“
What safety considerations have you taken while covering the fires? I have a fire brush jacket and pants, helmet and goggles. I use n-95 masks, conveniently on-hand after Covid! I don’t have “fire” boots, but wear my Blundstones and try to avoid walking on smoldering piles – they aren’t rated for that high a heat. I also work to only wear cotton items, which is hard these days, as so much of my wardrobe has become nylon/synthetic fibers. Synthetics are much quicker to ignite and I’d rather decrease the chances of melting clothes on my body.
Are you part of a photo collective during a local crisis? I’m not part of a formal collective, but stay in contact with many photojournalists on assignments, who tend to have more resources available to them. Again, with big events, experienced PhotoJournalists know the ropes and safety is a priority. I’ll ask for best routes to enter areas, etc. It’s also great for hearing about spots that are super sketchy or not easily accessible without additional gear, like a 4×4 vehicle.
How did you get your start in photojournalism? I started in photojournalism at L.A. Pierce College, running on several fires in the L.A. region in the early 90’s. We had our college paper as an outlet/publication, but also were able to get the Daily News to let us process and print our film, occasionally publish, and always give us replacement roles of film. We weren’t fully-vetted journalists yet, we were training to be. So we were still more reliable than a “citizen journalist.” I don’t want to prevent accurate reporting from being done, but someone who has a big TikTok following, does NOT a journalist make. Reach out to real Journalists, see how they report, what questions they ask. And please stop with the video Supercuts of people’s property burning and using gimble spins, even if you actually did it “by hand” and brag about it. 🤬
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Photographer pays homage to Our Lady of Guadalupe and reclaims her connection with the divine
It’s not uncommon to see an image of Our Lady of Guadalupe on murals, candles, statues and even clothing. She’s a significant religious figure who signifies hope and protection for countless Latinos in the U.S. and abroad.
For photographer Amanda Lopez, her image goes beyond religion, serving as a powerful emblem of home.
Catholics believe that, in 1531, the Virgin Mary appeared before Saint Juan Diego Cuauhtlatoatzin, an Indigenous farmer at the Hill of Tepeyac in a suburb of Mexico City. According to the story, she left on his cloak an image of a brown-skinned Virgen de Guadalupe, which still hangs at the Basilica of Our Lady of Guadalupe in Mexico City.
” In it, Lopez reimagines Guadalupe in a contemporary context.
During a college trip to Mexico City, Lopez visited the basilica and was moved by the sacredness of the moment. She photographed a floral “set” on the grounds, and it became an image that stayed with her for years to come. However, like many Mexican Americans, this wasn’t exactly her first encounter with the Patroness of Mexico.
Growing up as a first- and second-generation Mexican American in California’s capital, Guadalupe was a deeply ingrained part of her daily life. She attended a church named Our Lady of Guadalupe up to her teenage years and was surrounded by Guadalupe’s image in her childhood home. Her family’s Catholic values initially shaped her own, though she began to question them as this project took shape.
“The question that I kept asking myself when I was working on this project was, ‘What does it mean to be a good woman — a Mexican woman, a former Catholic woman, a good woman — in my grandmother’s eyes?’ ” Lopez said. “You have to be humble, respectful and quiet. You go along with the status quo. And then I was really uncomfortable with that idea.”
Lopez then began to deconstruct that line of thinking and began to visualize how she could portray these conflicting thoughts photographically. “And that’s when I started to reimagine what Guadalupe might look like and understand that to be a ‘good woman,’ you don’t have to be any of those things.”
Lopez deliberately excluded adjectives commonly used to describe Guadalupe such as “Lady,” “Virgen” or “Madre” when naming the series.
“I wanted to move beyond traditional notions about womanhood and let viewers create their own meanings. I went through my own unlearning by questioning those same terms and, in that process, was able to reconnect with her.”
For Lopez, Guadalupe signifies all that is good and loving. And her definition of what “good” meant transcended a religious context as she delved deeper in her relationship with her.
“She’s all encompassing — what is nurturing and what is caring. For me, that’s not an exclusively religious thing. She’s evolved to this symbol that actually reminds me so much of my own grandma.”
Lopez grew up seeing her grandma Isabel — also known as Nana — on a daily basis. Guadalupe was a religious presence who guided Isabel through a life filled with many highs and some heavy lows. And though Lopez has a different relationship with the patron saint than her Nana ever did, she wanted to honor everyone’s individual journey with Guadalupe.
“I know so many people who have this connection to her [Guadalupe] that are not Mexican, that are not straight, that are not women and that are not religious … And so when I was making these photos, I wanted to have the opportunity to chat with folks and ask, ‘What is it about her image that you resonate with?’ ”
For some, she’s a religious icon. For others, a cultural figure. Many are also simply captivated by the beauty of her art. For Amanda, she represents the connective thread that unites us.
In 2021, the Smithsonian National Museum of American History added 15 of these photographs to their Photographic History Collection. Now, they are being exhibited in Sacramento, Calif., the city where Lopez first connected with Guadalupe.
“It’s a little bittersweet because my grandma won’t be there,” she said. Isabel died in 2020 at the age of 91 and was buried with her favorite Virgen de Guadalupe necklace. “But she’ll be there in spirit.”
Nuestra Madre. Sacramento, CA 2019 Tyler Wichmann shares his Our Lady of Guadalupe back tattoo, created by renowned tattoo artist Chuco Moreno.
Recuerdo de Tepeyac. CDMX, Mexico. 2006Nana’s Hands. Sacramento, CA. 2019. My grandmother always wore her gold Our Lady of Guadalupe necklace. I never once saw her without it.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Today’s featured artist: Tom Hussey
“And to All a Good Nightcap: The 12 Cocktails of Christmas”
And to All a Good Nightcap: The 12 Cocktails of Christmas is all about capturing the heart of the holiday spirit through mixology and storytelling. Each cocktail in this series isn’t just a recipe—it’s a celebration of tradition, creativity, and the joy we share during this magical season.
With this project, I reimagined Christmas as a blend of flavors, community, and the cultural traditions that make the holidays so special. Santa himself takes the lead, narrating each drink with his signature charm and nostalgia. From the boldness of The Smoking Gun to the tropical refreshment of the Key West Mojito, each cocktail tells a story, inviting you to savor not just the taste but the moments they create.
This project wouldn’t have been possible without an incredible team. A huge thank you to Patty Hussey from The Production Party for her amazing work as producer and stylist, and played the part of Santa for the drink images. Thanks also to Ken Womack and Mike Stopper from The Agency Hack, for bringing it all together with their fantastic title and design.
For me, this project is about more than cocktails—it’s about celebrating the joy of connection, the stories we share, and the memories we create over a glass. Here’s to raising a toast to life’s most spirited moments. Cheers!
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
An inconvenient truth of life. There is a fragility. There are no guarantees.
Partnering with Catching Lives, a hardworking and underfunded group of dedicated people in Canterbury.
I was determined to offer what help I could to highlight the current growing crisis we are facing of Homelessness on our streets. After many weeks of gaining the trust of a few of their ‘clients’ I have been fortunate enough to be invited into their world to produce a set of poignant portraits. Shock, sadness and at times anger do not begin to describe how fragile our lives are and how quickly things can take a turn for the worse. The project sets out to document the journey of those I met revisiting the places where they slept rough on the streets and in many cases after a long personal battle, before finding their new homes.
The biggest thing I learned though shooting this project is how fragile we all are as humans. For those who find themselves suddenly displaced in society — we all have a duty of care.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
Heidi: What are your hopes for this body of work? Sofia: This is an ongoing project. I hope to make a book eventually!
This project has two main goals:
To encourage conversations about diversity and inclusion in winter sports
To create representation for people of color in winter sports culture.
I plan to showcase this work at various museums and galleries, particularly in the Mountain West, to promote dialogue about the evolving culture of winter sports and explore ways to make it more welcoming for everyone.
How did this project come about? This project began years ago when I walked through the Sun Valley Lodge. Sun Valley is the first ski destination resort in the U.S., meaning it has some of the earliest marketing images of destination skiing in the country. These were the first images to define what ski culture would be like in the United States. Many of these photographs are displayed in the lodge, particularly in an iconic hallway lined with hundreds of images.
While I was there, I noticed that out of the hundreds of images on the walls, only one featured a person of color. This stark observation made me reflect on the correlation between the representation of individuals in those historic images and what we see, on average, at ski slopes today. For those who don’t ski or haven’t spent much time on ski hills in the U.S., according to the Snow Sports Industry of America’s 2022-2023 annual report, only 13% of all skiers were Hispanic, 9% were Black, and 8% were Asian, making skiing one of the least diverse sports. When I saw those images, I thought, “How does this relate to who we see skiing today, and how exciting would it be to remake and reimagine ski history in a more inclusive way?” As a young Latina who grew up in Sun Valley, this project reflects my personal journey with identity and my desire to see a future in winter sports culture where everyone feels they belong.
How did you decide on the casting? The first year of casting, I called up all my friends to see who might want to support and be part of my crazy idea. I am lucky that some of my good friends are also great models and we got a really great group together for the first year this way. I invited everyone out to Sun Valley and we shot for 3 days.
The second year was way different. We started planning casting a lot further in advance and we worked with a dedicated Casting Director. Terumi Alana Murao, who is also our stylist, stepped it up and offered to do the casting as well. Turns out Terumi is just as talented at styling as she is casting and we were able to lock in some incredible models!
We are specifically seeking athletes and models who are not only outstanding in their fields but also share our project’s mission of representation and inclusion in outdoor sports. Many of the models we have chosen are involved in either operating or volunteering with nonprofits and organizations that promote participation in outdoor sports among people of color. Quannah ChasingHorse and her family started Native Youth Outdoors, which provides access to the slopes for Native Youth in Alaska. Juju Milay started Colour the Trails, a nation wide organization in Canada that helps get folks of color outdoors in many different sports.
How did you decide on which images to reimagine? I spent about a year researching images and looked at different sources from library archives and books, to online archives.
My main source was actually the Wood River Historical Museum in Sun Valley. I spent hours going through old slides with an archivist looking at images and browsing their online archive. The historic images absolutely fascinate me! Many of the images that caught my eye were shot by Union Pacific Railroad photographers. The railroad started Sun Valley Resort and had their own photographers. Beyond those photos, I was drawn to the works of other photographers like Slim Aarons, George Silk and Ray Atkeson for their minimalistic style and ability to showcase the pure joy and pleasure of ski culture.
Historically, Black and Brown bodies have rarely been depicted in moments of joy, pleasure, and strength in photography. Instead, the images that dominate history often reflect narratives rooted in struggle or oppression. This absence speaks volumes and it’s one I seek to challenge with my work. In this photo series, I juxtapose Black and Brown bodies with spaces and scenes they have not traditionally been depicted in, such as the world of skiing and luxury. Slim Aarons’ work, for instance, often celebrated exclusivity and affluence, aligning closely with the early imagery of skiing in the U.S. By placing BIPOC+ individuals in these contexts—where their presence has historically been erased or marginalized—I want to reimagine these spaces and expand our understanding of who belongs in them.
How can people support the project? If brands or agencies would like to support this project, they can either hire me for similar concepts or donate vintage clothing for the shoots. Anyone can contribute directly to the project by donating to the Sun Valley Museum of Art and specifying that the donation is for “A New Winter”. Supporters can also purchase fine art pieces through Ochi Gallery, where we offer a variety of sizes and price points. If you know a book publisher who might be interested, please connect me with them. Additionally, I am available to speak at your event! I have a 20-minute keynote presentation on the history of skiing and this project.
Can you share a little bit about the process from the first photo to creating the last photo? This was quite a journey for us. In the first year, our goal was to prove we could even just make this happen with a dedicated team of eight people. We learned a lot, starting with five scenes that were all single portraits.
By the second year, we shot eight scenes, including three group shots. We went from having a small crew the first year to having over 30 people on set on year two for some of the scenes. During the second year we were way more set up because I had built community connections in Sun Valley like private supporters and the Sun Valley Resort that was a huge supporter of this project. They ran lifts for us even after they were closed, helped us dig snow pits and gave us lift access. One of the most unexpected parts of this project, was how much the community in Sun Valley showed up to support it and make it happen. I plan to continue it in the snow sports realm and beyond, and I’m excited to see how it evolves after being showcased at the museum and gallery this winter.
We sat together at Center in Santa Fe for The Democratic Lens: Photography and Civic Engagement lecture. What kind of framing did that provide? Yes! Getting to hear that talk was such a treat. I remember it being very informative and was so grateful that you invited me. The talk was about how photography informs who belongs and the different ways photographs currently and previously influence citizenship and who is deemed worthy of it. The talk had a significant impact on this project because it helped me realize the true purpose of my work: to question how images inform and influence notions of belonging. How do images, especially in a historical context, inform and influence who belongs? How do historical images perpetuate stereotypes?
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
In the dance between commercial obligations and personal passion, photographers often find solace and inspiration in the pursuit of personal projects. Photographer and Director Doug Menuez, having spent most of his life behind the lens and professionally shooting for decades, recently embarked on a sabbatical with his wife to Portugal. In this time, Doug has had more opportunities to shoot personal projects and get to know the country and people and has opened the door to a new chapter in his photography.
Initially living in a 500 year-old “noble” manor house in a medieval village, they recently moved to an ocean view apartment in a beach town famous for having the longest left hand break in Europe. As he immersed himself in the culture, language, and landscapes, the country revealed itself in multifaceted ways. From the lively streets of Lisbon, adorned with culture and a vibrant nightlife that attracted notable personalities like John Malkovich, to the romantic cobblestone streets of wine country, each corner of Portugal became a canvas for Doug’s lens.
What aspects of Portugal make it an exciting destination for shooting assignments?
Having become well-acquainted with the language, culture, and diverse topography of Portugal, I think it’s a great place to hold a shoot. The mainland itself offers a staggering variety, from historic cities like Porto to the picturesque countryside, mountains, and valleys. The Atlantic and Mediterranean coastline, featuring renowned surf towns and the world-famous waves of Nazare, adds another layer of charm. I am captivated by the sun-drenched beaches, villas, and villages of the Algarve coast. Each mile of the country offers something different, but it’s a relatively small country making moving to each region quite easy.
Logistically, how are you finding producing shoots in Portugal?
Since arriving in Portugal, I have reconnected with a long-time collaborator, European Producer Staffan Tranaeus, who has been based in Lisbon for the last 30 years. Staffan’s company, Southwest Productions, has an extensive track record of producing advertising shoots, broadcast productions, documentaries, and TV features across Europe and the world. Their knowledge and network make Portugal a well-wired and accessible destination for creative projects, providing photographers with a valuable resource for seamless execution and exploration
What are the greatest benefits of shooting in Portugal?
There are relatively low production costs here, especially compared to LA or New York. This includes talent, locations, scouting, and casting, making it an attractive destination for creative projects. Crews are experienced and professional, and all the latest gear is here. Plus, with an average of 300+ sunny days a year in most locations, Portugal provides a reliable and stunning backdrop for photoshoots. The country’s excellent infrastructure, pristine highways, comfortable trains and other mass transit, as well as numerous high-quality hotels, ensure smooth operations. Despite its ancient history and appearance, Portugal is a surprisingly high-tech country, way ahead of the US in many areas such as super high-speed internet. As an additional bonus, the warmth of the people makes the entire experience even more enjoyable.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
Heidi: You started during the tail end of disposable cameras and analog creativity—how did that impact your early career?
Daniel I started with disposable cameras, then eventually moved on to a point-and-shoot and then an SLR. Shooting with film was challenging for me; it had a steep learning curve. You would wait weeks to get the film back, only to learn from your mistakes. Additionally, I couldn’t afford a lot of film, so I had to be selective about what I wanted to shoot. You really had to think about what you were photographing. Now, with digital, I often find myself not thinking and just firing away—there’s not even an inkling of thought, just mindless shooting. Forcing myself to slow down is difficult; however, I find that I make better photographs when I take my time. I believe that slowing down works for both photography and life.
Homesick was your first zine, documented on film, followed by Mommicked—both have soul-stirring narratives, why no surf photography?
Homesick was a zine my wife and I put together; they were all shot over a few years using a digital camera. The idea was to highlight aspects of Hatteras Island that I would miss the most or things that are dear to me. There are very few surf photos, but the ocean is prevalent in the zine. Surfing is obvious; however, I didn’t want it to revolve around surfing. There is so much more to life here than just surfing. Hatteras Island is incredibly dynamic, and putting surfing prominently in my work would have pigeonholed it. A couple of years later, we released Mommicked. Mommicked is about living through and navigating heavy weather here on Hatteras and how it impacts our community. Once again, even though surfing is the obvious focus, I chose to go in the opposite direction—to showcase what truly happens here before, during, and after storms. I guess I moved away from surf photography and fully embraced documentary photography.
How did working with film inform your digital work, if at all?
When I began photography, I was shooting film. Since I wasn’t developing my own work, I had to get it right in the camera, which became ingrained in me: get it right in camera, get it right in camera. That mindset has certainly carried over into the digital side of photography. Although there is more leeway with post-processing, I still aim to do my best in getting it right in camera, which also means less time sitting in front of a computer.
You’ve been photographing dynamic weather for almost 30 years—how did that documentary work evolve into a successful wedding photography business?
Documenting weddings and family portraits provided income to cover my bills and living expenses. Documenting the weather has always been a passion for me, but it never really generated that much income. Even to this day, it doesn’t generate income, but photographing weddings and family portraits gives me the time to shoot the things I’m passionate about (weather/surf) that don’t generate income but feed my soul. I photograph an average of around 40-50 weddings and about 90-120 family portraits a year. This allows me to pursue my passions while managing wedding and portrait numbers, which is definitely a juggling act.
Tell us about the making of this photo from an abandoned rental home and the trajectory that followed. We are a really small community here, and pretty much everybody knows everybody. You grow up with half the island. It has its faults, but for the most part, it’s great; I love the small-town vibes.
The houses aren’t abandoned; they are rented out by the week. I think, for this particular storm, the people who were supposed to stay at that house were moved to one that wasn’t flooding. My friend Jake Throne posted a video of water pouring into the downstairs area of the house, which had a pool table in the middle of the room. I texted him to ask which house it was. I knew it was in a general area but wasn’t sure which particular house it was.
The next morning, I went out with my daughter and entered the house I thought Jake was talking about, but it turned out to be a completely different one. When we went in, the pool table was racked; someone had already played and set it back up. My daughter broke the balls, and I snapped a few pictures of her playing pool. I then asked her to step out of the frame so I could take a few empty shots. There wasn’t a danger of getting arrested for trespassing, just the potential for a tongue-lashing for being in a rental house. We yelled before stepping inside to see if there were any renters there, but it was empty.
There is a massive rental home industry here on Hatteras Island and the Outer Banks as a whole. When I was a kid growing up here, there weren’t many houses on the beach. The rental property industry exploded in the 80s and 90s, with very few zoning laws to keep things in check. Thank God for the Park Service and the National Park, or else every square inch of the island would have been developed. Homes weren’t necessarily built on the beach, but over time, they have ended up there due to island migration, erosion, and sea level rise. Now, there are rows of houses in each village that are in danger of being destroyed by the ocean. When it’s calm here, the views from the houses are great, and the proximity to the beach makes for a short walk to the ocean. However, that doesn’t translate well when we have a storm.
I snapped about 10-15 frames, was in the house for about 5 minutes, then left. I shared the image on Instagram, and within 24 hours, an editor from Time Magazine reached out to me. It was initially supposed to run in a climate change issue but ended up as an image in Time’s Top 100 of 2020. It’s surreal to have the image in that collection, especially since it seemed like the world was on fire back then, and the images taken worldwide were incredible. Having a photo in that collection will always be a career highlight for me.
You’re a self-described climate advocate and have been documenting the barrier island, which behaves like a living, breathing piece of land. When did you start to see catastrophic changes, and what are your hopes for this body of work?
I live on a barrier island off the coast of North Carolina. It is a sandbar—a thin strip of sand located 30 miles out in the Atlantic Ocean. It’s a wild place. Barrier islands are supposed to migrate over time from east to west. When you take something as dynamic as a barrier island and place static structures on it, like roads and houses, conflict is bound to arise over time. It’s a slow process, but it currently appears to be happening rapidly; this has been building up over the past 40-50 years. Houses are falling into the ocean, and roads are washing out. That has always happened here, but due to the way homes were built in proximity to the ocean, we are witnessing drastic changes. I think we have lost about six houses this year due to island migration, erosion, and sea level rise, and the road has washed out numerous times. As for houses collapsing, there has definitely been a shift over the past couple of years, and it is only going to get worse. I don’t have a specific plan for what will happen with the photos I am creating about these storms, but for now, my aim is to tell the story of how our community is dealing with these weather events. If my work can somehow inform policy changes related to zoning laws and educate people about how barrier islands function, I suppose that would be the long-term goal. At some point, I would selfishly like to create an updated version of Mommicked.
You grew up in Buxton, NC, home to the famed Old Lighthouse Beach, the spot where East Coast pro surfing was born. Russell Blackwood, a great surfer and photographer, was a friend and mentor and he passed down advice along with his old Nikonos V camera. Years later, Russell’s son, Wolfi, named you as one of his mentors. What does that say about the Cape Hatteras community?
Daniel: I wouldn’t say I’m one of Wolfi’s mentors, but we are good friends. I got to see Wolfi grow up and was there for his first attempt at paddling out at big Lighthouse and getting denied. I’ve witnessed him turn into an amazing surfer, charging the Lighthouse at its absolute rawest. We still surf together—me, Wolfi, and his dad. Wolfi and his wife are expecting a girl in a couple of months, starting a family of their own. It’s super odd to think that our kids will grow up together since I have a 20-year-old, an 18-year-old, and a 1-year-old. Our community is incredibly tight-knit. We are small, and for better or worse, we experience our community’s highs and lows. I wouldn’t have it any other way.
Best career advice?
I wish I would have gotten this advice when I first picked up a camera (but I prolly wouldn’t have listened)…over 30 years ago.
Buckle up….
Compose and wait.
Create photos that resonate with the heart.
Do what it takes, do the work.
Be honest with yourself.
Don’t take the easiest safest path.
Technical has to be automatic…like breathing.
Make your work personal.
Look beyond the obvious.
Compose and wait…(needs to be said again and again and again)
Work the scene.
Trust your gut.
In every situation there is opportunity for a great photograph.
Always shoot with a purpose.
Show the truth.
Success does not give you knowledge, failures do.
Start appreciating things around you.
A moment can change your life.
Great photography is always on the brink of failure.
In any given moment…we have two options…to step forward into growth…or step back into comfort…
And worst?
Probably when I was starting to shoot surf photos.
you need to shoot really tight.
You have to shoot surfing a certain way…
Looking back it was so cookie cutter…but I get the advice…it was a way to help you produce surf images that fit into a narrative or into the pages of a magazine or website…
But leaves absolutely no room for growth or creativity
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Relative Moments, a series I began in 1986, chronicles ordinary moments of my extended family’s activities. I am interested in the significance of the commonplace routine of their lives—the personal moments that define for each of us a sense of home, security, and belonging. I began by photographing my parents’ home in Iowa. It was a personal documentary effort, starting when my parents sold the house we lived in when I was a child. They moved, and subsequently I realized that their new house was now home. So, I took pictures of that. My scope expanded as I started taking pictures of my aunts and uncles and their houses and yards. After my son was born, he appeared in the images too. Although the project started out as nostalgia and documentation, I discovered that the pictures comment on more: a glimpse into an intimate detail of an everyday world that otherwise might go unnoticed. This project captures a visual history of one family’s life, yet I feel there is an ongoing narrative embedded in these photographs that conveys larger, more universal truths about American culture, familiarity, and the endless source of everyday wonder that surrounds us.
NOTE: I featured Deanna “Leaving and Waving” in 2022 on this forum. It found its way recently on to an Instagram reel and went viral on TikTok, Reddit and Facebook.
She was recently featured on CBS Nightly News and Inside Edition. This is why personal projects are so important.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
Canoe ceremony at Oceti Sakowin Camp. Cannon Ball, North Dakota, USA. August, 2016.Children running free. Cannon Ball, North Dakota, USA. August, 2016.Men setting up an altar. Cannon Ball, North Dakota, USA. August, 2016.
Spirit of the Missouri River. Cannon Ball, North Dakota, USA. September, 2016.
Man braiding his hair. Cannon Ball, North Dakota, USA. September, 2016.Tepee poles. Cannon Ball, North Dakota, USA. November, 2016.Thanksgiving ceremony. Cannon Ball, North Dakota, USA. November, 2016.Water of Life. Cannon Ball, North Dakota, USA. November, 2016.Police mace Water protectors. Cannon Ball, North Dakota, USA. November, 2016.A group of women carry a wounded warrior. Cannon Ball, North Dakota, USA. November, 2016.A man gets treated with a solution made of half liquid antacid and half water after being sprayed with mace. Cannon Ball, North Dakota, USA. November, 2016.Police barricade. Cannon Ball, North Dakota, USA. November, 2016.Chief Arvol Looking Horse sits near the Dakota Access Pipeline during a prayer. Cannon Ball, North Dakota, USA. November, 2016.Resistance. Cannon Ball, North Dakota, USA. November, 2016.Matriarch. Cannon Ball, North Dakota, USA. November, 2016.Water protector praying by the river. Cannon Ball, North Dakota, USA. November, 2016.A girl and her horse. Oceti Sakowin Camp. Cannon Ball, North Dakota, USA. November, 2016.Diné walker. Cannon Ball, North Dakota, USA. November, 2016.Elder praying during a peaceful demonstration. Cannon Ball, North Dakota, USA. November, 2016.People cross a handcrafted bridge to Turtle Island, a sacred site and burial ground. Cannon Ball, North Dakota, USA. November, 2016.People stand near a handcrafted bridge. Cannon Ball, North Dakota, USA. November, 2016.Man under a tepee near the Dakota Access Pipeline. Cannon Ball, North Dakota, USA. November, 2016.A woman walks in the snow during a blizzard. Cannon Ball, North Dakota, USA. November, 2016.Two men get sprayed by law enforcement with high pressure water during a demonstration near the Oceti Sakowin Camp. Cannon Ball, North Dakota, USA. November, 2016.Last stand at Oceti Sakowin Camp. Cannon Ball, North Dakota, USA. February, 2017.The end of the Oceti Sakowin Camp. Cannon Ball, North Dakota, USA. February, 2017People peacefully leave the Oceti Sakowin Camp. Cannon Ball, North Dakota, USA. February, 2017.Sacred Fire. Fort Yates, North Dakota, USA. September, 2017.Young man putting down tobacco. Fort Yates, North Dakota, USA. September, 2017.People harvesting wild sage. Fort Yates, North Dakota, USA. September, 2017.Young man leaving a tepee. . Fort Yates, North Dakota, USA. September, 2017.
An upside down American flag waves at a healing gathering. Fort Yates, North Dakota, USA. September, 2017.
Heidi: You drove 1,400 miles to Standing Rock and committed seven months of your life to being in the community, serving as a witness and documentarian to ensure that Indigenous perspectives were included in the narrative. Eight years later, the images made in “Standing Strong” remain iconic and impactful. How has this body of work informed your creative evolution? Josue: In retrospect, I gained a deeper understanding of the significance of a movement transcending traditional creative practices. The protocols and prayers I experienced, led by both elders and youth at Standing Rock, were integral to this transformation. Addressing the question of creative evolution, it’s fascinating to reflect on how this large gathering was inherently infused with conflict. The challenge lies in honoring these moments through spiritual practice while still innovating the narrative. My approach to creating that work was rooted in intention—seeking to create a space where we could tell our own stories, which I believe is a fundamental human right. I think there’s something we can all learn from Indigenous stories, especially in this current time.
Two of your illustrated images appear in “Protecting the Right to Protest,” written by Annie Leonard. Can you share the story behind the weather conditions on the night when two water protectors were sprayed by police with high-pressure hoses? The image holds a tension between peace and violence, appearing almost magical at first glance. On November 20, water protectors were sprayed with freezing water by law enforcement. Standing Rock represented a moment in time we probably won’t relieve in a while. These impactful moments served as a portal—through my documentation I hoped to document an awakening for both Indigenous peoples and society at large.
One of my mentors, Nick Tilsen who is the president and CEO of NDN, described this as the “curb cut effect.” When certain groups are treated with dignity, it leads to broader societal and cultural shifts in how we treat one another. The stories I create aim to ignite a piece of this curb effect by honoring Indigenous sovereignty.
Looking at Standing Rock and the lasting value of that work in society, I see how it can continue to evolve. It was during my time in the Magnum Foundation Fellowship with Fred Ritchin that he encouraged me to let go of the pressure to be overly precious about my images. He reminded me that I don’t have to be a traditional photojournalist or win a Pulitzer Prize to create images that are a cultural currency to society. This approach has influenced how I approach my later projects. The collaboration with Patagonia was a reflection of this, layering existing images with elements not visible through the lens.
How did your storytelling process align with current cultural narratives? During my time at Standing Rock, I began to grasp the longevity of the experience and its stories. Storytelling should not merely document a fleeting moment or platform, nor should it reside solely in a viral image. The iconic image had a profound societal impact, yet it can be exchanged for something more immediate—a viral video or story that shifts perceptions and cultures. Layering images creates a new toolkit for storytellers. We are shifting away from the notion that an award represents the pinnacle of achievement, and embracing how short form videos or images from a smartphone can profoundly influence communities and society.
Purpose, collective healing, and the power of community are central to your work. Why do you believe this story held purpose and power? In an era where social media dominates our lives, it’s crucial to remember that it can serve as a transformative tool—regenerative instead of exploitative. My intent is to reveal through this work that transformation is possible when you share your story.
I’ve always appreciated the added layers of context that photography and storytelling can provide, tell us about your process. With the Patagonia project, we layered images, granting the process its own significance while remaining open to how it might be perceived. For “The Right To Protest” project, I collaborated closely with artist Tekpatl from our creative agency INDÍGENA. Despite my busy schedule, we leaned on one another to showcase various layers of the story. This collaboration was particularly poignant since the images we illustrated were created on Thanksgiving Day about seven years prior. Tekpatl brought balance to our work, grounding it by representing unseen energies in the images—using a technique Yael Martinez introduced in photojournalism, who has been a significant inspiration
Please download, print this image and scan the QR code in the bottom right.
When did you begin incorporating AR into your photography? Was “Be a Good Ancestor” the starting point for your multimedia and motion work?
I’ve always seen myself as more than a photographer and more of a conduit to something bigger than myself. My intention is to be of service. What happens when we accept that images are tools for society, not mere illusions; they can convey truths. Can one story carry a universal truth?
To try and find the answer to some of these questions we created “Standing Strong,” a multi-disciplinary visual project using augmented reality and community intervention. This project showed how we can innovate within our imagery while embracing new technologies—the message continues to evolve and spread.
Empowering Indigenous youth and refining journalism to be more inclusive and collaborative are essential values in your work. Fast forward to 2022; as a juror for the World Press Photo Contest and with your recent inclusion in the ICP’s exhibit “We Are Here: Scenes from the Streets,” have you noticed increased representation among storytellers? Yes and no, at times I see the intention for collective change and it’s also a process. I think our days are ahead as we build systems to transform visual storytelling. I think it’s the beginning of the blossoming of years worth of work by people that came before us, we just keep doing the work.
You founded INDÍGENA. Are you returning to your role as a witness and documentarian, ensuring Indigenous perspectives are part of the narrative—especially in light of recent election results? Social Justice Documentary work is always going to be part of my creative practice, it’s also limiting. I see this practice as an evolving song, an offering. Currently, I am co- documenting stories from boarding school survivors through a trauma informed lens. We are also innovating the way we tell those stories. Reflecting on the recent election results, I see how images will be powerful tools for communication and change but also confusion. We have reached a point where images serve not only as interpretations but as instruments for shifting societal consciousness. Ultimately, I hope my work demonstrates that transformation is possible when you share your story.
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
My shoot with Alon Fainstein began during a project I was shooting in Cape Town, where I was introduced to him by my producer, Gavin Schneider. Alon is not just an ironmonger; he is a storyteller, weaving narratives of transformation and discovery through the medium of metal.
I am drawn to photographing people who are deeply passionate about their work, and Alon embodies this passion fully. As he reflects, “Every time I work, I learn and discover something new about the material and myself. I feel that my work grows and evolves with me. The two are symbiotic and go hand in hand. To say that there are limits to forging would be to say that there are limits to inspiration, creation, and growth. When I feel connected, I find them in an abundant supply.”
Through my photographs, I aim to capture the essence of this connection—the symbiotic relationship between Alon and his craft. His workshop becomes a stage where sparks, textures, and shadows reveal the ongoing dialogue between artist and material, inspiration and creation. These images celebrate the unyielding spirit of those who find beauty and meaning in their work, reminding us of the boundless potential within ourselves and the world around us.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
Angie: How did you get started in your career as a photographer?
Charlotte: I’ve been a photographer for the past 15 years. I studied photography here in Germany. I had chemistry and art as majors before I finished high school. We had a photography assignment and there was a small dark room that we could work in. I know it sounds so cliche, but when you are in the darkroom and the image suddenly appears on paper, it’s this magic moment. I said to myself: ‘Oh, this is fun and I think I’m good at it. Is a photographer something that you can become? Let’s see how this plays out.’
Me and my father‘s first 6×6 camera, ca. 1989.
Sometime into studying, my father passed away and I had to get rid of his things. The attic was full of his photographs and Super 8 films. I remembered that he taught me a lot about photography. When we would go on holiday, he always had a camera. There are pictures of me as a 4-year-old trying to take pictures. Now looking back, I realize photography was such a big influence, it was always there. So the idea of becoming a photographer didn’t feel too far-fetched.
Angie: What was your first published photo?
My first proper assignment was for Nylon magazine.
I was interning with a photographer in New York and she had to travel to LA for work. She said: ‘I can’t take you with me on the shoot, but you’ll have time, so I’ll give you contacts. Why don’t you show your portfolio around?’
I said: ‘I don’t have a portfolio.’
She said: ‘Okay, when I’m back, you’ll create a portfolio and start showing your stuff around.’
She gave me all her contacts. I was very young and I had no fear. I would go everywhere and anywhere. I went to Nylon Magazine and asked for a meeting. I had my meeting and the next day, they called me with a small shoot. I got paid $50 for it, which I would never accept now, but I thought: ‘If I can do this in New York, I can definitely do it in Germany.’
After my time in New York, I photographed a cookbook with a friend. We sold the concept to the publishing company– that was the first book that I made and was the gateway into my next project, Makers of East London where I visited artists in their workshops across East London, documenting their workflow. That period of time was full of a lot of coincidences and luck and it was one of the most important times that prepared me for everything else because I was constantly producing photographs for my portfolio.
When people ask what kind of photography I do, I say that it’s everything that’s atmospheric.
I’m a very emotional person and I do emotional portraits, but what I’m good at is giving people space. My portraits are good because I can hold space for people to just be themselves. Which I find is important for the work I do.
Often, the person will see their image and say: ‘No one has ever photographed me like that. I feel like it’s the first time that somebody has seen me the way I really am.’ That is the biggest compliment you can probably get as a photographer.
Fashion editorial for Le Mile magazine, photogra- phed in my first studio in 2015.Author Peter Høeg at his hideway place in Denmark, 2015.Tokyo, 2016.Tokyo Metropoliton Government Building, 2016.
I’ve been freelance for the past 15 years. The pandemic was quite good for me. I think it divided the people– some stopped working and for others, it fueled them.
I was successful because it’s just me and my camera. I don’t have much overhead, assistants and tons of equipment. During Covid, people knew I could be distant from the subject and shoot quickly. That was kind of my thing and editors knew they could get what they wanted.
I think a lot of photographers pushed through the pandemic and then it came to that point for me where it wasn’t working anymore. I didn’t get assigned to anything. People stopped reaching out. Financially it was really, really bad. In the beginning, I thought, well, it’s gonna pick up but it never really picked up.
In a way, I got lucky because I was dealing with an illness and I couldn’t do anything. I had to stay in bed for a really long time and I was constantly thinking about my career not working.
I had a lot of time and I was thinking about what else I’d be good at. I have experience with grief and death in my family. And it’s been something that I’ve had to deal with and do on my own. In Germany, no one talks about grief and death because you’re not taught how to.
I photographed a grief counselor once and the memory popped in my head again. I thought: this could be something. The second I said it out loud, I thought: This is what I’m going to do.
I applied to a program and it’s going to start in May. The training goes for about a year and then I’m a certified grief counselor. After that, I want to go into the funeral business.
I think what connects grief work and my photography is that I’m able to find beauty in whatever I see. Obviously death is not beautiful but it is natural, it’s part of life and it’s happening for all of us. To define the beauty in something makes it easier for people. And to be honest, we are all gonna die. It’s just something that’s part of life.
Anne Petersen for Mercedes, 2021.
Angie: What has the grieving process been like with your photo career changing? Have you let go slowly or made a sudden cut?
I do feel like I need to make a cut. I think I’ve just reached the point where I know I am good at what I do but I also have so many more talents and it’s just time for me to move on. Photographers put so much into their careers—it’s just so personal. Every time you get rejected, it’s hard to not take it personally.
Photography is something that I’ve been successful at and I’ve loved it. But I’ve been angry for so long. I’ve asked: ‘Why? I don’t want it to be over. It’s something that brought me so much joy. I met amazing people and I went to great places. Why is this ending?’
Christine Lagarde, president of the European Central Bank, photographed in 90 seconds for manager magazin, 2022.Jens and Marc Brune for manager magazin, Norderney 2023.
I have a small studio and I have it for another couple of months. I made an offer to people who want to be photographed– that they can come to the studio and pay whatever they can afford for a portrait. This is me slowly saying goodbye to the studio.
I’m probably going to keep one small point and shoot. I don’t think I cannot take pictures. It’s something that I’ve done for the past 20 years– it’s a big part of my life. When I talk about it with people, I feel happy with the decision and that it’s the right decision but I’m also sad and I circle back to the same question: ‘Did I do something wrong? Is it my fault that my photography career isn’t working anymore?’
I’ve been breaking up with my identity of being a photographer and I have been going through all the stages of grief over that.
Angie: What a beautiful way to say goodbye. When did you know it was time to throw in the towel?
I think that’s everybody’s own personal decision. I’m slowly approaching 40 and I always want to know how to pay rent. I’m just tired of constantly being the person saying to the photo editor: ‘I need more money. I can give you what you want but you have to pay me properly because I’m good at what I do.’
I’m young enough to start over and feel like I can do so much more. And you know, I don’t want to be that person in 10 or 15 years when there’s no no other way. I am at peace with having made that decision and I’m excited to do something different. But I still ask myself: ‘Why did this not work? Is it my photography? Am I not at the right time in the right spot? Should I have done something differently?’
I am a hard worker and I gave it my all – but it just didn’t happen.
Lisa in the studio, 2024.Sarah in the studio, 2024.
[Six months later…]
Angie: How did it go letting go of your studio? How did that feel and where are you in the process of changing careers?
I am still working on letting it go. I’m starting to slowly be okay. It’s still a dream that I had to give up. I have been crying a lot. When I went through images of my career for this interview, I was going through my archive, bawling my eyes out. This has been a great 10-15 years of lots of hard work. I did amazing things and I met amazing people. Sometimes I still ask ‘why do I have to stop doing this? I am really good at what I do’.
I just started the grief counseling program and I am in the middle of it now. Going through the training, we talk a lot about finding creative ways to make people feel comfortable and seen. Taking portraits of people is very similar– trying to empower people and have them look at themselves and make them feel good and seen and safe. I realized that they are trying to teach me something I have been doing for the last 15 years.
Angie: How does it feel to be on the other side of changing careers?
It’s been a really hard process with so many layers but I’ve finally come to a point where I am excited to reinvent myself. I am so free, it scares the shit out of me. I can be whoever I want, I can explore myself and different ways of living.
In the beginning I thought I wanted a hard cut from photography. But at this point, I am starting to be softer with myself about ending it. I have no clue where I will end up, I am just here trying my best to find myself and find new ways to explore my talents.
With photography, I have more boundaries than I used to have, which gives me the freedom to be more myself with making photography work. I am declining a lot of jobs because I don’t accept the terms or budget and it gives me the freedom to choose what I am the best at. I am making great work now because I don’t care as much about what I should do. I am excited for the first time in a very long time. I found my way back to why I got into the business in the first place. Sometimes I wake up and ask myself: ‘Who am I today?’ It’s so nice. I am trying to be gentle and give myself space and see where life takes me.
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Photographer Kip Dawkins recently took on a personal project aimed at capturing the character and light of the Southern California desert. Unlike his work as a commercial photographer, there was no styling required for this shoot. Instead, he met and photographed partygoers at a van show and rock concert. The images radiate a sense of danger and freedom. The muted tones add an extra layer of authenticity, drawing the viewer into this subculture and the spare beauty and outlaw vibe of the desert.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
“A personal project should have an openness to a thought or idea that in my world has no need at first to succeed, but finds new paths that lead forward. The key is to embrace being uncomfortable and to block out the worry of explanation.
I’ve always been uncomfortable about the term.. “personal work”, because my creative journey has always been to look beyond what I am doing and to push beyond, always trying to find new ways of illustrating what I see.
This has allowed me to grow and be open to change and collaboration without the fear of outcome or failure. There are only rules if you make them and no growth unless you break what has already been done.
I have been lucky enough to find subjects who embrace collaboration and are open to experimenting with light, optics, and texture. My ongoing collaboration with photographer & artist Shelbie Dimond continues to fuel this exploration.
A partnership like this not only enriches the work itself but also deepens my understanding of the creative process, reminding me that every project is an evolving journey.”
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
ELECTIONDAY. Trash is seen after former president Donald Trump speaks at an election watch party in West Palm Beach, Florida, on Wednesday, November 6, 2024. (Photo by Haiyun Jiang for The New York Times)ELECTIONDAY. A worker cleans up trash after an election watch party for former president Donald Trump in West Palm Beach, Florida, on Wednesday, November 6, 2024. (Photo by Haiyun Jiang for The New York Times)ELECTIONDAY. Former president Donald Trump and former First Lady Melania Trump hold holds as he speaks at an election watch party in West Palm Beach, Florida, on Tuesday, November 5, 2024. (Photo by Haiyun Jiang for The New York Times)TRUMP. Secret service agents are on the watch as former president Donald Trump holds a rally in Wilmington, North Carolina, on Saturday, September 21, 2024. (Photo by Haiyun Jiang for The New York Times)
Heidi: You created Grassroots, a magazine that focused on individuals involved in the different aspects of the 2018 midterm election. What trends did you notice then, and how were they represented in this 2024 election cycle?
Haiyun: When I created Grassroots for a class assignment at Ohio University, I felt the momentum from local Democrats, as well as women, to run for public office at a local level, after almost two years into Donald Trump’s first presidency. I was interested in how local elections reflected a national sentiment or lack thereof. I followed Erica Crawley, a black single mother who was running for Ohio State Representative at the time, on her campaign.I covered both former President Donald Trump’s and Vice President Kamala Harris’s campaigns on and off for this election cycle, and from my experience I felt a stronger sense of urgency from both sides to get their candidates elected to the White House, more so than the 2018 midterm election.
Did your photography approach change as the election and divides became more unpredictable?
I am constantly trying to learn and refine my photographic approach on every assignment, and the learning will never stop. I freelance for the New York Times for the majority of the time and the Times always is on a mission of searching for unique, revealing, fair, and strong visuals to inform its readers. And that mission requires photographers, like me, to find new ways to illustrate mundane situations. I think it’s more the sense of providing readers with information and scenes I see in the field that helps refine the photographic approach than the election itself. The image you were thinking was made after the first attempted assassination of the former president. I have seen lots of photos of snipers as a sign of heightened security around Donald Trump’s rallies from my colleagues and I was trying to make frames that could offer a bit of larger context. The election and divides might have become more eruptive but the bottom line for my photographic approach has always been and will always be remaining fair to whomever I may cover.
Did you pre-visualize this image? or was this a surprise moment for you? I was assigned to document former president Donald Trump’s rally in Grand Rapids, Michigan, right after the Republican National Convention in July, 2024. After a while, I started walking around the “press pen”, where all my colleagues from different media outlets were typically confined at rallies. When I noticed a glare from the stage, I stopped and observed for a bit. I wondered what the rally attendees, who were sitting at this exact angle towards the podium, could see with the glare. Then I made the photo.
How did this election coverage challenge you as a photojournalist? or what made this one different?
This election, in many senses, has been an unprecedented one. With the current president dropping out after the first presidential debate and the vice president having to scramble together a campaign that helped reintroduce herself to the nation, nothing was ordinary. It challenged me to be adaptable and flexible, having a sense of knowing things may happen super fast and being ready for anything. Physically, especially, it could be exhausting for photojournalists to hop from place to place, and still remain focused and creative on every assignment. My mentors and colleagues, Doug Mills, Erin Schaff, and Kenny Holston, spent on average 12-14 hours a day following a candidate across multiple states. I think the human resources and effort into this campaign were remarkable.
What were the most salient points Doug Mills, whose been photographing presidents since 1983 shared with you and why is it important to have a mentor?
One of the most important lessons I learned from Doug is not to dwell on your mistakes. Learn from them, then move on to the next thing. Also, do not be afraid to take risks. Instead of getting the “safe shots” that everyone else is making, do something or go somewhere different. It is a tough business to be an editorial freelancing photographer. There are very few staff jobs available and I am very, very fortunate to be able to work consistently on editorial assignments. Having a mentor has helped me navigate the photojournalism industry and get feedback often. And Doug Mills couldn’t be any more nicer, wiser, and generous towards younger photographers like me. I am very lucky to have him as a mentor.
Can you share thoughts about your process for covering the election?
My process of covering the election, again, was mostly informed by the NYT’s mission in searching for strong and unique visuals that help provide the readers more context. Therefore, when I covered campaign events, I was trying to keep an eye on details, subtle moments, etc. that might have been overlooked.
For the most part, when I covered candidates, I either joined them on the tarmac as they landed in the city of a rally or campaign events, or I did preset at the rally venue. There usually was not much of a location scouting for me, per se, before events actually started. I would have some ideas of photographs that I would like to make but also need to constantly remind myself to be alert and flexible as anything could change in a split second. I finished my year-long NYT fellowship at the end of May in 2023 and have been freelancing since then. I am extremely fortunate to have continued working for the Times, but most of the campaign coverage I have done was during my time as a freelancer.
Can you share the mood, your approach, what it was like photographing VP Harris?
The SNL photos are more of moments from a photo spray than a project. As VP Harris finished a campaign rally in Charlotte, North Carolina, and was scheduled en route to Detroit, Michigan, the traveling press was told midway through the flight that we were making an unscheduled stop in New York City. After holding for more than three hours, the traveling photographers were brought into the SNL studio and when Vice president Harris took the stage, we were given the time of the cold opening to photograph her interacting with comedian Maya Rudolph. Audience members erupted as they saw her on stage and the mood was jubilant.
When I photographed VP Harris, I was always trying to find moments that she was more introspective, not performative. I would try to educate myself about the news of the day and observe how it affects the mood of hers, as well as her campaign’s.
What is a photo spray?
A photo spray is when press photographers are brought into an event or meeting for a short period of time to photograph. It can range anywhere from 10 seconds to 5 minutes.
Where were you on election night and what was your assignment? Take us to that moment – what was going on in your mind as the results rolled in?
I was assigned to photograph Republican presidential nominee, now president-elect Donald Trump’s election watch party at the West Palm Beach Convention Center. There were supporters of Mr. Trump trickling in throughout the night, wearing his signature red “Make America Great Again” hats, and lining up at mini bars for drinks. There were many TV news outlets and photographers on a riser and on ladders at the back of the ballroom where the watch party took place. The mood was jubilant among the crowds as the election results rolled in. Many news reports stated that we wouldn’t know the election result on election night but I was prepared for anything that might happen. It was incredibly fast as the results rolled in and the crowds’ mood improved significantly. I thought to myself that there was a good chance that we would know the result tonight and Mr. Trump would take the stage once his margin of victory widened more. Therefore, I was keeping an eye on the movements on stage as well as the TV screens.
What moments were you looking for that evening and what stood out to you during those subtle times? As news coverage as the election results rolled in I was looking for moments of either despair or jubilation among former president Donald Trump’s supporters, depending on how the electoral map looked. More importantly, I tried to keep an eye on more subtlety, people chatting, taking a moment for themselves, etc.
At the end of the election night, after president-elect Donald Trump’s remarks and his supporters exited, I noticed workers of the convention center started cleaning up the plastic cups as well as other trash discarded on the floor. I photographed the workers bending over to pick up trash, with the America-themed lights as background.
Photographically covering an election requires a range of elasticity and neutrality for your own personal feelings, how do you stow that away?
When I am working, I am focused on making photos that help illustrate a story and identify moments that sometimes writers may have overlooked; and I’l fairly good at compartmentalizing. When I am off, I do not spend time thinking about work and instead, I focus on my hobbies, such as Legos and reading. As a journalist, I remain neutral to whomever I may cover and my number one goal has always been fair coverage. It is not my job to insert my personal feelings to make the public feel certain ways. My job is to be their eyes and bring photos to the audience for information consumption.
How do you take chances or risks to convey a point of view?
When I see a photo with potential, I would stick with the frame. I may miss other photos but it’s a risk worth taking. For example, the snipers photo at Mr. Trump’s rally that you mentioned, took five minutes for me to be in the same spot, to get the right symmetry and composition. That means I might not have photographed the candidate himself or his supporters behind me during that five minutes. That being said, I always photograph with both of my eyes open, so I could see peripheral movements while photographing.
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
FOREWORD TOM CHAMBERLIN // WRITTEN AARON SIGMOND // PHOTOGRAPHY IAN SPANIER From AARON SIGMOND (author of The Impossible Collection of Cigars) and photographer IAN SPANIER, the team that brought you PLAYBOY: The Book of Cigars & ARTURO FUENTE: Since 1912, comes a work of literary nonfiction artfully lavished with award-wining documentary photography.
CIGARS: A Biography.
February 2025 will mark the arrival of CIGARS: A Biography, an extraordinary undertaking more than 15 years in the making that deftly combines the remarkable talents of author Aaron Sigmond and photographer Ian Spanier in their fourth collaboration.
Richly illustrated with exclusive photography by Spanier—shot on location in Cuba, the Dominican Republic, Nicaragua, Honduras and Mexico, as well as across the United States and throughout Europe—and penned by Sigmond, CIGARS: A Biography is part history book, part travelogue, part photographic monograph and part luxury reference book. It all adds up to a comprehensive survey of cigars that weaves in the narrative tapestry of Sigmond’s more than 35 years as a renowned cigar connoisseur. Over the decades his travels have taken him (often accompanied by Spanier) to cigar factories and tobacco farms throughout the Caribbean Basin, Europe and the United States, as well as cigar merchants and lounges around the world.
This hand-bound illustrated volume is presented in a handcrafted cigar case–inspired slipcase, a must-have for any cigar aficionado. Included as well is past work from Spanier, blended seamlessly with unpublished photographs taken in the last decade and a half, and all-new images shot specifically for CIGARS: A Biography over the last two years. The result is the book Sigmond and Spanier have long envisioned. It was designed by award-winning creative director Liliana Guia. “From a photographer’s standpoint, a comprehensive body of work like this signifies a deep exploration of the subject, capturing nuances and intricacies over time,” Spanier says. “The evolution in my approach reflects not only a dynamic journey but shifts in composition, lighting and perspective, showcasing my growth as a photographer and, equally, my growing desire to visually interpret the complexities of this distinctive subject.”
PREORDERS OF CIGARS: A BIOGRAPHY ARE NOW BEING TAKEN EXCLUSIVELY AT SigCulture.com & AT SELECT CIGAR MERCHANTS WORLDWIDE.
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
