Photographer/Cinematographer: Joseph Seif
Pianist and Composer

Heidi: You’re a multifaceted creative, synthesizing photography, filmmaking, painting, composing, and creating music. How does each skill inform the other?
Joseph: For me, it all began with the piano. I started playing at a very young age, and at the same time, I was the kid that sat in the back of the classroom sketching everything, with my head in the clouds. As I progressed musically and artistically through many years of classical piano training, I found that being a pianist unlocked a series of other doors in the realm of creativity. I became more attuned to nuance, emotion, atmosphere, and the contrast of light and shadow. This innate understanding, thanks to studying the likes of Satie, Ravel, and Rachmaninoff, as well as diving into the works of Sargent, Bouguereau, Avedon, Lindbergh, Koudelka, and Salgado allowed me to jump right into painting, photography, and cinematography, spending many years honing each skill to the point where I find myself “medium-agnostic.”

I’ve been told many times that I risk being a jack of all trades when I don’t focus on one thing. That never sat well with me. I’m much happier and more productive when I can switch mediums depending on what I want to express. I look at the Renaissance for inspiration, where multi-faceted creativity was celebrated and surpassed the limitations imposed by the expectations of a single and defined profession. When I was training as a cinematographer with the late Vilmos Zsigmond, he taught me to paint a set with light. First with the wide brush strokes of large sources, creating deep contrast that can be felt with eyes closed, then rendering details with smaller sources. Vilmos was widely known for his distinct visual style, often referred to as “poetic realism” and his mastery of cinematography came from a deep understanding of the human condition. A reflection here, a shadow there, making a composition sing with light and shadow, and somehow tapping into the unknown. That felt just like composing for the piano to me, or connecting deeply with a subject matter in photography.

Even as my photography and cinematography careers took off, I never stopped making music, having released two full-length albums of original piano compositions and currently working on my third. I’m deep into painting as well, studying at an atelier in Los Angeles with a focus on realism. I strongly believe my work in other mediums has ultimately made me a better photographer and cinematographer. Being a multi-disciplinary artist has also heightened my sensitivity and empathy substantially, and I find that I can usually connect with my subjects and clients effortlessly when making portraits or photographing commercial campaigns or assignments.

How do you manage your creative resources as you’re wildly prolific?
It’s always a challenge, but with the right amount of time management, anything is possible! When not on set, my days are divided into 4-hour sections where I balance client interactions, admin time for my business, personal creative projects, and most importantly, parenting. I also have “seasons” where I’m focused on one medium over another. For example, a typical week would entail prepping for a shoot, being on set capturing campaigns for major brands, managing post production, and being present and very much focusing on my seven-year old daughter. I’ve also recently joined the board of directors at APA-LA, so that’s been keeping me busy with new opportunities to serve our photo community. So I tend to compose at night, with headphones on, and after many months when I’ve had everything dialed in and written down, I would go to a fantastic studio here in LA and record everything in just a few days. On weekdays when I’m not on a shoot or in pre-pro, I will typically be painting or working on a personal photography project.

For inspiration, I find that the ocean does incredible things. I’ve taken up sailing, and will hop on my friend’s timeshared 36-foot sailboat once or twice a month to cut through water with some dolphins in Santa Monica Bay whenever I feel creatively stuck. It’s also been tough to stay creative with the horrific current state of the world, so lately I’ve been turning my lens onto environmental issues I care deeply about, such as the human impact on the polar regions and ocean conservation. That comes with an inherent sense of purpose, which is even more fuel for creativity. No matter what it is I’m doing, it always feels like a race against the clock as I tend to work in big bursts of energy, which I somehow channel like an antenna in a thunderstorm!

When you are composing music, are you seeing images?
Yes! It’s hard to describe perfectly. Sometimes I’m seeing nostalgic images that have velvet edges and blue, purple and magenta hues. Other times, I feel a heavy weight in my chest that flows through my fingers until it all exists outside of me. I also see light and shadow, or more accurately, I sense contrast. There is a lot of pain and beauty inside and outside of us, it’s everywhere, and I tap into it very deeply. Sometimes that manifests as colors and imagery, other times as a force that propels you or pulls you in like a freight train or a black hole.

Is the inverse also true, that by creating imagery you hear music?
I don’t hear music when making images, though I love to have good music on in a portrait session. Especially something that will influence the direction I want to take the work in. I do often get the same feeling in my chest while on set though, that intuitive push/pull towards the desired outcome of the work, especially when it comes to light and contrast.

Tell me about your upcoming project Midnight Sun, what is it and how did it come about?
I began work on Midnight Sun three years ago. It’s essentially a collection of personal images captured during assignments in Antarctica and the Arctic. In this work, I wanted to not only focus on the epic natural beauty of these remote regions but also the pressing issues of human impact, militarization, over-tourism, mining, and the effects of colonization on indigenous communities. The experience of visiting the Antarctic and the Arctic have been nothing short of life-changing for me. It ignited a sense of purpose and urgency to take my personal work in this direction, despite being a commercial photographer and cinematographer for most of my career with little experience in landscape photography and reportage. So I tried to keep everything authentic to how I see and feel things, which led to shooting this typically more documentary-style subject matter with more of a fine art aesthetic.

Midnight Sun is taking the form of a book and a music record – the images for the most part are devoid of people, a contrast to your commercial work. How did you expand creatively during that project?
Midnight Sun, while (mostly) devoid of people, is really all about humanity! It’s about our relationship to nature, our need to dominate and conquer resources, and our incessant urge to impose our way of life on indigenous communities. But it’s also about the beauty and fragility of our planet, our responsibility as stewards of the Earth, and our spiritual growth as a species going through some tough transitions. I experienced all of those things while in the polar regions and it completely transformed me and how I view my role as an artist in this era. The work is complete and is currently being shopped around with several publishers in proposal form. I am also deep in the process of composing my third record, which will accompany the book as a “soundtrack” of sorts. Unlike my last two albums, which were primarily classical piano records, the Midnight Sun record will have a more orchestral and “cosmic” sound that comes from the use of analog synthesizers along with acoustic pianos. It is influenced by more modern composers such as Vangelis, M83, Yann Tiersen and Max Richter, but infused with my own personal style of classical piano. Like the last two albums, I’m planning on releasing it on vinyl along with the book, as well as a boxed set.

How did the Lecia relationship begin, and what are you working on now?
I’ve been photographing my personal work with a Leica M6 since the mid-2000’s. This led to a book I published in 2019 called “Onward,” which is a collection of black and white images captured while on the road for 12 years as a cinematographer on travel assignments, mostly taken with my M6. Along with several great bookstores such as Hennessey + Ingalls, Skylight Books, and William Stout Architectural Books, Leica LA and Leica NY began to carry the book, which has done really well and almost sold out the first edition. I also had the opportunity to work with the late John Kreidler early on in my photography career, and he became Leica’s director of education well before he passed away last year. He was kind and gracious to me as always, and introduced me to some wonderful people at Leica. Then there’s the amazing Paris Chong! The curator at Leica Gallery LA, who is an absolute gem in our industry. She has been instrumental in guiding the direction of my Midnight Sun project, and I’m very grateful for her insight and encouragement.

On a related note, I use Leica’s SL-series cameras and lenses for all my commercial photo assignments, and all of Midnight Sun was captured with the same cameras and lenses as well. Those cameras and lenses have been incredibly compatible with how I make images, with beautiful color science and deep, rich blacks that make the images feel like you can dive right into them. I also often use Leica cinema lenses in my cinematography work. Essentially, I view Leica as a partner on both the artistic and the technical side to keep my photography evolving into the future.

With commercial work, have you found it necessary to narrow down what you’re known for? 
My commercial photography and cinematography work is also wide-ranging. I’m interested in so many things, especially in authentically capturing images of people doing things. So in a given month, I find myself working on fashion campaigns, editorial portrait assignments, automotive campaigns, advertorial portraiture for healthcare and technology companies, lifestyle image libraries for brands, and even underwater work, such as the two Toyota commercials I shot for the Olympics featuring members of the USA swim team. I’ve always been a hybrid shooter, so while I’ll either come onto a union commercial as cinematographer, or capture an advertising campaign as a photographer, I’m most often doing both and have been developing and building a signature workflow for hybrid campaigns for many years, to the point where it’s what I’ve become known for and what I naturally gravitate to, work-wise.

Photographer, Filmmaker, and Conservationist: Florian Schulz

Heidi: We are a culture distracted by screen and cell service – is your photography and film work partially an act of resistance?
Floiran: As a photographer and filmmaker, I often find myself at the intersection of creativity and technology. While social media platforms like Facebook and Instagram are undeniably powerful tools for sharing work and connecting with others, I have a complex relationship with them. On one hand, they provide valuable insights into the work of colleagues and friends, as well as access to news and thought-provoking statements. However, I also see them as significant sources of misinformation, where quantity often trumps quality, and the loudest voices can overshadow meaningful content.

In my personal life, my wife and I have made a conscious decision to limit screen time for our children. Our 9- and 13-year-olds do not have cell phones, and screens are not used for entertainment. (We do watch nature documentaries on the TV) This choice has allowed them to develop remarkable creativity and a keen awareness of the world around them. They observe how excessive screen time affects their peers, and it’s heartening to see them thrive without the constant distraction of digital media.

In this sense, my photography and filmmaking can be seen as acts of resistance against the prevailing culture of distraction. By focusing on creating meaningful, high-quality content that encourages reflection and engagement, I aim to counterbalance the fast-paced, often superficial nature of social media. My work is about capturing moments that inspire, provoke thought, and foster connection on a deeper level.

Moreover, the process of creating art without the constant influence of social media allows me to tap into my own creative potential more authentically. It enables me to explore themes and ideas that might not fit into the algorithm-driven narratives that dominate online platforms. This approach not only enriches my work but also contributes to a broader cultural dialogue that values substance over spectacle.

Ultimately, my goal is to inspire others to step back from the screens and engage with the world around them. By doing so, I hope to contribute to a shift in how we consume and interact with media, one that prioritizes depth, creativity, and genuine connection.

Nature is wild and she works on her terms – how has this lack of control informed your creative work and life?
Yes, nature is wild and unpredictable. That is exactly what I love about my work! This career that I have chosen is not such much of a simple job, work, a career, – it is rather the inevitable path I had to walk because of my passion for wild places, the adventure that comes with it and the desire to be in the presence of wild creatures. To do my work well, I need to be out in the wild for extended periods of times. This has always been my goal and accordingly I have chosen projects that allowed me to do this. What is beautiful about it is that one has to let go of control and especially when documenting wildlife I have to give in to a more organic approach. Sometimes when I am waiting for hours for an animal to appear or a certain behavior to show this work has a meditative element. I have to be here and now in the present. The sounds, sights, smells – the wind and weather conditions. All of it is important to take in or to capture in a series of photographs to document an ecosystem with its wildlife. I love the idea that moments and images have to “come to you”. The animals have to present themselves, that is when the good images get taken. After doing this for so many decades I also realize that it is not just the final image that counts for me – but the entire experience.
As all of this takes a lot of time, we are just now at a particular crossroads. Even though I have always tried to have my family be a part of the adventure it was only possible at certain times. We are now embarking onto a new path where we are going to be exploring the wild as an entire family. We will start with some of the most exciting wild places across Alaska. From the fjords and forests of South East Alaska to the Arctic Tundra of the North or the bears coast along the Alaska peninsula.

Does all your work come with a call to action? If a photographer wanted to get started supporting a cause, what’s the best way to start?
You are right that a lot of my work over the past decades has been mission driven and often included a call to action. The hope to help with the conservation of ecosystems comes across in the stories I tell through my images. As a conservation photographer, my goal is to inspire viewers to care about the natural world and its wildlife. Whether it’s documenting the majesty of wild places or highlighting the challenges faced by endangered species, my work aims to raise awareness and encourage action.

For photographers looking to support a cause, I would recommend starting by identifying what truly resonates with them. It might be a specific species, ecosystem, or environmental issue. Once you’ve found your passion, immerse yourself in learning about the topic. Collaborate with experts, such as scientists or conservationists, to gain a deeper understanding of the challenges and potential solutions.

Networking is also crucial. Join organizations like the International League of Conservation Photographers (ILCP), which I co-founded, to connect with like-minded photographers and learn from their experiences. Engage with conservation groups and consider partnering with them to amplify your message.

Lastly, use your platform to share your story. Whether through social media, exhibitions, or publications, make sure your work reaches the right audience. Remember, the power of photography lies not just in capturing stunning images but in inspiring change and motivating others to take action.

In my own journey, projects like “Freedom to Roam” or the effort to help with the permanent protection of the Arctic Refuge have shown me the impact that visual storytelling can have on conservation efforts. By sharing compelling narratives and images, photographers can play a vital role in shaping public awareness and influencing policy decisions.

What cues do you recall when your first realized your photography/filmmaking gave agency to the biodiversity and landscape, presenting the Arctic as worth protecting rather than just a barren energy resource? 
I believe a big reason why conservation was such a big topic for myself from early on was me growing up in Germany. In Germany and across most European countries we had lost large interconnected wild ecosystems. While we have a 1000 year old castle around the corner from where I grow up, we had lost wild places. This feeling of loss, made me cherish the big wild places across North America. Whether it was the Greater Yellowstone Ecosystem where we would still find bears, bison, elk and wolves, or the wild coastlines or the Arctic where the ancient caribou herds would still roam. There was never a time where I could look at these great arctic landscapes as “barren wastelands”.
The fight for the Arctic Refuge has been going on for many decades and I have been involved with the Refuge for the last 25 years. It has always been a collaborative effort to fight for the Arctic Refuge alongside the Gwich’in People and many conservation organizations. My images and film work have been a central part in a lot of these efforts and campaigns. From big live speaking tours, many magazine articles to massive signature campaigns, like during the #ProtectTheArctic campaign that inspire millions to take action. This campaign resulted in an unprecedented 6 million comments submitted to the U.S. Fish and Wildlife Service, effectively stopping seismic testing in the Arctic Refuge. Unfortunately, the battle the Arctic Refuge and other wild places is long lasting tug of war.

What can you share about this image from your coffee table book, To The Arctic?
I near a group of muskox bulls and find myself wishing for a musk ox’s coat to protect me from the weather. Their long guard hair hangs from their bodies like beautiful overcoats. Underneath, their wool is eight times warmer than the highest-quality sheep wool.
I feel the gripping cold, especially on my face, where the snow crystals lash my skin like grains of sand. But I am excited about this turn in the weather. It allows me to create photographs that show a true Arctic scene, with conditions these musk oxen have to withstand many times in the course of the year.
The wind becomes so intense that the animals almost disappear behind a curtain of blowing snow, their long hair rippling around them like soft cloth. I try to get close enough to capture their image before the sun dips behind the ridgeline. Dropping to my knees, I frame the scene as the last rays cast pink light on the musk oxen’s fur.
Then something magical happens. Three bulls take off from the group, heading directly toward the setting sun. For an instant they are in perfect formation. The blowing snow is so thick that it makes the three bulls seem to float magically above the ground. A photograph of a lifetime-and worth everything I had to endure to get it.

Patagonia celebrated your conservation work for ANWR in their Fall catalogs (2016 and 2024) both being election years, what feels different this second time around about impacts we can make as individuals and collectives?
I’m honored to have been a part of Patagonia’s conservation efforts, including their campaigns highlighting the importance of protecting the Arctic National Wildlife Refuge (ANWR). The recent “Alaska Needs You” campaign underscores the urgency of our collective action. What is different today after the recent election: “ Alaska Needs You More Than Ever! “ However, it is not just about Alaska; many wild places are under threat due to a wholesale mentality of exploiting public lands and resources, which will ultimately rob future generations of their natural heritage.

The current landscape is complicated by attacks on democratic values, the environment, public lands, and marginalized communities. Misinformation is a significant obstacle, as it often misleads people into believing that exploiting public lands will benefit underprivileged Americans, when in reality, it primarily enriches corporations and billionaires.

However, I remain hopeful. There is a growing recognition of the need for collective action. By coming together as a community, we can fight against these challenges and protect our planet’s biodiversity. The power of collaboration, as seen in campaigns like “Alaska Needs You,” demonstrates that when individuals and organizations unite, we can inspire meaningful change and safeguard the future of our wild places.

You’ve called Alaska home for the past 15 years, a place where mining, drilling, and extraction remain real threats to land, biodiversity, how are you thinking about your work these days?
Every day we are chipping away at the last open spaces and wild lands. The current administration is doing this at a massively accelerated pace. Unfortunately, it is the same old story that is repeating itself. The main difference is, that we have less and less wilderness around us and the speed of exploitation is ever faster. What I am planning to continue to do is fight the same old fight but with different stories and from different perspectives. I personally have to pace myself and also consider my children. If I will always bring up all the critical things I see it is hard for them to be joyful. All this consciousness weighs hard on myself and that gets passed on to them. I want to let my children go and see the beauty of this planet with their curious joyful eyes. So in the coming years, that might be part of the way I will tell stories for us to protect earth for future generations.

What are you working on now?
I am currently putting on the finishing touches on a presentation I will give at the Patagonia Soho Store in New York City on March 19th.
At the same time we are in the middle of planning multiple expeditions across Alaska. This spring we are hoping to document bears coming out of their winter dens. We will also be working in areas across the vast coastal areas of Southeast Alaska and later in the summer across Arctic Alaska. My family will be part of many of the expeditions.

Tracy Barbutes

Graphic Design / Art Direction:  Elle Rotstein 
Photographer: Colin Sussingham

Heidi: Was the desire to make something tangible born from getting away from the computer, screens, and behind a lens?
Colin: I’d say the goal generally for my personal work always has that in mind. Making something physical, whether it’s a book, zine, poster or just prints is really important to me. As a society we’re obviously fed way too much imagery through social media, streaming and advertisements, so making something that is tactile and can give the viewer a moment to pause and actually hold printed work is something special and meaningful to me.

How much did the cultural immersion of being in Milan for the Gate 44 residency inform the work?
Milan as a city didn’t play much of a role. All the photographs were made prior to us arriving in Milan, and my wife, who attended the residency with me, had completed 75% of the layout prior to us arriving as well. We treated the residency like a full-time job, so we mainly got to explore the city in the evenings and on the weekends.

Are these pairings commentary on biomimicry?
Biomimicry definitely comes into play. A lot of the work I’ve been shooting over the past few years has related to that theme in some way. Not only how we as humans copy what we see in nature, but finding moments within nature that relate to each other. Finding connections and also moments of contrast. There were some pairings that came from happy accidents and some that were much more intentional. A lot of it is to the credit of Elle’s art direction though. She spent a lot of time composing the layout

How did this idea evolve, and were you and your partner involved in the program?
We were invited to do the residency in March of 2024. Our time slot was going to be the first two weeks of September that year, so we started working on the project pretty much immediately after we found out.
My wife is an artist and we collaborate often on projects, she did the art direction and design/layout of the book. We hand-printed it with two print/book binding technicians from the residency.

Was this more of a book-making process and photography sequencing experience?
Yes, our intention was to create something special between the two of us, and different from what we both typically create as artists. Both Elle and I have printmaking experience from our college days, but this was a totally new direction for me in terms of creating an art object. I’ve been combining analogue techniques with my photos for many years now, but I had never thought about hand binding my work. This experience definitely opened my eyes to another level of photography and presentation that I would like to continue to explore. In terms of the concept and photography sequencing, it was very fluid and experimental. We didn’t have a concept at the start, we just gathered inspiration and let the idea behind the book unfold naturally.

This looks like 4 accordion signatures, hand-bound with a belly band – were all these new techniques for you?
Yes these were new techniques for us. One of the technicians at the residency is focused solely on book binding, so she was there to walk us through the process and bind the book while we worked on printing and the design.
If the book is open end to end, it’s about 18 feet or more. We printed on two different kinds of paper, so the pages had to be glued page to page with an overlap at certain points.

Can you describe a typical day in the Gate 44 program?
There’s an apartment at the residency so you’re staying right next to the studio. We would normally start working around 9am, break for lunch, (Italian work lunches are apparently around 1.5 to 2 hours, which we loved) fresh pasta from a small family run spot that everyone who works at the residency goes to. Of course finish with a coffee or tiramisu before going back to work until 6pm. Then we’d explore the city, have dinner or meet up with friends at a bar, sleep and repeat.

Assume all the photography was collected before the project and then the body of work took shape while there?
All the photographs were taken before, the majority of the design and layout as well. The first week was mostly experimentation and troubleshooting with a variety of media and printing methods (collage,silkscreen,relief printing,painting,burning). The second week was focused mostly on printing and binding. We made an edition of 4 books.

What are you working on now?
I’m working on publishing a new personal photo book that I’ve been shooting since 2020. In the process of reaching out to publishers currently.

Sarah Sherman

Heidi: You attended the event as a photojournalist and part of “the huddled masses” – can you unpack how you felt like you were both?
Sarah: Everyone was expecting D.C. to be cold, but as all major events moved inside or were canceled entirely, everyone was left outside with dwindling options, including press.

The photographers with indoor access were swiftly cut down to a slim group of AP and White House Press Pool photographers stationed inside. Most press passes became mute—they didn’t get you inside the Rotunda anymore. You had access to the streets like everyone else.

The Capital 1 Arena was opened as a holding shell for the simulcast. It was the official backup location, so that’s where most of the core base of Trump supporters were going, and I was going with them. We all walked together trying to find the place.

As part of the “huddled masses,” I shared in the frustration, cold, and confusion. But as a photojournalist, I was there to observe and catch the images that illustrated this complicated political and emotional backdrop, and the historic day. Being in the cold gave me a physical show of the disparity between the wealthy attendees’ experience and that of the everyday supporters.

The city was fenced off like a maze. Members of the Special Services, police, National Guard, and military manned the barricades. As such, they were the only people to ask for directions. We asked guards at every gate we passed. They simply didn’t know where the Arena was or how to get there, and it seemed they hadn’t been told. And it seemed like it was on purpose. The disorganization and lack of information for the people felt almost cruel, or, to assume the best of the Trump Administration, a huge failure in planning.

There was a massive lack of pomp and circumstance. Sharing in the same experience as the average Trump supporter showed me the event’s class divide—for the more well-to-do attendees there were packed and patriotic schedules—spreadsheets filled with exclusive galas, private watch parties, luncheons, music, and a banquet of indoor events that you either had to pay quite a lot for, or be invited by an insider. For the average person the choices were to either wait in line for two hours to see Trump simulcast on a screen, or watch from a bar if there was any space/tickets left. Most bars and restaurants were not allowing free entry to see the inauguration on their TVs.

You did a stellar job at dealing with comments on IG about the bag pile and the polarizing narrative by thanking the person for their insight and knowledge. In a few words, how do you use respect as a tool during these dynamic times?
Yes, a woman in my comments wrote that the experience I described of attendees being required to throw their bags into a trash pile to enter the arena was not her experience at all. I know what I saw, so I took no offense. I sent her a link to a video of all the piles of bags. She commented back that actually her bag was one of the bags in that pile, but that it was more than worth it for her, and that’s why she did it. I thanked her for sharing that honesty, because that is the truth that people want to hear. A lot of Democrats would be quick to ask what could compel someone to throw an LV purse away to see a simulcast in an arena, but when we listen, we often get the answers. I really felt honored that she was able to let her guard down and share that with me, and my followers.

You had a lovely and very human framing of your images on IG, “We are all brothers and sisters on this earth together” – how do you let those you are photographing know you come in peace and respect?
We really are all in this together whether we like it or not. The hate won’t help. Things might get a lot worse and they might get better–those who voted for him will experience the outcomes too, just like people who didn’t vote for Trump. The way I view it, there is evidence in the world to support any conclusion. Respect is about recognizing the humanity behind every perspective, even when it’s challenging.
My approach is rooted in nonverbal safety–I try to attune to the emotion of my subject and match it so they see me seeing them. I rarely cover my face with my camera—I want them to see my eyes and share a moment with them. Or if they’re smiling and singing I smile and sing too so they know I’m with them, and not here to embarrass them. By being present and engaging with my subjects in a truly curious and nonjudgmental manner, they know I am a friend. Sharing moments of camaraderie—whether through conversation, shared laughter, or simply by showing gratitude for their openness— helps establish that trust. When people feel respected, they’re more willing to let you into their world. And how boring would it be if I only knew people who dressed and thought just like me? I want to see the circus. I want to be immersed in the circus.

Observe History: As an observer, you bring an aesthetic and POV with your framing and the moments you select. What were you trying to communicate with this image set?
I wanted to show moments of extreme highs–screaming, singing, embracing–with more somber images of people in the cold, to show the whole gamut. The “huddled masses” and their sacrifices and big emotions were so visually different from the exclusivity and mild smiles of wealthier attendees’. I was highlighting the tension between unity and disparity.  By highlighting the perseverance, emotions, and camaraderie of the people in the cold, I wanted to show the commitment and resilience of everyday individuals, and what that looks like. There were high spirits amidst harsh conditions, reflecting a realistic view of the event–Trump’s supporters were all there because they wanted to be, and come rain, snow, or shine, they were not giving up on seeing him sworn in, even if they were left out in the cold.

What was left out of frames on the image sets? Meaning, what was happening outside the frame that didn’t support your POV, if anything?
Some moments of hostility among the attendees were left out—not that they didn’t happen, but if there was a fight in the Capital 1 Arena line, the offenders were removed immediately, and the police were quicker than I was. These next four years will be a shared experience for all Americans no matter if we voted for him or not. Images that reinforced oversimplified or harmful stereotypes were left out. Images of angry white women were left out (too much of the blame for Trump’s success has already gone to women). It’s important for me to show viewers that not just white Americans attend these events. I wanted to include what I believe is a powerful and underestimated diversity amongst the President’s supporters. Additionally, the experiences of those inside luxurious events weren’t my focus. I didn’t include images of law enforcement even though that was a staple for me when I documented the Republican National Convention. They weren’t the focus, the people were. I caught glimpses and images of opulence in hotel lobbies, or in lines for fundraising Galas, and even outside, but the story to me was more about staying aligned with what I really saw–the narrative of the “huddled masses”, and what seemed to me like a suddenly discarded pillar of Trump’s supporters–the poor and working class base.

How did you get to the point where they were dropping pants to show their tattoos in total elation?
Moments like these are often born from genuine camaraderie and mutual trust. He was elated, he was so proud to show me his tattoos and that his commitment to Trump had paid off. And that his guy won. I encourage people by talking to them while I’m photographing. I say what I really feel, and I give them compliments; “Dude, this is insane and badass, you’re so brave,”. When he dropped his pants, I knelt down on the floor of the bar to look. Once I did that, a whole crowd gathered to take their own photos because they saw his art being respected and they realized he wanted his art to be seen. My ability to connect with people from a place of curiosity—without judgment, human to human—makes people feel comfortable and safe enough to express themselves freely. Moments of unfiltered reaction are easily able to be photographed when people feel seen and respected.

By being present and effusive in a celebratory atmosphere, I build verbal and nonverbal rapport with my subjects through shared energy and curiosity. Their joy makes me feel joy, because it’s very real and it’s intimate. When I hear a man belting out ‘Glory Glory Hallelujah’ with the choir on the bar TV, I feel the power and vibration of his voice and how genuine his feelings are, even on a controversial subject. I can feel their relief and excitement. In those moments I am totally present with them, not thinking of any potential “worst case scenario” outcomes of the election. In those moments I am embedded in the atmosphere and that alignment allows the images to almost flow through me with very little decision making.