The Daily Edit – Midnight Sun: Joseph Seif








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.

The Daily Edit – Florian Schulz and the vital role photography has in shaping public awareness and influencing policy

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.

One of the oil drill pads at the edge of the Arctic Refuge just west of the Canning River delta. Oil companies have pushed for opening the Arctic Refuge to the east of the Canning River for oil development. Canning River Delta, Alaskan Arctic

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.

The Daily Edit – Tracy Barbutes: San Franciso Chronicle

Tracy Barbutes

Heidi: Being based near Yosemite National Park for over two decades, how did the Rim Fire change your perspective on today’s wildfires?
Tracy: This was my first intimate experience with wildfire, as a photojournalist and as someone directly impacted by the fire. Our neighborhood was asked to evacuate, but I returned home each night to a smoky home, where I watched from my kitchen window as flames encroached into our community. I observed national and international media materialize into and out of our rural, gateway community, bringing with them certain ideas and prejudices, many of whom had almost no experience in a wildfire landscape. I witnessed fear and uncertainty in the region, especially in the early stages, which brought about a lot of mis- and dis-information. I listened to many Monday morning quarterbacks. With each new large fire, I cringe when I see similar behaviors. Here’s what I learned to be true – the firefighting personnel (firefighters, dozer drivers, sawyers, air attack, water tenders, incident commanders, etc.) – all share the common goal of wanting to protect people and property. All of this informs the work I generate with each new fire. At the time, the fire was the third largest in the state: it burned 400+ square miles. Given what the state has experienced since then, it now seems almost quaint.

How did the Public Information Officers impact your understanding of how to safely document fires?

I owe the Rim Fire PIOs a world of gratitude. I spent many days on the fire line with them, often 1-1, and they gave me the tools to walk confidently, knowledgeably into a wildfire. They also taught me about chain of command, and most importantly, they encouraged me to take the US Forest Service Basic 32 (it’s now called Basic 40). The following spring, I took the course, training with folks who went on to become firefighters. The course gave me an understanding of how fire burns in different conditions, as well as what it’s like to be on the ground as a firefighter. All of it, the PIOs, the courses – informed the work I create and how I create.
In your mind, how has social media impacted the natural wonder of the Firefall, if at all?
Having lived near an entrance to Yosemite for more than two decades, I can say that yes, social media has brought a lot of attention to Firefall. There are now required reservations to enter on weekends during the event, whereas it was a beautiful, quiet, peaceful, reflective, somewhat non-event in the pre-social media obsession days.

Once the American flag unfurled from the top of El Cap, how did the crowd react to the protest during Firefall?
There wasn’t any one big unfurling moment, so there wasn’t a collective gasp or anything from the crowd. There were mixed reactions on the ground as the flag became more visible. I heard a lot of different chatter as I moved around those gathered to watch Firefall:
“Is that a Puerto Rican flag? Do they realize the flag is upside down? Are those trump supporters up there? Oh, I wonder if this is a protest? If this is a protest in support of The Park, then I am all for it. I don’t appreciate it – no hand of man. I don’t think it should be there.”
People mentioned that they would crop the flag out of the photo if it was still there during Firefall.

Did you understand this as a historical moment considering the threats to our public lands and those who care for them? 
I didn’t understand the historical magnitude at the time, as I was focused on creating imagery and meeting deadline. With a bit of space between now and then – I absolutely understand how the act, and the imagery, ignited awareness and action. I believe the real discussions, the emotion, the action, the new acts of resistance – began once the San Francisco Chronicle (and eventually others) published photos of the flag in distress.

Did other news agencies inquire about using this photo?
Many. I did license the image to a few other agencies – as time has allowed. I’m a one-person operation, and I have been working out of the area on other assignments since the event.

Have you navigated usage and copyright infringement before?
I have had to go to battle to protect one of my registered copyrighted images. Several years ago, I noticed one of my images on a billboard while driving to an assignment. I knew exactly who I had created the image for, and we had a very clear-cut photo agreement that did not involve using my work for a billboard. My first call was to the National Press Photographers Association’s (NPPA) legal counsel. I am a member, and it is another invaluable organization for photographers. They connected me with a copyright attorney, and I took on the fight with her minimal, and sage, counsel. I couldn’t afford expensive legal bills-hence minimal counsel. It was wickedly stressful and enormously empowering – and I won. Photographers – register your work with the U.S. Copyright office!

How has being part of Women Photograph supported your career thus far?
Women Photograph’s mission is to shift the makeup of the photojournalism community and ensure that the industry’s chief storytellers are as diverse as the communities they hope to represent. The private database includes more than 1,400 independent documentary photographers based in 100+ countries. WP consistently promotes members’ work, directs members to grant and learning opportunities, and it was a lifeline during the pandemic. It’s a safe space for members to ask questions, vent, share knowledge, support and encourage one another. It’s an invaluable organization that has created, and continues to create, opportunities and awareness. If I may say, this is a non-profit organization, please consider a donation.

The Daily Edit – Gate44 Artist in Residency : Colin Sussingham






   

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.

In this age of digital overload, what suggestions do you have for those who want to get started making something physical?
My advice would be just go for it and don’t be afraid to experiment or mess up. I’ve been making zines since 2009 and to this day I still make some on a shitty laser printer at my house, and I still mess up my sequencing and flipping pages incorrectly when trying to print front and back. It’s all part of the fun and the process for me. There’s a ton of websites that offer affordable and high quality zine printing and many helpful tutorials on how to lay out artwork for print. Or if you have any friends that work corporate jobs you might be able to get them print some off for you at work. I did that for years. 

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.

What was the creative intent of the book Constructive Interference?
This will be a long answer because there were multiple steps that brought us to the book concept and title. Originally we didn’t have a fully thought out idea. I took 100s of photos based off of Elle’s creative direction and my personal inspirations and then she sat with everything and made connections between the new images and many from my archive. Since she’s also an artist that mostly works in analog, we both collaborated on altering my digital works through collage and painting and then retaking photos of the new pieces to bring them back into the digital world.  The concept grew organically from Elle’s layout where she was making physical connections between my photos, one image would bleed into the other through the seam. While we were at the residency we didn’t have a title but we knew we wanted to express how human beings and nature are intertwined if you just pay attention. While we were brainstorming  titles I started researching water ripples since we had a few images in our layout. The term “constructive interference” refers to when two waves or pulses (whether it’s water, light, sound) align in sync and create a wave of greater magnitude than it’s original parts. We felt that it was a perfect title and metaphor for the book for many reasons. First, we were making connections between images that felt stronger once paired together, second, we were actually interfering with the images through our collaboration, physical touch, and all the printing methods. Lastly, the fluidity of the accordion binding and the silkscreened water pattern connected back to the water ripples that lead us to the title.

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.

Tell us about the overlap.
They had to overlap because the book is made up of two different kinds of paper. Due to that we couldn’t print in one continuous sheet. We printed on a paper with a metallic sheen and some that were more matte. So there were spreads where those two papers met and therefore had to be glued together on their backsides.Elle’s art practice involves drawing with graphite and black ink, and she felt strongly about using a paper that could create that same metallic shine effect as another nod to combining our two art practices. Once printed I also felt it added a level of depth that the book wouldn’t have had if we printed the whole thing on one kind of white paper. We individually silkscreened the back of each page with an inverted water texture from the book.

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.

The Daily Edit – Respect, curiosity without judgment, human to human. By Sarah Sherman

 

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.

The Daily Edit – Ashok Sinha: Art of Looking through Windows and “The Fight to Save Googie”

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., Manhattan
Rainbow Room, 30 Rockefeller Ctr.
White Horse Tavern 567 Hudson Street, Greenwich Village, Manhattan
Early evening view of LED sign
Dublin House

Ashok Sinha 

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 Daily Edit – Jay L. Clendenin: Los Angeles Fire and Citizen Journalism

 

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 Fire
PACIFIC PALISADES, CALIFORNIA – JANUARY 08: A tree remains intact, in the devastation
PACIFIC PALISADES, CALIFORNIA – JANUARY 08: Power lines hang on broken power poles, in the middle of a street
PACIFIC 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 everything
PACIFIC PALISADES, CALIFORNIA – JANUARY 08: Melted metal near a destroyed car
PACIFIC PALISADES, CALIFORNIA – JANUARY 09: A firefighter walks back to his vehicle after checking out a spot fire along Pacific Coast Highway
BRENTWOOD, CALIFORNIA – JANUARY 11: A Cal Fire plane drops fire retardant over the Palisades Fire, along Mandeville Canyon, photographed from the Mountaingate development, above Mandeville
BRENTWOOD, 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 Mandeville
BRENTWOOD, CALIFORNIA – JANUARY 11: An L.A. County Fire watering dropping helicopter drops on the Palisades Fire, along Mandeville Canyon, photographed from the Mountaingate development
BRENTWOOD, 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 flames
BRENTWOOD, 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.

Jay L. Clendenin

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. 🤬

A New Winter – Sofía Jaramillo

   


 

A New Winter – Sofía Jaramillo

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 Daily Edit – Getting it Right in Camera: Daniel Pullen





Daniel Pullen

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 Daily Edit – Standing Strong: Josué Rivas

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, 2017
People 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.

Creative Director: Josué Rivas
Founder of  INDÍGENA

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 Daily Edit – Haiyun Jiang

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)


New York Times

Photographer: Haiyun Jiang
2022 -2023 The New York Times Fellowship Recipient – Washington, D.C. 

 

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 Daily Edit – Rosser Lebeau

   
Rosser / Lebeau

Francois and Ben say “life is an intricate narrative that requires us to appreciate its depth and authenticity by embracing its genuine, spontaneous, and natural beauty.” By adopting a documentary approach, they focus on capturing spontaneous, realistic moments to showcase the raw beauty of life and evolved their friendship into a new photography business. I checked in with them to learn more now that Volume 2 is out.

Heidi: How did your friendship begin?
Rosser / Lebeau: It was in 2012. We were both new to living in NYC and learning how to navigate that place. Our paths were bound to cross because we were both in the photo industry already and avid rock climbers. We got to assist a friend at the same time, and we just got along instantly. We started rock climbing and sharing photo ideas, knowledge, and experience, and our friendship just grew from this.

Now that you are 4 years into this project, what surprised you about this new endeavor?
It surprises us that we’ve been doing this together for four years! Also, the reception of our service has been above and beyond our expectations. Our work gets in front of people who appreciate what we observe in the daily lives of the families we work with, which is very rewarding. To see that our initial vision and drive found their audience, we couldn’t ask for better.

As a team, we consistently reevaluate the business, asking each other what we could do differently to improve, which leads to a to-do list that we are tackling one by one. But as of now, I don’t really know what we could have done differently cause it’s been going quite well.

Ben’s photography career has some early influences from event, fashion, and celebrity photography, and François’s in the outdoor industry – how did both these influences inform your business?
The experience we were able to accumulate helped to mold how we approach our shoots with Rosser / Lebeau. When we met, we realized quickly that we had a very similar taste in photography. Being observant, and build the strength of a photograph through composition, light, and somewhat the decisive moment. In Ben’s career, there’s a lot of this that is applicable to get the best of his coverage or portraiture. Always need to be fully present and have a high sense of anticipation.

On François’s career side, it is practically the same, but just in a different environment. Planning the shoot around the best light, be there and ready for the unexpected, and being involved with the story itself to have a high sense of intimacy through the images.

All those tools, from our perspective, are necessary to allow ourselves to create what we want to create with Rosser / Lebeau. Working with kids is not easy, and it can go in EVERY direction imaginable. So when we decided to take the leap, we were well-equipped to start this endeavor. We’ve learned a lot since then, and that new knowledge pays back now in our solo careers too.

How do you complement each other?
Great question. Ben has a high sense of elevated imagery, due to his background covering celebrities, fashion, and events. Well composed, clean, and thoughtful. Ben always has good remarks on what makes a good photograph and how we can improve from one image to the next.

François, on his side, always loved the saying “imperfect perfection”. He often embraces being organic and in the moment, often pushing further in that realm to see through what people should expect. He is a firm believer there’s beauty in anything and uses it to his advantage when he creates.

On the business side, well, we learn together everyday. We definitely have separate strengths that when combined, makes those tasks easier too.

François is a father of two now, how is family life fueling that creativity? Do you think you’d take the same photos if you were both child-free? This is assuming Ben has kids….
Francois: I think having kids doesn’t affect much how I perceive things. At least for me. But what I understand way more is the value of those images we are doing for the families. When Ben gets to spend time with us in Colorado, he always carry his camera and shoots loosely. And ALL the images that he takes are SOOO precious to us. I cannot imagine how it is to receive a gallery of that caliber, without being used to be surrounded by quality imagery.

It just lines up with our motivation when we started Rosser / Lebeau : We wanted to create images that will last a lifetime and be passed to the next generations, instead of being a short lived creation that the nature of commercial photography is. And by experiencing it myself, it means a lot to have those images for our family.

In Volume 2 the images feel more intimate, and graphic – is this a reflection of you both feeling more comfortable in this new space?
Probably just the nature of putting the hours in. We have more opportunities, we met many types of families and people, and we also have the work we created that supports us. We are totally aware that it is very vulnerable to open yourself to be photographed this way, but when people embrace it and feel comfortable with us, that’s when ‘’the good stuff’’ happens.

How much time do you spend with the families, there’s spontaneity and intimacy to this work which is hard-won.
We allow ourselves to let things happen, so the classic 30 minutes session is not applicable for us. If we want to deliver the product and service we promise ourselves to do, a minimum of 2 hours is a must, but if we feel the energy is still there and thing are happening (or will happen) we will definitely stay with the family.

Do you both travel to the locations or is the work divided by location?
Definitely. We had inquiries from all over the continent and hoping that we will find a way to make it sustainable even on the international level. For families, we shoot them most of time solo. Ben being located in NYC will take care of the east coast, while Francois being in Denver will connect with the people on the west coast. Everything is interchangeable depending on availabilities, but it’s been working great like this. And for weddings, we tackle the coverage together. Having our style being very similar, it is nice to be working under the Rosser / Lebeau umbrella, and being able to trust each other with delivering images of the quality our company aspires to.

The Daily Edit – Red Bull: Paris Gore

Brage, Kade and Brett Rheeder
Brage Vestavik and Kade Edwards
Brage Vestavik
Brett Rheeder
Brage Vestavik and Kade Edwards
Brage, Kade and Brett Rheeder
Brett Rheeder
Brage, Kade and Brett Rheeder
Paris, Brage and Kade

Red Bull Media House
Photographer: Paris Gore
Anthill Films Director: Darcy Wittenberg

Heidi: How did your personal life and love of riding evolve into this project with RedBull?
Paris: A few years ago I had done some heli biking in the Andes outside of Santigao, Chile and flowing around some areas that had these massive 4,000 foot plus open faces that could totally be ridden by the right athletes. We were filming for a Specialized Bikes gear shoot in 2022 and came back from that trip with a ton of knowledge and contacts in the area. Jumping forward to the following year Darcy Wittenberg (Anthill Films Director) and I sat down last summer 2023 to chat about a potential new movie they were working on with Red Bull. Anthill has produced some of my favorite bike films of all time and grew up watching some of the original films on repeat. Darcy wanted to know if I had any knowledge of some big mountain freeride biking zones that would push the boundaries of what has been done before. Turns out my previous trips insight was enough to sell Anthill on Red Bull on going there for this movie project.

What made this feel like a long shot?
Pitching the idea to Darcy felt like a long shot, but as the conversations went on it sounded like the trip was going to happen with Brage Vestavik, Kade Edwards and Brett Rheeder with a full film crew, two helicopters and some of the most exposed riding anyone has ever attempted to ride in the world. I’ve pitched a lot of ideas before and they all are usually well accepted but never the right “fit” for a brand or too much money, etc. So it felt really rewarding that this entire production was trusting what I had seen down there and actually went for it considering how much money was being spent to produce this segment all I could think about now was hoping that it actually works to ride these faces.

Dream jobs like this often come with risk, reward – what was the situation that led to the crux move for the crew?
Kade and Brage evidently had found this line they wanted to ride; we named the Horny Condor which was a couloir through some massive rock exposure and was super tricky to ride the top portion of. So we had to bring in tools to bench in some dirt for the guys to safely get into the line before freeriding down to the bottom. I’m finishing up in the helicopter making our way over to the top and we get word that Kade and Brage have both broken all the tools they have and need one from the truck and lodge. I get deemed the man for the job and jump in the heli to fuel up and grab these tools for the boys.

The intensity of a situation ramps when someone uses your first name to give a directive, true?
Tools in the back of the chopper, me and the pilot make our way back up into the zone where the guys are working and Julio has a wild idea to fly into the area and land on a semi truck sized boulder. Things were starting to get a little crazy now and I’m thinking what in the actual fuck is this guy doing. A pilot myself I started to feel the adrenaline coming on and feeling the intensity of the situation I’m getting in. Julio starts flying up the line blasting rotorwash down on the crew and I’m like dude I don’t think is a great call but he puts a skid on this rock holding collective and tells me “Ok Paris, open the door and put the tools on the rock”. Which I began to do and unable to reach behind me, I have to undo the full harness I’m locked into. Immediately, Julio is throws his hand onto my chest and says “NO” So I buckle up and eventually get the pick axes out the door onto this rock ledge he’s got hardly one helicopter skid on. We do a wild turn out and land on a river bank with my blood pumping into my brain so hard I could hear it.

Along with being an athlete you’re a trained pilot, how has that informed your creativity and ability to navigate jobs?
Being an athlete and pilot myself, I genuinely live the sports and adventures I shoot so it really translates into authenticity while on an assignment. It helps me have a better connection to the subjects and people I’m shooting with finer detail. The other part of that is also just being able to get into certain situations that require experience in the mountains. Being able to snowmobile, snowboard or mountain bike into hard to get places gives you an advantage to really put yourself in the same terrain as a professional skier or mountain biker. Being awarded jobs due to this is definitely a factor, most athletes or brands might be hesitant to work with someone that is more green and could pose a risk to the crew because at the end of the day we are all working as a team for safety, hazards and ability to get where we need to go

Were you shooting mostly from the heli along with reportage of pre and post riding?
It was a mix with the helicopter since it’s time is expensive and limited there were a few shots where I was able to shoot from the helicopter. It’s a lot trickier than you might think but in the end it’s always worth it. We would also get dropped onto opposing ridges or slopes that would give us a solid angle without needing to shoot out of the helicopter which was generally the most ideal scenario. The only speciality equipment I had brought was a Nikon 180-600mm lens due to the sheer size of the mountains it was absolutely necessary.

What was the directive from the film crew? how did you integrate – remain unobtrusive?
We worked together easily to perch in a similar area together with another filmer so we never really got in each others way. Since most of the angles they are shooting are what I would need as well or vice versa.

Were stills integrated as part of the final film or supplemental creative?
The stills were not used in the film itself but more in the promotion and titles for trailers, youtube, Red Bull TV, etc.

 

The Daily Edit – Powder Magazine: Anthony Smith

Powder Magazine

Editor – Derek Taylor
Director of Photography – David Reddick
Art Director – Hart Vandelay
Photographer: Anthony Smith

Heidi: Have you always been multi-hyphenated? By that, I mean photographer and photo editor. Which came first?
Anthony: I studied photography at art school, but in the first few year’s post-graduation, shooting photos didn’t pay the bills. So, you could argue that my role as a photo editor came first, as it allowed me to earn a living as a full-time creative. At that time, I hadn’t found my own voice in photography, and working as a photo editor was extremely beneficial for my development. Being immersed in other photographers’ work—seeing their successes and failures—gave me a strong vision of what I wanted my own work to be. I can’t imagine how I would have reached my current point without those experiences.

How does your love of sport inform your work, both past and present?
I believe it’s challenging to shoot sports effectively without being an athlete yourself. Having that experience gives you a deeper understanding of the emotions and moments you’re trying to capture, which can tell a richer story for the audience. I’ve always been fascinated by sports imagery that isn’t overly literal, challenging the viewer to engage on a deeper level. I’m interested in uncovering stories about the human experience through sport.

Were your early photo editing roots in snow culture and sport?
Yes, but it happened somewhat by accident. A college internship with Bike and Powder set me on that path. Without that opportunity and the connections I made, it’s hard to imagine how a Canadian kid would have broken into the publishing world and become a photo editor in Southern California. A few years after that internship, a full-time position opened up, and I joined Bike and Powder as an assistant photo editor.

Did you and Dave cross paths at BIKE?
Yes, I worked for BIKE for nearly a decade, from 2010 to 2019. For the first five years of my tenure, Dave Reddick was the photo editor for both Bike and Powder, so we worked closely together on both titles. I was fortunate to learn from Dave; he has a wealth of knowledge and a keen eye for storytelling. I certainly had big shoes to fill when I took the reins at Bike in 2015. This recent shoot for Powder is the first time we’ve worked together since my time on staff.

Why do you think those sports verticals are still relevant for print in 2024?
I sense a growing enthusiasm for print these days, which may be a biased opinion given my background in the print world. Personally, there’s nothing quite like the feeling of seeing my images in print. The collaboration between the photographer, writer, editorial team, and art director results in something that feels carefully crafted and thoughtfully put together. I believe this process resonates with people, especially in a visual landscape that often caters to short attention spans. More than ever, I feel that print has a relevant place in today’s media landscape.

 What was the direction for photographing Bryce?
I believe that Dave met Bryce James last ski season. He described Bryce’s collection to me as extensive, and we brainstormed ideas on how to capture it; however, I don’t think either of us could have anticipated just how in-depth it truly was. The space was small, yet Bryce had a remarkable awareness of where everything was and how each pile was supported by its respective treasures. Every piece had a story intertwined with its surroundings. Any initial thoughts we had about photographing a few key pieces separately with Bryce felt like the wrong direction once I experienced the incredible environment. The project was as much about Bryce and his passion for the history of skiing as it was about the collection itself, so capturing him alongside the pieces felt completely natural.

 What made this project unique, and how did it stretch your creativity?
Documenting something as vast as Bryce’s collection presented a significant creative challenge. There are countless ways to approach such an extensive subject. From the moment I walked in, I could sense his enthusiasm—not just for his collection, but for the history of ski culture as well. I allowed that enthusiasm and our conversation to guide the direction of the shoot. I focused on listening to all the stories and shooting in an unobtrusive manner to avoid disruption. Each story naturally led to the next, creating a very organic flow. However, after a few hours of shooting and talking, I left his house feeling as though I hadn’t captured enough to do the collection justice, even though I knew only a handful of photos would ultimately be used to convey the story.

Are you a decent editor of your work? Twelve images were published; how many selects did you turn in?
By that metric, perhaps I’m not the best editor, as I turned in around 100 photos. However, I believe the conversations that happen behind the scenes with the art director and photo editor play a crucial role in striking the right balance between design and photography, often leading to unexpected directions for photo selects. During my time as a photo editor, I always preferred having more options rather than fewer. I truly enjoyed collaborating with our art director, as I loved being hands-on in the design process. We would exchange InDesign files back and forth to revise photo selects, layout options, and design treatments. This approach felt much more organic than simply passing along selects and waiting to see what layout would come back. With that perspective, I tend to overdeliver, assuming that the team I’m passing images to appreciates that collaborative workflow as well.

 Do you have any personal projects on deck? What are you most stoked about photographically?
I’m really excited about shooting outside of my comfort zone these days. I thrive on being placed in situations—like the one with Bryce James—that feel creatively challenging. At this point in my career, I feel I have the creative tools to solve those puzzles and tell compelling stories. I haven’t always felt capable of approaching projects like this effectively in the past, so it feels great to be comfortable in the unknown these days.

 

 

The Daily Edit – Douglas Marshall: Marshall Gallery

Artist Talk with Krista Svalbonas

Artist Consultation with photographer Michael James Hillman

Founder and Curator: Douglas Marshall
Marshall Gallery
Current Exhibition

Heidi: How long have you been doing portfolio reviews?
Douglas: Well, I’ve been doing reviews overall close to a decade now I guess. I’ve done many of the review festivals around the country as well as looking at countless portfolios in the galleries over the years. But for the last 2 or 3 years I have been doing the private portfolio reviews, meeting with artists one-on-one either online or at my Santa Monica gallery. These started in response to the ubiquity of the standard 20m-minute tabletop review format. Many people on both sides of the table relate to a form of speed dating. I found many artists felt unsatisfied, understandably, never getting to any depth in such a short meeting. So these longer private meetings allow us to go there. And that many artists had nuts and bolts questions about the gallery world which can often be murky and gate kept. Like commission percentages, production costs related to exhibitions, pricing, etc.

What form do you like to review photography work? Formed or unformed – one is open to possibilities, the other you build together as the discussion unfolds.
As far as the state of work we review… The work can be at any stage really, I just put myself in a position to help in whatever way is useful. It can sometimes be like a therapy session haha!  Sometimes the work is raw and unformed and it’s editing people want to go through and general framework development… what’s working, what’s not. Other times they are finished portfolios with which people want to discuss things like pricing, editions, printing, and gallery relationships. The former, for me, is more my background as a once-upon-a-time artist myself and the latter from my 15 years in the gallery field having worked for four galleries before starting my own. But I always try to be honest and direct with the artists. No one just wants a pat on the back, they are there for the fair criticism. There is so much BS in the art world, people appreciate honesty.

I do prefer to look at prints, when possible, but of course virtual meetings open the reviews to many more artists around the world. In person always allows for deeper connections and when artists ask about doing festival reviews, I always encourage to do in-person only. This business is all about relationships, and you can’t accomplish quite the same thing online.

Your gallery has a specific focus, was that in response to seeing beyond the medium – looking towards the hybrid of where photography and art intersect? Reframe photography?
Yes, the gallery focuses primarily on what I often refer to as process-based photography. That is to say, that for me and my curatorial focus the physical or conceptual act of how the photograph is made is of equal weight as what it visually records. So many of the artists whom I present use experimental analog processes, unique printing techniques, mixed media with painting, embroidery, etc.

The focus of which is probably three-fold in origin. My background in school and early in my career was all black and white humanist photography. Street, documentary, etc. But as I got exposed to the wider photo world primarily through visiting international art fairs, I began to see a growing prevalence of these experimental practices from contemporary artists and their origins in art history. I also have a love for the “traditional” fine arts, like painting and sculpture, so it sparked my interest to see the boundaries between them and photography blurred in contemporary work.

Sunburned GSP#1076 (Dietrich River, Arctic Circle, Alaska), 2015. two 12″x 41″ unique gelatin silver paper negatives

For the artists, my thinking is that it’s somewhat of a reaction, conscious or otherwise, to the mass consumption and ubiquity of digital images. Mass even seems an understatement with some billions of images produced daily. To see the work of an artist like say Chris McCaw, our current exhibition, who is creating real objects with his method of photography is so refreshing in a world drowning in pixels. We are just tired of staring at screens and want to get our hands dirty like painters, there is something quintessentially human about working with material while still loving the documentary / story-telling potential of the camera. And then for me, realizing there were few if any galleries focused on this intersection, I decided that my gallery would do so, but it’s always evolving.

We met when your studio was on Abbot Kinney, fast forward to today – what has changed, and how has your gallery evolved beyond showing work?
I’m not sure too much has changed. Even in the 500 sq ft shoebox in Venice where we met I was trying to produce exciting and ambitious shows. Now I just have 3x the space to do so. But certainly, Bergamot Station has a certain legacy of galleries and especially with focus on photography. So being here allowed me more access to collectors, curators and foot traffic by proximity with my gallery neighbors, many of whom I have worked with over the years.

But I am happy to say with certainty the gallery’s capabilities and awareness has grown exponentially since then, having recently exhibited in the most important international photography fairs and making regular acquisitions with major museums, both important signifiers that something we’re doing here is working.

Beyond the exhibitions, we of course host the private consulting appointments as well as quarterly critique nights that we call “Static Fire” where we invite four photo-artists to show work in progress with about two dozen guests and just have a fun night looking at work. We sell tickets for these events to cover costs and afford a small donation to various local art non-profits like Las Fotos Project and Venice Arts, both of whom are doing great work for LA youth. These have been fun and for me less pressure than the requisite salesmanship that is required for the exhibitions.

Robert Adams, House Construction, Colorado. 1975 Vintage silver gelatin print 6 x 7 1/2 in.

Rodrigo Valenzuela, New Land, 2024. Toner ink on canvas with acrylic. 36 x 48 in.

How you are defining the two sets of artists you are showing?
Well, most of my career pre-Marshall Gallery was in showing 19th and 20th Century work which has a strong market and thus many legacy galleries focus there. So, while the main exhibitions at Marshall focus on contemporary work, I really enjoy putting their work in conversation with vintage works which I source from a network of collaborative collectors in LA. For example, a recent show juxtaposed UCLA Photo Professor Rodrigo Valenzuela’s mixed-media works from his “New Land” series with vintage prints from the 1970s New Topographics movement such as Robert Adams and Henry Wessel. Both had conceptual angles of thinking about land use in the American West. It also helps to bridge the gap to contemporary work for collectors who may typically only be interested in vintage works. Many collectors are wary of the edition systems of contemporary photography, so I think it helps when works are one-of-a-kind due to the physical process of the artist.

Ultimately, I love the history of the medium and revere so many of our bygone photo-heroes, so I do love to show them when it makes sense with the contemporary show on view. But certainly, most of my energy goes to the artists working today. I keep close relationships with my artists, it’s like a sort of creative marriage.

The Daily Edit – Marshall McKinney: Garden & Gun


Creative Director: Marshall McKinney

Heidi: In our last interview in 2008 you had just taken the helm at Garden & Gun, a national magazine about a regional lifestyle – fast forward to 2024, tell us about this magnificent, long run as Creative Director.

Marshall: It all began in April of 2008 for me at G&G. What a run. Sixteen years! That’s like ten plus six years. That’s like 5,843.88 days according to Siri. This means I’ve lumbered through 192 weeks of closings (that’s 3.68 years of deadlines for those still doing the math). Can you believe it? Nope, neither can I. So many long days and nights sussing out and sorting through big ideas, prose, pictures and sketches to build a print brand unlike any other. Then, we were a small scrappy crew of misfits. Seriously, like eight of us. Some with no magazine experience at all. Didn’t matter. Within us burned the intangibles: heart, drive, determination, spirit, resourcefulness and f@#ing energy to burn, baby! Today, the foot is still hard on the gas and without a doubt, the brand, driven by the passions and minds of its people, is hurtling headlong into a bold new future. Unfortunately, this is where I get off. August, 2024. Adios.

T’was a thrill ride. In my professional career, I never thought I’d be so blessed as to work with the finest, sharpest minds in all of “Magazine-dom,” both internally and externally. I’ve watched interns come up through the ranks to become some of the best writers, editors, and photo editors in the business. I’ve seen editors and art directors go on to become VPs. Watched publishing prophets hail the coming of the iPad only to see it snuffed out like some ole Camel Light. To be sure, I’ve seen it all. Done it all. Er, won it all, #athankyouverymuchg&g. And, I wouldn’t change or trade a damn thing.

G&G’s success is, and always will be, directly connected to the creativity, fire and gusto that resonates in the youthful souls of the folks who bring it to life. Each person I interacted with there, young or old, was a remarkable teacher and I am grateful for the experiences shared and learned.

So, now that I’m slowly gliding into this next phase of my professional life, and can take a breath, if only for a minute, I have the luxury of hindsight. Thus, I’ve agreed to tackle a few questions from APE. An exit interview if you will. Buckle up. Here goes

What are your three favorite covers and why?
I not picking these covers on technical acumen or whiz-bang execution but rather on the “feels and vibes” and times associated with the experiences shared while nabbing them. I thrive in that space where ideas are manifested and sketched over morning coffee—together—before jumping in the car or on a plane to get them in the can. I adore all my photographers and I’m 100% sure I dig 98% of my covers. There are outliers but like red-headed children we tolerate them all the same—even when they do look a little kooky and act funny.

I only partner up on covers with people I trust.  I know them on a personal level and usually we have a deep rapport. Heck, all my lensmen are brilliant, empathic, whip-smart artists, technicians and masters at their craft. So again, I’m only picking these three covers through gauzy reflection, and like children, I don’t really have a “favorite” or three favs but here goes:

1. Dec 2019 – Jan 2020 Photographed by Gately Ben Williams

Keep it stripped down when you can.
This cover shoot was quite simply a fun trip with one of my best friends, Gately Ben Williams and his new, lovely and talented bride (and one-time co-worker of mine), Hunter. The idea was to take a road trip down to the Santa Fe river in Florida and get something that felt warm for a winter issue.

My mind, where covers are concerned, always leans toward the graphic and composed. If that happens to come off “arty” occasionally, well, so be it. My intention is not to be “arty” which I associate with fey, contrite or, worse yet, cute. Finally, my experience with newsstand covers is simple: don’t fuck around trying to be something you’re not. Be definitive. Be uniquely yourself and true to brand. Always and in all ways.

I want my G&G covers to be two things: direct and filled with as much subtext as possible. Meaning, the image has to hit on the reader’s senses (taste, smell, sound, etc). Get them to feel the coolness of the water for example or stop for a moment to reflect on the sounds they might have heard the last time they went tubing. I want to trigger a memory of, say, spending time with their spouse in their younger years at some watering hole of their own. Maybe it gets them to reflect on their own daughters growing up? The point is, subtext to me is leveraging the power of the form.

We are busy people living busy lives. As a creative director a big part of my job is to choreograph moments that give pause in the service of sparking fantasy or aspirations. So, back to Florida. After a long day of trying a number of ideas, which rendered shots that were great but perhaps too sexy or pinup-ish, at dusk I went back to the original sketch, the first big idea. You don’t ever have the luxury of time on a cover shoot. Making the manufactured feel authentic is an art unto itself. In order to pull that off, I highly recommend sketching out your ideas long beforehand.

On this day there were a bunch of kids in the springs splashing and playing along a dock, not the best situation for what I wanted the image to communicate, solitude and stillness. But, as the day waned, they slowly—mercifully—left the area. That’s when Ben and I were able to move to the end of the dock and shoot down on Hunter.

I love this image for a lot of reasons. One, Ben and Hunter gave me so much of their energy throughout the day. They gave me so many variations that could be used in the interior of the magazine, and that’s something I value. Two, everything we do as creatives, at its best, is a partnership predicated on balance and trust. I trusted Ben to give me a number of stellar solutions and, in turn, he trusted me and gave his all to my sketched idea. Three, the image is graphic. It plays with repetition of form. It’s tranquil and calm which lends to the narrative I wanted to achieve. The water is clear. The image has essence and to my eye it’s a catalyst for subtextual think. That being: I could use some stillness. I could use a vacation in warm waters. I’d love to be somewhere fun with my wife and daughter. Finally, this image reminds me of all the cocktails and conversation that flowed with these two lovebirds after we wrapped the shoot. Truly, it was a wonderful couple days work all around.

I’ve taken on many a cover mission like this with shooters including: Rob (and Lisa) Howard, Michael Turek, Brie Williams, David McClister, Robby Klein and others. All mega talented, affable, easy spirits that are a joy to behold and work alongside especially when it’s a stripped down scenario like this and not some big ass production.

2. Feb/March 2019

Throw the kitchen sink at it whenever you gotta and just build the damn thing.
What you see here is a bar we built in The Voorhes studio by some of the most baller, open, gracious, energetic and creative people in the business. Adam and wife Robin, assisted by the incomparable, Nicki Longoria took a sketch I made and ran with it a hundred times farther than I could have ever hoped. We had a custom neon sign made. We had working beer taps. We had a stuffed squirrel drunk on Miller Lite. This was devised at a time in publishing when covers needed that extra wink in order move the needle on digital newsstands—talking to you Apple. So of course I wanted everything to be analog and made of hand whenever and wherever possible.

Could we have shot this in some cool bar somewhere? Mmmmm, maybe? With that comes a whole host of other problems which I won’t go into now. Trust me, they are many. This to me felt like the only solution and it all started with a sign maker and the energy and can-do spirit Adam and team brought to solving the conundrum.

I’m not sure what’s in the water down there in Texas but if you head that way knock on The Voorhees or Darren Braun or Fredrick Broden’s door. No telling what you might find going on behind it.


3. Dec 2008 / Jan 2009.

This cover by Andy Anderson was a revelatory moment for me. Affably nicknamed, “Turtle Junk,” after the New York Times wrote a review—a positive one!—of our brand, it was the impetus that got my head screwed on tight as to how best to feature and approach subjects on G&G’s coves. It’s so singular and unique. It’s composed. It’s direct. It’s awash in story, cultural richness and wonder. It’s simple and in that way it’s elegant and timeless. Mostly though, it wasn’t until I put eyes on the image that I knew how we were going to visually stand apart.

Up until that moment G&G was kind of wobbly, like a newborn giraffe, the way a lot of new launches are in the beginning. It took seeing that image for me to begin to understand what the brand was telling me it wanted to be. For better or worse I’m not one to immediately suggest what I think any brand should be. I have instincts but I ain’t no Mussolini. I like to listen to the market and the material, then I like to react to what I think they’re suggesting to me. I can’t stand it when people march in on their high-horse talking so much shit about what they think this or that is. I’d rather saunter in on a turtle’s back—that way they never see you coming—and build something beautiful and solidly stable, together.

Further, where covers are concerned, were it not for the talents and eye of photographers Peter Frank Edwards, Squire Fox, David McClister, Andrew Kornylack, Johnny Autry, Brie Williams, Brent Humphreys, Amy Dickerson, Jim Herrington and Dan Winters G&G wouldn’t be here today. Truly, it’s all about the company you keep and they are the finest.


Do you have a favorite spread?
That’s impossible for me to answer. Not because I like so many but rather I have so few. Still, I’ll give you one I like a lot. It’s pretty simple but I just dig it.

Here’s the backstory: We asked Dan Winters to shoot musician, James McMurtry for us down in Texas. I spoke with Dan on the phone about how much I liked James’ music and about what he meant to me as a blue-collar genre-bender out there pounding stages night after night after night. I told him I felt a kinship with him. Perhaps Dan felt the same way because almost an hour had passed and we still hadn’t spoken about the shoot. Of course that didn’t matter to me because, well, Dan’s the man as they say. And I tend to agree.

Couple weeks later the images arrive in classic Winter’s style. Stoic. Iconic. Proud. Singular. Then, it occurred to me, oh shit, I gotta figure out what the fuck to do for the design. It was late in the cycle. I needed to turn this one around fast. Yet, I couldn’t. I felt helpless. I just wasn’t locking in on something worthy or original. It was torture.

I’m thinking to myself, this guy Winters is best buddies with all the great art directors and editors across the land. What the hell can I do that he’s never seen before? Am I even capable of hitting a high-taste level that honors a hardworking man like, James McMurtry? Oh, shit.

After an excruciating battle with self-doubt and worry, while sipping a couple of bourbons, it’s 1 a.m. and I’m still sitting at my desk in the office twiddling my thumbs. Part of the problem might have rested with the edit team. Maybe they were feeling the same way about the headline as I did about the design? They didn’t seem to have much cooking yet or, maybe they did and it just felt flat? Dunno, can’t remember. The one recollection I do have was that I put on McMurtry’s version of a tune called, Choctaw Bingo. I cranked that motherfucker up as loud as my i-mac would go and I stood up and danced. Right there in the middle of my office, which I shared with Maggie Kennedy, my photo editor, I shook my ass. Then, thoroughly awash in spirit, I cranked out a giant “J” with a guitar’s sound hole in the middle along with some filigree that felt a bit like McMurtry’s hair blowing in the breeze. With that I yee-hawed and went home to bed.

The next day I showed it to Sid Evans, my editor at the time, thinking he’d blow it apart because there was no definitive headline. Instead, he looked at it and nodded. Print it. We did. Not that we had a lot of other options because we were out of time and my hangover was setting in pretty good.

What would you tell anyone getting into the magazine business today?
To would be publishers:The sweet spot is somewhere between a mass newsstand magazine and a coffee table book. Do something deliberate and focused and beautiful. Do it on the best stock you can afford, no more than four times a year. Believe in your dream. Never give up. Don’t let obstacles stop you. Then, I’d advise them to buy a lottery ticket every couple weeks.

To journalists and editors: Tell the truth. Your currency and value is in your candor. Be your authentic self and find your own voice. Also, learn to think like an art director.

To photographers whom I fucking adore!: My best advice is to study a few masters, really lock in on them. Learn how to compose images that are graphic and expressive. Play. Write. Sketch. Work to become a natural born salesman, philosopher, psychologist and light-hound. Become proficient in the language of the trade. And, when you sense a trust building with an art director or fellow creative lean in and partner up. It’s amazing how far you can go, together. Lastly, pay close attention to all the others on the periphery of your craft. Explore the subtleties of make-up, watch what the stylists are doing and why, educate yourself on food propping and styling and acquire skill in interiors, exteriors, portraiture, reportage and more. Give yourself a wide base of knowledge then slowly tighten the focus on what you find the most interesting. NEVER STOP. NEVER GIVE UP.

What would you tell your younger self?
To my younger self I’d just say this: Stay resilient, hombre. Trust the process. Stay true to yourself and to those who are offering you their hard-earned knowledge. Make those folks an ally. While acumen can get you to the doorstep it’s experienceresolve and connection that’s going to define you and carry you across the threshold. Hold on tight Bubba! It’s gonna be a weird and bumpy ride.

The Daily Edit – Tyler Lekki



Photographer: Tyler Lekki

Heidi: How long have you been living in Chaltén?
Tyler: I have been on and off for around 5 years now. It all started with a three-day trip, and then the following year, I returned for the entire three-month climbing season. Each year, I returned for the season February – April, and finally, two years ago, I pulled the trigger on moving here full-time. It’s been around 1.5 years straight and over 2.5 years cumulative. I just can’t get enough of this place.

Do you study local flora and fauna to see the changes year after year?
Yes, I have spent 5 fall seasons here in Chaltén over the years, and it’s fascinating to see the difference in when the leaves on the Lenga and Ñire trees begin to change to their fall colors. On my first trip, we didn’t even plan for the fall foliage back in 2018, but we were here during the perfect week—it was April 4th, and the colors were at their peak. It’s interesting that I’ve seen the colors last until late April and even into early May, depending on the season. It really does vary from year to year.

How did you integrate with the community?

It took a few seasons to really get involved with the locals. Coming here only for the Autumn photo season, and good weather, it was tough to meet people because I was always out in the mountains hiking and shooting. It wasn’t until I really moved here and spent the winter season that I felt my experience changed. Getting involved with the local Asado cookouts and getting to know the climbing and ski community, who go to the mountains every chance they get, was really special during my first winter season. It’s a small community, and everyone knows each other. I love that everyone helps each other and is always there to lend a piece of gear or help with beta when needed. The climbing community has welcomed me with open arms, and while I’m still getting more experience, I feel at home among them. We all share the same love for these peaks, and being present and lending a hand when needed goes a long way in this place.

How has your love of nature informed your eye, and when did 360-degree photography enter your kit?
When I first started, it was all about the adventure, and my love for nature grew deeper as time went on. The idea of hiking into a place like Los Glaciares National Park with everything you need to survive for a week, all to capture dramatic photos, is what truly excites me. There’s an element of unpredictability—you never really know what’s going to happen. Chasing the right weather conditions has made me appreciate this place even more. Through a lot of trial and error, I’ve learned what to look for when capturing images here.

One day, while flying my drone, I realized that a 180-degree panorama just wasn’t wide enough to capture the full scope of the landscape, so I decided to try a 360-degree shot. I had no idea at the time that this would become my obsession over the next two years.

Still images offer a moment and leave the rest up to the viewer—360-degree photography is immersive and allows anyone to travel. What were you trying to convey with this work?
When I first started taking 360 images, I didn’t initially think about how impactful they would be when viewed through a VR headset. But the first time I experienced it, I realized the incredible potential it had. You’re not just looking at a photograph—you’re transported into the scene, feeling like you’re truly there. The ability to bring people to these remote places especially those who might never have the chance to visit in person, is something really special.

While sharing photography has always been rewarding, seeing someone’s reaction when they put on the headset and are fully immersed in the landscape is on another level. It’s deeply gratifying and makes all the effort worthwhile. Beyond the immediate experience, I believe these 360 shots will serve as valuable references for years to come, particularly in glaciology and environmental research. They document the glaciers and landscapes in a way that traditional photos can’t, showing the impact of climate change on these mountains over time. This work is not just about capturing beauty—it’s about creating an immersive, educational experience that can inspire a deeper connection to nature and greater awareness of our environmental challenges.

Was this a straightforward response to the shift towards moving content these days?
After years of doing traditional landscape photography, diving into 360-degree photography felt like a breath of fresh air—something new and exciting to offer. The response has been overwhelmingly positive; people really seem to love the immersive experience it provides.

Once I captured those first few 360 images, I became obsessed with the possibilities and started building an archive of them from all over the Chalten Massif. This technology not only allows people to explore these remote landscapes as if they’re actually there, but it also opens up these incredible places to a much wider audience. The accessibility of these images is what drives my passion for this project—they make it possible for anyone, regardless of where they are, to experience the beauty and majesty of these mountains.

I’d love to hear the backstory about your first climb…

I have been doing novice mountaineering trips for a few years now, slowly learning the skill set. This past May, a good friend, Kiff Alcocer—a fellow North American and experienced climber/mountaineer who also lives here full-time—took me up Cerro Doblado. This was my first time on an ice mushroom. It was a three-day adventure, and we reached the summit with a view over the Patagonia Ice Field that stretches for hundreds of miles. I’m fortunate to have friends who take me to the mountains and to places I wouldn’t yet be able to visit on my own.

Chaltén draws the best alpinists in the world. Tell us about your first experience with friends on the mountain.
It all comes down to the experiences and the people you meet here. I’ve now gotten to know many of the world’s best alpinists who come and go each year, and I’ve realized that they’re all here for the same thing: the love of these unique peaks. Chaltén is a special place, and there’s really nothing like it in the world. My first experience in Chaltén was a three-day trip with a bunch of new backpacking gear in 2018. A friend and I didn’t even know how to set up the tent, but that short trip was all I needed to spark my return. We saw peak fall foliage and even a puma on that first trip, making it very memorable. I didn’t grow up with an outdoor background, so there is alot to learn, especially living here.


How has living in Chaltén pushed you both as a photographer and a newer alpinist?
Chaltén has absolutely pushed me as a photographer. Every spot here has its challenges, and there’s so much to do around here. All of the approaches are long, and with all the gear, there’s been a lot of learning. Plus, Patagonia—and especially this area, Los Glaciares National Park—is known for its crazy, unpredictable weather. Getting your butt kicked by the wind firsthand is really the only way to learn. Chaltén has always taught me that you just have to be out there. You can’t get too comfortable in town; if you want the shots, you’re going to have to go out there and wait for the right conditions. Anything can happen here at any time and you need to be prepared.

What inspired you to spend the winter in El Chaltén?
Winter images, especially with snow-covered peaks, have always held a particular allure for me. There’s something about seeing these mountains dusted with snow that amplifies their beauty. I was especially inspired by an image captured by Dörte Pietron, which featured Rolo Garibotti—a central figure in the climbing community here in Chaltén. This image was from the summit of Domo Blanco during a winter cloud inversion. These happen a few times a year in the winter and to be up there with the inversion above the cloud was something else. It really made me want to spend the winter season and try and capture this spectacle.  Rolo has been an incredible resource for me, always willing to offer weather advice, beta, gear, or just be a friend. His Patagonia Vertical guidebook has been a huge source of inspiration, filled with images from all around the massif that you wont see anywhere else. 

How would you describe your first winter experience in El Chaltén, and how does it compare to the summer season?
My first winter in El Chaltén was truly special. It was during this time that I really got to know the locals and had my first real taste of winter camping. Before this, apart from a few chilly days in autumn, I hadn’t experienced much snow. Teaching myself the ropes of winter camping was both challenging and rewarding. There’s something about winter that I find captivating, the conditions are more dramatic and moody, which adds a unique depth to the landscape.

Last winter, I became obsessed with a spot called Filo del Hombre Sentado (Sitting Man Ridge) on the west face of Cerro Chaltén (Fitz Roy). I made three week-long trips there, and we were blessed with amazing weather, week-long windows with no wind, despite the -20°C temperatures. This spot is particularly special because it lies outside the national park, making it a perfect location to fly the drone. It’s where I created most of my 360 VR series and experienced a few days out there with the cloud inversions of winter. This was the highlight of my season. 

Last winter, I became obsessed with a spot called Filo del Hombre Sentado (Sitting Man Ridge) on the west face of Cerro Chaltén (Fitz Roy). I made three week-long trips there, and we were blessed with amazing weather, week-long windows with no wind, despite the -20°C temperatures. This spot is particularly special because it lies outside the national park, making it a perfect location to fly the drone. It’s where I created most of my 360 VR series. Compared to summer, winter here offers a completely different atmosphere. The solitude, the snow-covered peaks, and the small community of the Ski community makes it really special. 

You’re up in unique and turbulent airspace, how many drones have you crashed? Are you 3D printing any parts (blades)?

The wind is such a challenge here. I’ve learned to study the weather reports and read the wind at different elevations, which has really helped me plan the 360 photos. I’ve crashed around four drones but was luckily able to recover them. It really pays to have insurance from DJI to get a replacement. I’m not using anything special when it comes to drone blades, but I am painting them all bright orange in case of a crash theyre a bit easier to find. I am using a drone that can go up to 1,000 meters, which helps with the height of these peaks.

 

The Daily Edit – Carlos Serrao – 20 Years of Olympic Imagery

MURIEL HURTIS – 2004
NIKE SPEED PORTRAITS –  2004

BLANKA  VLASIC – 2009

ANNA BESSONOVA – 2011 


RYAN LOCHTE 2011


MONIKA PYREK 2011


MICHAEL PHELPS – 2011


TREY HARDEE – 2012


CHRIS HOY – 2012

NATHAN ADRIAN – 2013

DAYRA KLISHINA – 2015


KIRANI JAMES – 2015


TIA BROOKS – 2015

KOREAN WRESTLERS – 2018


TAEKYUNG PARK – 2018

GIANNIS ANTETOKOUNMPO – 2019

ANNA HALL – 2023

NOAH LYLES – 2023

Carlos Serrao


Heidi: You shot Super 8 movies and animations in 5th grade – that’s ambitious for a kid!

Carlos: Like many from my generation, the 1970’s and 1980’s’s sci-fi movies like the original Star Wars or Close Encounters were the catalyst into the visual arts. It was the first time seeing all the behind the scenes TV specials and making of stills in magazines like Starlog and Fangoria that showed us kids how these filmmakers problem solved and came up with creative solutions. My early super-8mm films were mostly claymation with sci-fi themes, as well as creating short animated films on subjects like “The Amoeba” for school science fair projects. Everything was shot in sequence in camera until I as able to get my hands on a reel to reel super8 viewer, where I was able to tape spliced scenes together. Later on, I was able to get a Sears branded 35mm Ricoh camera and darkroom kit, and taught myself how to process B&W negatives and printing.

Did you also skate?
Yes. I was heavy into the skate scene in South Florida if you could even call it a scene. This was the era when all the skate parks from the 70’s and early 80’s had all shut down, and no one was paying attention to skateboarding. Skating was mostly underground, on vert halfpipes in backyards, and of course street skating.

How did looking at urban geometric space, sequences, and movement in skateboarding impact your photographic style?
Interesting question…. as skaters, we were always sizing things up that could possibly be used to skate on. Miami didn’t have a lot of those above-ground drainage ditches like they do in the western states, and unless a swimming pool was built pre-Second World War, the transitions were too tight to skate. Because of that, we were always on the lookout for what could work, or what we could scrape together to build. It was the quintessential “Skate and Create” vibe. Also, a few of the backyard ramps we would visit were owned by some of the older guys who were already in high school and just entering college age. Those guys were doing really interesting stuff with photocopy punk skate zines, creating art and photography — the real D.I.Y. stuff. Being exposed to that, really inspired me to pick up a camera and try to emulate what was happening in those zines, as well as the great skate photographers from Transworld and Thrasher magazines like  J. Grant Brittain and Dave Swift.

Fast forward to a 20-year history of photographing Olympic athletes kicked off by shooting Nike’s 2004 Speed Campaign – looking back on that project can you share a few important creative moments?
At that time, I was starting my career, and I wasn’t shooting a lot of sports. I was mostly focused on portraiture and fashion editorials for more independent magazines like Paper Magazine and a few smaller apparel lookbook shoots for brands. At the same time, Nike was starting to hire some fresh, young art directors, and in their words, were moving away from a lot of “runners in fleece photographed motion blurred running thru the forest” imagery from the 1990’s. They were interested in experimenting and creating photography that would be much more aligned with fashion editorials with more of a controlled studio lighting scenario while merging that look and feel with sport. The perception at that time was that “fashion photographers” would shy away from anything that wasn’t deemed “high-end apparel”, and that those sportswear brands were strictly for sports-focused photographers. That impression seemed to shift after the global recession around 2008-2009, when we suddenly started seeing those deemed as higher profile fashion photographers expanding their genre and work for these types of brands. Nowadays, with mutual branding, it’s extremely commonplace.
For the Nike 2004 global Olympic campaign, Heather Amuny-Dey, a young art director at Nike, approached me to collaborate with her on this project. She had seen some of the lighting from a fashion studio shoot I did and thought the look would be a good fit for the creative direction of the campaign.
Six months before we started the Nike Speed campaign, we did a preliminary shoot with a few athletes in the summer of 2003. This allowed us to experiment with the lighting and create a proof of concept for her clients. This portion of the project was shot on film. One thing that I quickly realized, was that these elite athletes only have a finite amount of energy they can expend per day during their rigorous training schedules, not to mention the concern of injury. Because of this, we might only get one, or two takes to capture whatever respective sport action. This limitation helped hone my timing in looking for the athlete’s body’s “tell”, that would happen a faction of a second before the peak of action. We also had to work little hacks with the strobe lighting packs and transmitters available at that time, to achieve the highest flash duration to freeze the action. Because it was shot on film, and also while traveling to different countries, there was a little bit of frustration in waiting a few days to get the film back from a lab before knowing if we had gotten the shot.
The main campaign started ramping up in February 2004, and by that time a few viable digital camera systems had finally hit the market. I had shot with one in the interim on a small fashion brand project, and although I wasn’t fully impressed yet with the color look of the raw files, I thought this would be a perfect tool for the Speed campaign since we could instantly see if we got the shot. The art director had expressed concerns, as she had done a shoot a few months earlier with a different digital system, and the resolution and quality was subpar for their uses. The client requested we do a test shoot with this newer digital system we were proposing. We emailed the test jpegs in real-time during their project meeting in the Portland offices, and after seeing the results, they were sold on this approach. The only stipulation was that we traveled with backup film in case we encountered technical issues. The digital backs at that time were wildly expensive, so we could only afford to lease one to travel with.
Nike had come out with the “speed suit” which was novel in that the apparel is like a second skin that covers the athlete head to toe. We wanted to emphasize the sleek form of the apparel, as well as the musculature of the athletic bodies in action. We explored this by edging the lighting with a hint of a warm, red tone that was focused on the trailing end of the athlete’s body, like a glowing meteor trail. We kept all the action either straight on, or profile to keep the shapes graphic.
We started the shoot in early March of 2004 in a sound stage in Amsterdam. We then continued throughout the US to the various cities that the athletes were training in, then wrapped it up in Paris and London. It was encouraging to hear that all the creative teams back in the Nike global offices were excited and giving great feedback from the sample of images we were sending from the road.

Shortly after that campaign the book: Beauty of Speed featuring 37 global athletes was published by Nike – what was your biggest takeaway from creating that book?
The book was a surprise, as I had no idea they were going to collate all the athletes we shot into a book. I think it was something that wasn’t on the table until the work came back and everyone was stoked on the results.

How did your sport work transcend into fashion and portrait work?
As mentioned above, it was kind of the opposite, as the fashion work first transcended into these early sports campaigns. The only downside was once that campaign came out, clients and photo editors tended to pigeonhole me, and suddenly I was only being considered for the “athlete kicking ball in studio” shoots. It was lucrative and allowed me the budget to continue to learn more lighting techniques, but it took me a while to come across photo editors who could see past the sport angle and realize that the work could be applied to non-sport portrait or fashion photography.

Your use of color and shadow has a surreal, visceral quality (I’m struggling to define it – the viewer emotionally plugs in and there are no words) – where did that aesthetic stem from?
Thanks! That’s a hard question, as I’m not sure where the aesthetic came from either! It’s probably a bit silly, but I pride myself in knowing how to light and doing things really D.I.Y. Perhaps at times that approach has been detrimental, like not hiring out a DP. For me, researching and experimenting with the lighting is still part of the fun. I can’t wrap my head around some of the stories I hear of high-end photographers that don’t know how to light themselves, or worse those who don’t even push the shutter button, as that’s a whole different world! I think I’m always trying to mix the pragmatic of what lighting will work to achieve high shutter speeds, but also be subtle enough to feel simple and just a little more elevated, yet feel real and organic.

How did your collaboration with Monica May come about?
My partner Monica May is a great photographer, her work feels thoughtful and considered. The first collaboration we did together was in 2008, for an Esquire fashion story. The magazine wasn’t asking for a motion asset, but it was a nice editorial with male models in suits on a dry lake bed, the type of fashion story that pretty much shoots itself! Monica shot super 8mm, and since it was natural light, she was able to get the look cohesively with the stills. We got the film processed, scanned it, and fumbled a bit learning the editing software. We turned the final edited film to the magazine along with the stills, in case they wanted showcase the film on their website. It was extremely well received, and Esquire began to ask for these companion film pieces for our commissioned fashion shoots. Being editorial, the budgets could only allow little to no compensation for this additional asset, so they were mostly a labor of love. We used these types of shoots to learn and experiment with different processes. Eventually, we started bringing in higher quality motion cameras onto some brand ad campaign shoots (again on our own dime), and continued to hone these skills. We would do all of our own editing, not only for cost, but for the learning process as well. Editing can still be an exciting component for us because it’s like working on a complex puzzle.

Around this time, we were also getting ad jobs where on set timings would be shared with a TVC campaign. For whatever reason, the crews on the TVC motion teams were always a bit hostile and flexing some weird competitiveness with the stills team, even though we were all working for the same clients. We weren’t even taking on projects that required us to use their same set, but even with being completely autonomous, there were unnecessary complications thrown at us. We started thinking it might benefit these types of projects, especially in these pro athletes’ shoots, to school ourselves in continuous lighting that would allow us to capture both stills and motion simultaneously. The client began to see the potential and the benefit of hiring us as a team to capture both.

Tell us how you two harmonize creatively through the process.
We’re both technical, but as mentioned, she’s probably the more thoughtful one in her approach. I might be quicker to jump in and try to problem-solve along the way. Monica works with the motion cameras and her team, while I mostly handle the lighting and still photo aspects so it’s seamless between the stills and motion. Sometimes we cross over. Both of us tend to be highly involved with the production process, as we tend to get a lot of the more complicated timings and multiple asset request projects. We both work the logistics as well. While on set, we are either able to capture certain scenes at the same time due to the consideration of the lighting, or able to bounce the subject’s attention back and forth between my lens and hers. We both love to edit when the project allows, and we have developed a nice workflow where Monica usually takes the first pass and creates a “trim bin” of her favorite takes, then I take that and begin to assemble an edit, then we bounce it back and forth during this process. We also found we love working with music composers and sound design collaborators, since sound can evolve and reinterpret things for these short form projects.

Is The 20 Years of Olympic Imagery a good example project.
I don’t consider the 20 years of Olympic imagery as a project per se. It actually came about spontaneously over the first weekend of the 2024 Paris Olympics. I’m not a huge fan of social media, or the focus on “self branding”, but for better or worse, it’s obviously just another tool to showcase work. I’ve been reluctant to share older imagery, or ones that are heavily sport specific, with concern that the style of imagery might feel dated, or again get pigeon holed with the perception that I only shoot sports. I think the catalyst to share this work was seeing some recent Olympic campaigns with a similar aesthetic to the 2004 Nike Speed campaign, and realizing that the style within photography had once again come full circle, as trends tend to do.

I quickly edited the one minute collage film on the first Sunday of these Olympics, while watching the start of gymnastics and swim competitions, and posted it on the first Monday of the games. I didn’t have a plan going into it, so every night while watching the competitions, I would collate and resize imagery for the next days post. By not calling out brands, or the clients that these images were created for, I instead, wanted the focus to be solely about the athletes and the photography.

Life can be broken out into seasons, how would you describe your current season?
I’ve been fortunate enough to have a long career so far. No huge breakouts, and I’ve never considered myself a critic’s darling, just slow and steady. I can look back and see specific projects that were stepping stones, like the aforementioned 2004 Speed campaign, and those that were fulfilling and allowed us to discover, or learn something new. With all of that, I still find that I am excited to learn new things, hopeful for what the next project will bring, and confident in the experiences that have come with the years of work. So perhaps it’s a hybrid of all of life’s seasons!

What has changed the most – you, your process, or the Olympic Games, or photography itself?
That would take up another whole interview! I can attest that the landscape has changed so much since I started out, and moved even quicker in the last few years due to the sheer amount of photographers, directors, brands, social media, etc. With regard to the Olympics and photographing professional athletes, many of the changes I see are with the athletes themselves. Most of these young athletes have grown up with social media and self-branding. That can be an asset, as many understand all the publicity and brand asks of being a sponsored athlete. However, there are times I’ve seen all the self-branding and the focus of social media become a hinderance. There are also a lot more agents and PR representatives now then there used to be, and while it is necessary to have someone looking out for the athlete’s best interest, some come on set already with that “power flex”. They tend to forget that everyone is there to execute great imagery, while also creating a safe environment for the athlete. There are also a lot more brands besides athletic wear companies that sponsor the Olympics, like credit card companies, insurance companies, etc, that normally don’t shoot athletes, which limits access and timing further.

What are you excited about moving forward?
I think moving forward Monica and I want to continue doing these types of projects, but we are also looking to hone the work to showcase some more simplified and graphic work, as sometimes less is more, in the hopes that not every shoot needs to be a huge science project!