Category Archives: Photographer Interviews

Interview Series: Wildlife Photographer Paul Burwell

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Paul Burwell is a wildlife photographer based in Edmonton, Alberta. He’s also a renown instructor and teaches a number of wildlife photography workshops in the controlled environment of the The Triple D Game Farm in Montana. It’s a very interesting setup, as participants work with captive animals to really boost their shooting skills, composition techniques, and possibly build a portfolio in a short time frame.

Paul hit the mainstream last year with his snowflake imagery. It’s popularity soared after a spot on CTV’s Canada AM. When the show ended, his phone started ringing. It’s also one of his favorite image series because he managed to make something simple into a beautiful artistic collection.

He was enthusiastic about participating in this interview series and really belongs on the list along side the other Canadian-based outdoor photographers I have interviewed: Daryl Benson, Jordan Manley, and Darwin Wiggett. Here is what Paul had to say:

10 Questions with Wildlife Photographer Paul Burwell

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

I’ve been into cameras since I was five and my mom gave me her Kodak Brownie Hawkeye camera.  When I was a teen I purchased my first SLR (a Pentax K-1000) and started photographing for the high school newspaper.  At the end of high school I had to decide whether to pursue a career in photography, or my other passion, computers.  Computers won out because I thought I could make more money at it; I was right.  By 2004 I was the President of an Internet Service Provider and we sold the company.  As often happens when a company changes hands, the boss gets the boot and that’s what happened to me.  I had to find something else to do with my life and started working on business plans to start a new Internet business.  However, I soon found I was spending more and more time outside photographing and less and less time working on business plans.  It occurred to me that it might be possible to make a living as a nature/wildlife/outdoor photographer so I contacted a bunch of pros who were very quick to assure me that it was impossible, the market was saturated and there was little chance to become a pro.  They advised me that my best bet was to remain an amateur.  Naturally I ignored their advice, jumped in with both feet and have never been happier.  I guess my “ah” moment was one morning at Elk Island National Park and I was the only human being around.  I suddenly noticed how I was enjoying the sound of silence and the wildlife all around.  That’s when it clicked (no pun intended).

2. You began with a career in computers before moving onto photography. What skills were you able to bring with you that help your current business plan?

I’d built a business from the ground up into a business genrating over $4,000,000 in sales a year.  All the skills that go into that sort of a venture along with my computer background have helped me execute my business plan. I run into students all the time who are struggling with digital photography because of the incredible learning curve for people who aren’t comfortable with computers.  I strongly encourage anyone serious about their photography to get a good handle on the computer skills they’ll require to really enjoy their photography.

3. What is the most difficult part of being a nature photographer based in Edmonton, Alberta?

I wouldn’t say there is anything difficult about being a nature photographer in Edmonton.  I used to think that winter was a problem, but if one sets their mind to it, it is all just opportunity.  We’re situated between the Great Plains to the south and east, the Boreal Forest to the north and the Rocky Mountains to the west.  What could be better?

4. Last winter, you were on Canada AM to show off your very popular snowflake images. How does that kind of publicity help your photography business?

It is very hard to buy that type of publicity.  My phone and email were literally ringing off the hook.  It helps in all sorts of aspects related to business and opportunity and it certainly gives a person some instant credibility.

5.Other than staring on national morning TV, what do you think is the best way for a new/young photographer to market their work to perspective wildlife photography buyers?

My advice to those starting out as a new aspiring pro is to realize that it is extremely unlikely that you’ll be able to make a living off of selling your photographs to magazines.  You need to learn to write.  You need to find a way to leverage your photography along with your other skills into some sort of marketable package.   Long gone are the days of living off one’s stock photography library.

6. What other business advice can you give to new/young photographers that you wish you’d learned earlier in your own career?

Stay close to home.  It’s cheaper and easier.  Chasing all over the world after wildlife images seems glamourous but it is extremely difficult to make it pay for itself.

7. As an instructor, you run many workshops out of The Triple D Game Farm in Montana. Why do you use a game farm instead of shooting wildlife in non-controlled environments? What is the biggest benefit? The biggest drawback?

The workshops at the Triple “D” Game Farm offer a tremendous way for photographers to build a portfolio of wildlife images that are simply impossible to get in the wild.  It is also an excellent envrironment to practice using the skills that one will require when they encounter wildlife “in the wild”.  With captive wildlife you might have an opportunity for a “redo” if you miss a shot; that rarely happens with wild animals.  I never hide the fact when an image was made of a captive animal and all such pictures on my site/blog are labelled as such with a “-CA” at the end of the caption to indicate the animals was a captive animal.  I think that photographing and teaching at Triple “D” has definitely helped my “wild” animal photography.

The biggest advantage of shooting under controlled conditions is that you know the wildlife is going to be there and you’re going to get to photograph them.  With wild animals being, well, wild, they are often a lot less predictable.  My Spirit Bear photography tour in 2010 only saw one white bear for a grand total of five minutes.  That’s the chance you take when you go to photograph in the wild.

8.  Do you have a single image or collection that stands out as a career highlight? What makes it more special than your other work?

I’m quite happy with my image of a Kermode “Spirit” Bear walking down a moss covered log in the Great Bear Rainforest on the west coast of Canada.  I’m also very happy with my collection of snowflake images.  The Kermode Bear image is special to me because it was extremely difficult to get and it was a shot I’d envisioned ahead of time.  I’m happy about my snowflake images because I’ve found a way to make them artful.

9.  What three photographers provide your greatest source of inspiration?

Snowflake Bentley; early pioneer of snowflake photography
David Middleton; an excellent nature photographer and teacher and is someone I try to model myself after
Wayne Lynch; what more needs to be said about Canada’s king of wildlife photography?

10.  It’s similar to the first question, but instead of the “ah moment”, can you tell me simply why? Why do you make photographs?

I find that photography is an excellent way for me to express my passion for the natural world and maybe try to influence a few people into having a bit more consideration for the wild and natural aspects of the world we live in.

Final Thoughts:

As always, I owe a huge thanks to Paul Burwell for taking the time to answer this interview. I appreciate the honesty and openness shared by each interviewee this year and you are certainly no exception. I do apologize for how long it took me to post this on the site!

For those who haven’t, please take the time to check out Paul’s website and blog.

* All Images in this post are protected by Paul Burwell’s copyright *

Interview Series: Editorial Photographer Sofia Lopez Mañan

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It’s been getting harder to find willing participants for my weekly photography interviews. I also haven’t had the same amount of time to commit to my blog, as I’ve been busy since returning home to Canada The good news is the big rush is coming to an end and hopefully I’ll have a new home base in the coming weeks.

This week, I’m featuring Sofia Lopez Mañan. She is an editorial photographer based in Buenos Aires, Argentina. I met her during the foundry photojournalism workshop. Her project Monoblock was recently exhibited in Espacio Itau in Buenos Aires. She’s also taken part in three other solo exhibitions and 13 group shows.

11 Questions with Editorial Photographer Sofia Lopez Mañan

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

Since kindergarten, I spent my time drawing. When I had the opportunity to choose what to do with my life I chose art. That is why I was never able to sustain a tangible career, even if this choice would have given me a more secure and stable economic life.

2. Before you decided to become a photographer, what did you want to do?

I ended my fine arts degree and I didn’t want to become an art teacher. I was lost and thought of many things I wanted to do: from being a mountain guide to landscape designer.

3. What’s the best part and worst part of being a photojournalist based in Argentina?

Sometimes it’s difficult to think about the best part of being a photojournalist in Argentina; It’s not an easy country to work in as a photographer. The good part is there are many themes to explore, but unfortunately, very few places to sell them. We live very far away from the rest of the world and it’s very difficult to promote your work from this distance.

4. Photographers in Latin America often struggle to find viable markets for their work. Newspapers and magazines simply do not have the same budgets as North American or European publications. How have you managed to deal with this situation and where/how do you market your work?

Today there are other reliable markets besides the classic magazines and newspapers. I move my personal work through an art gallery in Buenos Aires and my plan is to present it to other galleries abroad.

5. Where do you see your work going in the next 2-3 years? Will you remain in Argentina or are you looking overseas?

Photography is a career that requires you to adapt to new markets and technologies all the time. It is difficult to see where I will be in 3 years because it isn’t a lineal profession. What I would like is to work more and open new doors within the Argentinean Artist scene. I also need to be receptive to whatever opportunities come along.

6. What single project, portfolio, or image stands out as your favorite or best? Why?

I don’t have personal favorites, when I did all of my projects; they made perfect sense why I was doing them. Today I would say that my favorite is my last project Anonymous. It’s a series of self-portraits using others as me. It’s a personal story and I see myself in all those pictures.

7. You’ve been a part of a number of group exhibitions and independent shows. What is it like seeing your work hanging in a gallery?

Once you show a work you feel there is some kind of closure.  It’s important to interact with your own work from another angle. See how the images relate not only amongst themselves but in the place they are being exhibited. Exhibiting gives you the opportunity to see your work from a new point of view and consider it as a spectator.

8. I met you at the Foundry Workshop in Buenos Aires. How was the workshop experience and how much did you learn in such a short time?

I don’t thing you learn anything in a workshop. In some ways, it’s good to feel able to make a story in such a short time, but just as important, is showing your portfolio to the instructors you think are reliable to show it to. It is a great way to show your work.

9. What three photographers provide your greatest source of inspiration?

They always change. Today I think of Taryn Simon, Gordon Matta Clark (although he is not a photographer) and Nadav Kander.

10. And finally, take this one and run with it: Why do you make photographs?

PASSION! This is the thing I know how to do and I am able to say all those things with an image that I couldn’t find words to say. I think in pictures and I even draw photographs that I have in my mind. I choose it because I love the way it makes me feel, it makes you stop thinking of everything that was worrying you before. I found a way to say all those things that I cannot say in word.

11. Any final thoughts you’d like to add?

Persistence. I say that to myself everyday. It’s a tough career but in the end, we are doing what we most love to do.

Final Thoughts

I owe a big thank you to Sofia for taking the time to answer this interview in English. It’s her second language, so I can imagine the answers don’t flow off the keyboard as easily as a Spanish interview might. Muchas Gracias Sofia!

* All images in this post are protected under Sofia Lopez Mañan’s copyright *

Interview Series: Photojournalist Indu Antony

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After an unplanned two week delay – my final 10 days in Argentina – my photography interviews are back underway. I’m happy to feature another Foundry Photojournalism Workshop student, Indu Antony, to get things back on track.

Hailing from India, Indu Antony is ignoring social convention to chase a career in photography. Thankfully, her enthusiasm doesn’t allow her to become discouraged. Her It’s a  Beautiful World “Ouside” project was recently shown in London and she’s had numerous exhibitions throughout India. Here is what she had to say.

10 Questions with Photojournalist Indu Antony:

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

IA: Well I always knew arts was my career from a very young age. I used to take a lot of landscape and travel pictures but I was still in the process of searching a proper medium to express myself. It was only through my project Broken Strings I knew very strongly that this is exactly what I want.

2. Is there any truth to your website bio that says your mother wanted you to marry a dentist? How has your photography career been received by family and friends?

IA: This is very true. When I was growing up the only profession which had a high respect in the society was being a physician. Soon I became a dentist. And it was very common to marry someone of the same profession. I did not marry one and still resist the pressure to do so. My family still does not accept me being a photographer. My friends are very supportive.

3. In an earlier email, you mentioned how you are going against many social norms to become a photographer in India. Tell me about that. Just how hard is it to build a career in a market where many feel you don’t belong?

IA: The social norm would be to be in a respectable profession (according to the society) and be married. So I am considered an outcaste by my family having not followed the norms. But things are changing these days and I see a lot of parents supporting their kids’ dreams. I dont think its hard to build a career if you do not worry about the market and the competition around you. Once you truly believe in your own work things will get noticed.

4. You’ve also had a number of exhibitions, including the London-based showing of your portfolio Broken Strings. Is there a single moment that stands out as a career highlight?

IA: The work I exhibited in London was Its a Beautiful World “Outside”. When my work on transgenders helped them gain jobs I was highly satisfied and it gave me immense happiness.

5. I met you at the Foundry Workshop in Buenos Aires. How was the workshop experience and how much did you learn in such a short time?

IA: The workshop helped a lot. I would like to say it really shaped me to see things unseen and why they were seen. It was my first workshop experience and I gained a lot from this one week. It was great to meet a lot of other photographers from other parts of the world and share a common interest. Great energy!

6. While at Foundry, few students were as eager to show their portfolios than you. What do you learn from a portfolio review and how much weight do you put into the reviewers criticisms/comments?

IA: I am quite lucky that I got the chance to review my work with the great photographers. Photography kind of makes one live in their cocoon and be blinded by many things. These reviews helped me look at my work from various angles.

7. What is the single piece of photography advice you wish you’d learned earlier?

IA: None.

8. What three photographers provide your greatest source of inspiration?

IA: Every true photographer inspires me in some way or the other on a daily basis. One person who has moved me immensely is Carrie Mae Weems.

9. And finally, take this one and run with it: Why do you make photographs?

IA: hahah…Its like asking why do u breathe? I have to do it…Why? im searching….

10. Any final thoughts you’d like to add?

IA: Find your colour!

Final Thoughts:

As always, I owe a major thank you to Indu Antony for taking time to answer these questions. I spent some time with Indu in Buenos Aires during the Foudry Workshop and her attitude and enthusiasm for photography radiated from her every move. Please take the time to check out her website.

Interview Series: Mountain Bike Photographer Kristoffer H. Kippernes

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Kristoffer Kippernes is an adventure photographer from Trondheim, Norway. His portfolio shows off his specialty – mountain bike photography – well enough that Mattias Fredriksson recently invited Kristoffer to participate in the Scandinavian Photo Challenge. Although his team placed 5th, Kristoffer took home awards for Best Scenic Action, Best Close-up Action, and All Mountain. (check out the behind the scenes video here)

He’s also the third Scandinavian Photo Challenge photographer to answer my interview, joining Fredriksson and Grant Robinson, which simply proves how accessible today’s top shooters are to new photographers.

10 Questions with Adventure Photographer Kristoffer Kippernes

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

KK: Photography was always something I was very fond of during my childhood, but it took me a couple of years before I realized that this was something I wanted to do. After I finished high school, I was sick and tired of everything related to sitting on the bench learning stuff I had no interest of. So I took a year of, worked, and then went to “Folkehøgskole”(a slightly different type of school) for two years. There I had focus on just riding my bike and skiing, while making videos of it.

After some time I started using my still camera more and more, and I guess it was during that process I slowly realized that I wanted to pursue that dream.

So you can say that it all happened over time, nothing that struck down like lightning.

2. I notice your website biography is light on words, descriptions, and information. Do you feel like it’s more important to let your images speak for you?

KK: Both yes and no. I do feel that the main focus should be on images alone, but sometimes words make the images better and vice versa.

3. Your editorial portfolio is mostly full of biking images, with a few ski, skate, and running shots thrown in. How important is it for a young photographer to diversify their portfolio?

KK: Well that depends on what you are trying to accomplish, really. On one hand, you’d like to show that you are capable of doing different types of pictures, but on the other hand, it is smart to sit down and think through why you want people to hire you. If you like doing a lot of different stuff, then diversity is the key, if you want to specialize, then focus on that in your portfolio.

There is really no absolute correct answer to this question, but those are my thoughts.

4. Your client list is diverse and split between editorial and commercial clients. Can you break down your work for me:

a)What percentage of your time is spent on Shooting? Editing? Marketing?

KK: I would say perhaps 45%-45%-10%.

b)What percentage of your income comes from editorial clients? Commercial clients? Stock? Other Sources?

KK: I guess 80% editorial and 20% commercial

c)Which type of client gives you more freedom in terms of work style and vision?

KK: The magazine TERRENGSYKKEL. I’ve been working with them more or less regularly for the last three years, and they’ve been extremely important to me and my career in terms of progression and challenges.

5. This is a simple question, but I feel it is important for newer photographers. How long did it take you to get started, to begin earning a living from photography, and what did you learn in that process?

KK: phew….I don’t know exactly, but it took me at least the first two years to get started, and trying to earn a reputation and getting work. What I learned? That hard work is more important than anything. It’s a lot of trial and error, and constantly trying to get better.

6. Taking into account any adventure, contest wins, publications, images sold, is there a single moment or frame that stands out as a career highlight?

KK: That’s a tough one… I’m lucky enough to travel a lot, since I mainly shoot pictures of biking, and I’ve seen so many beautiful places and met so many fantastic people that it is hard to pinpoint anything, but attending the Scandinavian Photo Challenge in Åre this summer was really special. Just being invited to such an event was a huge honor to me, and I had an amazing week there. I got to shoot tons of pictures, met some amazing people and had great fun all week.  Big thanks to Mattias Fredriksson for inviting me!

7. Successful photographers often balance two roles: creative professional and businessman. What is the biggest lesson you’ve learned in both roles?

KK: When it comes to creativity, I think seeking inspiration is very important. If you do that, you eventually develop some sort of taste for what you like, and maybe that way you can get new ideas yourself.

Business: Never sell your copyright, unless that’s a part of an agreement, and don’t give away your images for free.

8. What’s the best advice you can offer to an aspiring photographer hoping for their first big opportunity or assignment?

KK: Don’t expect it to come out of nowhere; you have to earn it, either way. Practice a lot, and build up a portfolio that shows consistency and good work, and back it up with hard work ethics, and you’re on the right track!

9. What is your favorite new trend in action sports photography? Least favorite? Biggest change in the past 5 years?

KK: I don’t really have a good answer to that one…

10. What three people – be it friends, family, photographers, athletes or anyone else – provide your greatest source of inspiration?

KK: Phew…only three?? Chase Jarvis is a photographer I discovered early on as I started to get more into photography, and he has fascinated me ever since. Stunning images, super creative, and shares a lot of everything via his social media sites. Behind the scenes videos, conversations, how-to´s, you name it. He is an important photographer of our time, I think.

My brother is really important to me. He is pursuing his career and dream of being a professional mountain biker, and is working so hard to achieve his goals. Ever since I first took him out on a mountain bike, he has excelled and is now one of the best mountain bikers in Norway. Naturally, he has also appeared on a lot of my pictures, and stood up for me that way.

Øyvind (editor), and the magazine TERRENGSYKKEL as I mentioned earlier on, is very important to me. Always new challenges on the line, new places to go to, and pictures to be shot, I get inspired just by working with that!

Final Thoughts

As always, I need to throw a big thank you towards Kristoffer Kippernes. I always appreciate hearing different answers and seeing great photographs and Kristoffer has given us both. You should check out his website and blog to see more great images.

Interview Series: Mountain Bike Photographer Grant Robinson

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Grant Robinson is a mountain bike photographer based in England. He’s also Canadian and grew up like many of east-coast kids – dreaming of moving west to Banff, Alberta.

Being based in England does have its advantages – ie: RyanAir flights to Europe – but Robinson doesn’t always do things conventionally. Instead, he’ll travel to Scotland in hopes of rainy weather.

He also participated in Mattias Fredrikkson’s Scandinavian Photo Challenge in Are, Sweden, stood in the rain for the 4X British Championships and inexplicably drove 1853 miles around tiny Britain in 11 days (all this and more on his blog).

Somewhere in between all that, Grant managed to answer my interview. Here is what he had to say.

10 Questions with Mountain Bike Photographer Grant Robinson:

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

GR: I’m not sure there was an ‘ah’ moment to begin with, but my granddad bought me a camera when I was about 10 and with the first roll of film I put through it I won this little landscape competition and five bucks at the agricultural fall fair in my town. Liked the money and liked walking through the woods to find remote places to take pictures and spent the rest of that summer doing so. My granddad fell ill and died shortly after and with him my unlimited supply of film, processing and my interest in photography.

I guess I ‘rediscovered’ photography when I left home and moved to Banff. Started shooting my friends on our bikes and snowboards for a few years and my interest really kicked in when I moved to England. Moving over here is when I realized I could do it for a living and I had a couple really shitty jobs that made me think “don’t want to waste my life doing this kinda stuff forever”, so went and studied Photographic Communication at the Falmouth College of Arts in Cornwall. It was there I guess the eureka moment came and I realized with a camera you could tell a story. No words, just pictures and that is when I really fell in love with the whole idea of photography.

2. Judging by your logo, you’re Canadian but you’re located in the UK. What prompted the move?

GR: Yeah, born in Thunder Bay, Ont. and grew up in Dryden, Ont. It’s not a bad place but by the time I was 14 or so I struggled with being there and spent the next 4 years planning my escape. As I said above I went out west and ended up in Banff for a few years where I met an English girl on her holiday. I followed her back to England and ended up staying. That was 15 years ago, we are now married and have two kids and live in Haslemere, England. Everyone says they can’t believe I left Canada for here but it is such a diverse and exciting country, and with its proximity to Europe there is a lot of world on our doorstep. I’ll end up back in Canada at some point, but not just yet.

3. When I look through your cycling portfolio I notice a movement or speed theme throughout. Why is it important for you to capture this aspect of the sport?

GR: It’s important because for me a photography isn’t just a about perfect exposure or flash balance or anything technical for that matter. It’s about creating a feeling or a memory of a time, place and experience. I guess without going to deep into my personal history, bikes saved me from a life that wasn’t worth living and I am trying to encapsulate the childhood feeling of riding a bike within my images. To do that you have to have movement, speed and the ‘feel good’ factor ’cause that’s why we ride in the first place.

4. Your client list is diverse and split between editorial and commercial clients. Can you break down your work for me?

GR: I read an article years ago written by a snowboard photographer whose name I have forgotten but the general premise of the piece was that a camera is a passport to life. He was exactly right. Doing this job has taken me places I never would have had the opportunity to visit, all because I have a box with a hole in it. Surreal if you think about it really. I like to be able to go between commercial and editorial work as it keeps the variety of subject matter different and it is the reason I wanted to work in photography in the first place.

A. What percentage of your time is spent on Shooting? Editing? Marketing?

GR: Shooting takes up 40%, editing 50% and marketing 10%. In that editing percentage I’ve included all the time spent retouching, which I do myself, sending work to clients and pitching for jobs with images I have already produced. Marketing has in the last few months probably taking up more than 10% as I am trying to get more commercial clients in addition to the editorial clients I
work with at the moment.

B. What percentage of your income comes from editorial clients? Commercial clients? Stock? Other Sources?

GR: Editorial work accounts for about 70%, commercial for 20% and stock for 10%. I like editorial, as it is more about story telling and documentary, which I strongly believe to be where photography’s roots lay. Stock used to count for probably more like 20-30% but in the past 5-8 years has really dropped off, I guess since digital cameras became so accessible.

C. Which type of client gives you more freedom in terms of work style and vision?

GR: In terms of photographic freedom, I guess from an editorial perspective I am completely free in that I shoot stories that I like and then pitch them to different magazines. Whether they be mountain bike, road bike, motorbike or travel story, whatever. When it comes to commercial clients you are hired to fill a brief. How well you deliver that brief decides if you will be hired again or not so you do what they say and try to bring as much personal vision to the table as you
can. Sometimes it’s not very much because the brief is tight and the art director is even tighter…!

5. This is a simple question, but I feel it is important for newer photographers. How long did it take you to get started, to begin earning a living from photography, and what did you learn in that process?

GR: I earned a living straight out of university but not by taking my own pictures. For 3 years I worked as a full-time assistant to a number of photographers in London before I started getting my own work behind the camera. It was a good basis though and working with more established guys you learn all sorts of things that would take you years to learn on your own. It never ceases to amaze me how many people think that you take pictures therefore you are a photographer and earn good money. I would have to honestly say that it’s still a monthly struggle financially, and that is possibly due to that fact that I mostly work in the editorial cycling world…hence more of my efforts and time as of late being put into acquiring more commercial work. From what I have learned so far and any advice I might give to a new photographer is you have to try and try again to get your work out there. Just because an editor or art director says ‘no’, it doesn’t mean they’ll say ‘no’ to the next thing you put in front of them. Don’t sell yourself to cheap either. Do it once and they will expect you to do it again, and you are only undermining
yourself and everyone else in the industry.

6. Taking into account any contest wins, publications, images sold, is there a single moment or frame that stands out as a career highlight?

GR: Yes. One frame and one moment stick out. I got the cover of the ’08 DIRT magazine photo annual and that was pretty special. Then last month I was invited to take part in the Scandinavian Photo Challenge in Are, Sweden. Organized by Mattias Fredrikkson who I’ve looked up to for years, it is an event where 5 photographers shoot for 3 days and then have 1 and 1/2 days to edit together a five-minute slideshow. Never worked so hard in my life but it was the most creative 3 days I’ve had with my camera.

7. Successful photographers often balance two roles: creative professional and businessman. What is the biggest lesson you’ve learned in both roles?

GR: I can be quite creative but I’m a shit businessman! It is very true that it is a delicate balance of the two; unfortunately I’m not very good at the business side of things. But that is changing. It has to. I have a family and a future to plan for.

8. What is your favorite new trend in action sports photography? Least favorite? Biggest change in the past 5 years?

GR: Not sure I follow trends but I have noticed a bunch of that HDR I think it’s called?? I don’t understand it or even know what it means but it looks like poo pants. Don’t like it. And there is too much flash lit stuff as well. I like straight up and strong images particularly those with a documentary influence. The biggest change would have to be digital cameras. When I started it was all on film and my mistakes cost a lot of money. Now any Muppet can work it out so long as they have the money for the camera and lens and a bit of sticking power. Doesn’t mean it’s creative though.

9. Are you happy with your current work – both its style and quality – and how do you see it evolving in the next 2-5 years?

GR: Lately I’ve had a proper mixed bag of emotions towards my work. Some of it I feel is my best work to date. Other stuff I don’t want to look at. It’s always evolving though. I feel over the past year or so I finally have found a style coming through…7 years later!!…that I like and want to continue with, especially with my bike and portraiture work. Unfortunately I can’t see myself ever retiring. Making pictures is the only thing that makes me feel OK about life so I hope I continue to evolve and develop for many more years.

10. What three people – be it friends, family, photographers, athletes or anyone else – provide your greatest source of inspiration?

GR: Three people are a short list! Sterling Lorence, the godfather of mountain bike photography. Johnny Birch, my best friend and another photographer, and I guess then the third one changes every day depending on what I’m reading or checking out at the time.

Final Thoughts:

I need to send a big thank you to Grant Robinson for helping my Photography Interviews continue. He also provided all the photography in this post, so another thanks is in order for making such great images.

* ALL IMAGES IN THIS POST ARE PROTECTED BY GRANT ROBINSON’S COPYRIGHT *

Interview Series: Photojournalist Jon Goering

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Jon Goering is a staff photographer for Shelby County Newspapers in Hoover Alabama. He hasn’t been in the business for long; he studied at the University of Kansas’s journalism school in 2006-2009.

Prior to studying at Kansas, and winning a slew of awards, Goering lived in Addis Ababa, Ethiopia. During his time in Africa, Jon not only ran a bed & breakfast and wrote song lyrics, but he also discovered his passion photography. While he’s working in the US now, he says he’ll end up back in Africa to pursue the style of photography that first made him interested in the career.

I recently met Jon Goering at the Foundry Photojournalism Workshop in Buenos Aires, Argentina.  His work about Cartoneros stood out amid a number of similar photo essays, as did his portfolio review. Tewfic El-Sawy recently featured Goering’s Ethiopian Orthodox Christianity essay on The Travel Photographer.

Anyways, I asked Jon to answer this interview and he was game. Here is what he had to say:

11 Questions with Photojournalist Jon Goering

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

JG: Where to start? How about the middle. My life changed during 2005 when an Ethiopian political party called Kinijit (CUD) quickly started to gain popular support as the elections in the country drew closer. The ruling party had been responding to aggressive street riots with violence and, one day in particular, youths from the neighborhood in which I had been living placed a barricade of rocks across the major road and assaulted the soldiers patrolling the city with rocks when they got out to remove the roadblocks. That evening, standing in the yard outside of our house, you could hear the cries of mothers of youth the soldiers suspected of taking part in the attacks. Since the soldiers had no way of knowing exactly who had been involved in the rioting, they arrested individuals at random — mostly young men. My interest in photography had been growing fast during my time living and traveling in East Africa, but only as a way to document and share my own experiences. Being around history being made during that time made me look at journalism in a way that I never had before. I felt pulled to go out and tell the story of what was going on, but I had no idea how. I wanted to learn.

2. You jumped into a career as a photojournalist later than many. What did you do before and what skills did you bring with you that have helped your photography?

JG: I had originally moved to Ethiopia in 2003, and at that time I was hanging onto dreams of becoming a songwriter.  I very much enjoyed the creative process of lyric writing and using chords and melodies to convey the meaning of the lyrics, and I drew a lot of inspiration from the daily life I saw on the streets of Addis Ababa. I wanted to be a storyteller then, and I want to be a storyteller now. But what I found is that an acoustic guitar is a much more cumbersome travel companion than a camera. So gradually the medium changed, but the purpose really hasn’t changed much.  The songwriting I loved taught me about the world, it changed the way I thought about and related to the world. It taught me about myself, and it made me a better person. I feel the same way about great visual storytelling.

3. You’ve won your share of awards as a student and as a staff photographer. Do any of the nominations or awards stand out above the rest? Why?

JG: The Hearst awards during my junior year of journalism school stand above the rest for one reason — they gave me money. Awards are pieces of paper buried somewhere in my desk and a rather trite tidbit I feel obligated to include in the bio of my Website. But I do believe in the power of recognition that awards can provide to allow one to continue doing the work one wants to do. Awards can have cash prizes, they could help you land more grants or fellowships, and they might help you drum up a little more work. And that is why I will continue to pursue awards. But I try not to think about it much.

4. You landed a staff job shortly after graduation despite layoffs being more popular than an image on Flickr explore’s pages. How did you land the job?

JG: Despite not being really able to swing any internships during my college career at Kansas because of my responsibilities at home, I was fortunate to be offered a couple of staff jobs shortly after graduation. I worked for about a year as a part-time shooter with the Lawrence Journal-World, during which time I wished every day that something full-time would open up there. But nothing did, and I was forced to look elsewhere for a full-time gig. I was offered two jobs at the same time, and even though I really liked the staff and especially the DoP at the job in upstate NY, the one I am currently at near Birmingham, AL had better opportunities for my wife who I was pulling away from business school at Kansas. In addition it felt safer to me to be moving for a job with a smaller company where I knew I would be more than just a number on a balance sheet, which can so often be the case with larger companies.

5. As a staff photographer, how much freedom do you have in subject/project ideas?

JG: I feel as though I have quite a bit of freedom here, as far as newspaper jobs go. The newspaper environment in general though can be a little bit stifling I would say. That’s really all I have to say about that.

6. You just returned from the Foundry Workshop in Buenos Aires. How much could you learn in such a short time frame?

JG: I found the experience to be a really great one. During my college career I had sort-of shied away from workshops, regrettably, for the very reason you outlined in your question — I wasn’t sure how much I could really learn in a week.  But the thing about workshops is that they are a place where seeds are planted, and then it is up to you as a shooter during the rest of the time to give those ideas a chance to grow.  I was fortunate to have been placed with Andrea Bruce, who I enjoyed working with very much.  I entered the workshop feeling in something of a rut where I making these frames based on what I knew others wanted — or basically, frames that conformed to “rules.”  This is a fairly common theme among shooters who work for newspapers it seems. And I had been working for quite a while in systems that applaud a photographer’s ability to make frames under the framework of these rules. But I want to explore more abstract ways of storytelling, while at the same time producing work that is more traditional in its way of delivering a message. I believe that both forms of expression have their home.  Sometimes what you are witnessing is so powerful that you just need to step back and be a witness. Share the moment as best and authentically as you can. And sometimes you need to do more than just share moments to really get across what your subjects are experiencing. This is something that I feel Andrea had done quite well, which is a big reason I was drawn to her.

7. Many young photographers often wrestle with the decision to go to photojournalism school or go the self-taught route. As a Kansas grad, how do you feel about this matter?

JG: I don’t believe that there is any one route that is hands-down the best way for anyone to do it. And I don’t believe that there is really such a huge difference between this idea of being “school-taught” and “self-taught.” From the way that I see it, we are all self-taught to a large degree and that is balanced by the things we learned from others. And whether the learning from others aspect is done by mentors, co-workers, friends, college professors, books, etc., doesn’t seem to me to be all that important. There are some definite practical advantages to going to photojournalism school though. It is a great opportunity to network, which is extremely important. It is a good way to get a solid foundation in journalism.  It is pretty much a requirement for getting a staff job at this point to have at least a bachelor’s degree.  Is a photojournalism school the only way to do these things? Of course not. But it is one of the more straightforward ways to do it. That being said, I wouldn’t go too deep into debt for it!

8. What is the single piece of photography advice you wish you’d learned earlier?

JG: I guess I wished I would have understood from the beginning — and maybe I am just still learning it – but is just how important it is to take advantage of every opportunity you can to make connections and foster those connections. There are just not enough opportunities out there to waste any of them. The industry is a network of connections and your ability to become a part of that network is easily as important as your ability to make solid frames — meaning, you can’t suck at either and survive. And no one is going to hand you anything. This isn’t a they-recruit-you industry. It just isn’t.

9. I don’t want to get you in trouble at the office, but I have a suspicion that you don’t want to retire as a photographer in Alabama. Where do you see your work five years from now?

JG: I don’t want to retire in Alabama. The word retire actually makes me chuckle because if you are thinking of retirement, you should probably become a banker. But I don’t think that it is any big secret that my heart is in East Africa. Right now is not the right time, but the goal most definitely is to be able to be based back in Addis Ababa and do the type of work that is the reason I got into this. Five years from now? Who knows. Life is what happens while you’re busy making other plans, right?

10. What three photographers provide your greatest source of inspiration?

JG: I would rather share three bodies of work that I think draw on points made in the answers to the questions. The first is by a young photographer whose work I had admired for a long while, Justin Maxon’s outstanding work from Chester, Penn.  Check out the link because that second paragraph of explanation of the project is great.  But there are more complete essays of the project. Search them, they are easy to find.  Another project that I really enjoyed was Capitolio, by Christopher Anderson.  And Paulo Pellegrin.  His Magnum home page has a really good quote to go along with a beautiful set of mysterious black and white images that ask questions instead of providing answers necessarily. That is true of all three of these bodies of work.

11. And finally, take this one and run with it: Why do you make photographs?

JG: I make photographs because I believe in their power to bring about change.  I want to get people interested in what is going on in the world. I want to make sure no one is able to bury the truth. I want to help people explore their world, and I want to help people explore themselves. I want to help people look differently at the world around them. I know I’ve said it before, but these are all the same reasons I was into songwriting. I am reminded of a quote that I saw recently on LUCEO‘s twitter feed from Walter Sickert:

“Photography, like alcohol, should only be allowed to those who can do without it.”

They posed the question could you quit photography cold turkey, though I think a better question would be what would you do if photography just didn’t exist when you woke up in the morning? This, predictably, solicited a lot of responses along the lines of -no i can’t, is that bad? I think it is much healthier to concentrate on the message more than the medium. Is photography awesome? Hell yeah it is. Or else why the hell would we all be spending every waking hour stressing over it? But is it the only way to deliver? I don’t think it is, and I like to believe that I would be doing this same thing in any different way feasible, even if photography ceased to exist.

Final Thoughts

I owe a giant thank you to Jon Goering, even if he couldn’t find room in his Buenos-Aires-bound luggage for a pint of peanut butter because he correctly assumed security wasn’t going to let him carry it onto the plane in fears the pilot might have peanut allergies. He’s the first interviewee to supply a profile image taken by his own son with in hipstamatic style. Perfect. He also sent over the other images that illustrate this post, so a big thanks for that, too.

* All images in this post are protected by Jon Goering’s copyright. *

Interview Series: Too Little Too Late, Enjoy these Links

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After the 2011 Foundry Photojournalism Workshop in Buenos Aires, I took a week off. I barely looked at my email and I didn’t do any work. Instead, I went to Uruguay, walked around Buenos Aires, and visited family & friends. Unfortunately, that all adds up to a missing interview. Fortunately, I met lots of great photographers at Foundry, so here are 10 links worth checking out:

10 Foundry Photojournalism Student’s Websites

Santiago Serrano – a photojournalist based in Quito, Ecuador. Check our his Amnesia Selectiva blog or his portfolios on Nuestra Mirada.

Jon Goering – a staff photographer for Shelby County Newpapers in Alabama, Jon discovered story telling and photography while living in Ethiopia.

Patricio Murphy – Despite his irish name, Patricio is porteño. He’s been taking pictures since he was a kid, but the transition to photojournalist took place in the middle of Argentina’s 2011 debt-crisis riots.

Cristobal Olivares – A Santiago native, Cristobal is a freelancer for a number of newspapers in Chile’s capital. Other than his blog, you can also see images on Flickr.

Tatiana Cardeal – Dedicated to humanitarian photography, Tatiana’s photography shows the many colors of Brazil’s cultural landscape.

Andre Cherri – Another restless photographer, Andre is counting down the days until he’ll leave Sao Paulo, Brazil, and hit the road on a three-year round-the-world cycle trip.

Indu Antony – Instead of following her mother’s advice to marry a dentist and have two boys, Indu decided to become a photographer.

Edward Brydon - A scientist with a passion for photography, based in New York City with an English accent.

Szymon Kochanski – A polish computer programmer with a home address in La Paz, Bolivia, Szymon blogs in Polish. I just look at the pictures. During a discussion about living in La Paz, being an expat, and living an off-beat life, Szymon said something that really stuck in my mind.

“I’m just trying to have an interesting life,” he said.

Brilliant.

Final Thoughts:

There were more than 100 students at Foundry and many had brilliant portfolios. This list is merely a handful who I spent time with outside of the classroom. I’ll try my best to highlight more students and share a bit of my work from the workshop once I am back in Mendoza.

Interview Series: Conservation Photographer Michele Westmorland

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Michele Benoy-Westmorland is a conservation photographer with a passion for the ocean. She was recently inducted into the Women Divers Hall of Fame, a recognition of her passion for underwater photography, and she is a International League of Conservation Photographers fellow.

While her current work focuses on commercial assignments for adventure companies, properties, and yachts, she’s eager to put commercial work behind her and focus on conservation stories. Her Headhunt Revisited project is an in depth look at Papua New Guinea and its culture.

Fresh off an extended shooting trip, Michele was kind enough to take time out to answer this interview. Here is what she had to share:

12 Questions with Conservation Photographer Michele Benoy-Westmorland

1. I’d like to start out with the same question I ask for each interview. Was there an “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

MW: Living in Florida gave me the opportunity to develop my skills in underwater photography.  The reefs were a never ending supply of subjects.  But when I made my first trip to Papua New Guinea and discovered the vast diversity of life in the Indo-Pacific, I realized I wanted more out of my life than sitting behind a desk.

2. After 22 years in a corporate office, you launched a freelance photography career. What made you take the leap?

MW: I spent 22 years in commercial real estate. I worked as a broker and for major corporations in site selection.  The work and the pay were great.  I learned a lot about business but knew that I could not spend my entire life negotiating 100 page lease documents.  I lived in Florida for 13 years and took up scuba diving to replace my hobby of skiing.  Because I already had a passion for photography, it wasn’t long before I had an underwater camera system in my hands.  With an obsession to learn and the knowledge that I wanted to spend my second career doing something I love, I built a plan and was fortunate enough to begin a career in photography.  I left corporate life in 1996.

3. A few details about time, income, and clients:

A) What percentage of your time is spent on Shooting?

MW: I travel about 6 months of the year to capture content.

Editing? MW: Editing takes a monumental amount of time but I’m fortunate to have an accomplished employee who assists in the editing and post production.

Marketing? MW: This is probably the most important part of a photography business.  I tell my students that if they do not educate themselves in accounting and marketing, they cannot expect to develop an income stream to support their passion.

B) What percentage of your income comes from editorial clients? Commercial clients?

MW: Today, it is the commercial shoots that support the business.  I would say that 40% of my income is derived from the commercial assignments

Stock? MW: Stock agency sales USED to be the majority of my income.  Today, the value of imagery has declined substantially – and so has the income.  It used to be 70% – today it’s perhaps 20 – 30%

Other Sources? MW: Editorial content is small in relationship to the other segments.  However, magazine and self-assignments are a vehicle to get to locations for acquiring images for my library.

C) How many days do you spend on the road each year?

MW: As I said earlier, I spend about 6 months a year on the road.

4. What did the initial nomination/recognition to the ILCP mean to you and how has it helped your career?

MW: As my photographic career grew, I became more aware and passionate about conservation issues.  Even when I’m on a commercial assignment, it opens the door of observation. I keep an eye out for issues that impact our environment. It was my project, Headhunt Revisited, which gave me the introduction to a fledgling organization, ILCP, founded by a passionate and talented woman, Cristina Mittermeier. What does it mean to me? It’s not only one of my proudest moments, but also an important venue to express myself in the world of conservation.  The collaboration with other photographers whom I’ve admired for years is, without a doubt, the most rewarding aspect.

5. What draws you to the underwater world that your photography is known for?

MW: There is a peace and beauty in the underwater world that is difficult to explain.  I am constantly learning about unique species, behavior – and the delicate nature of our oceans.

6. You are quite diverse in subjects. Everything from commercial resorts, to underwater photography, land-based wildlife and travel. Do you consider yourself a generalist or is there a common theme that links each genre together?

MW: I think the theme is tropical. Take a look at my new logo, and it depicts the focus of my work. I tend to resonate with that type of environment.   That is not to say I don’t cover other wet and dry environments – it’s all wonderful. It’s amazing how much my commercial shoots on resorts and boats teach me about lighting.  Many of those techniques I can take into the field for the environmental side of my photography – even underwater!

7. Successful photographers often balance two roles: creative professional and business woman. What is the biggest lesson you’ve learned in both roles?

MW: No matter what, your photography business is just that – a business.  Without an understanding of general operations, marketing and planning the creative side will be impacted by the day-to-day segment of survival.

8. What do you enjoy about teaching and what has been the most surprising lesson you’ve learned from students?

MW: That there is ALWAYS something to learn.  I love the energy my students exhibit which in turn, energizes me.

9. Is there a single moment, publication, award, or nomination that stands out as the career highlight?

MW: Wow, I have been blessed with several proud moments.  ILCP is, of course, at the top of the list.  I would say being inducted into the Woman Divers Hall of Fame in March, 2011 was incredible.  Also, a recent issue of American Photo placed me in a circle of photographers I have great admiration for. It is an honor I take very seriously.

10. Your Headhuntrevisited.org project is complete and the documentary movie is upcoming. Can you briefly explain how much work you put into this personal project and how it developed from a team of two intrepid women to a team of eight? How does it feel to complete such a big project after nearly 5 years work?

MW: Headhunt Revisited is my life passion project. It has been in the works for some 15 years.  My experiences in Papua New Guinea photographing marine life opened my eyes to the connection of the marine world – and the incredibly diverse culture of this Melanesian island.  The story of Caroline Mytinger is the “hook” to engage the public as to this unique island nation.    Complete??? Not hardly. Although the expedition footage has been captured and the documentary film ready for post-production, the recession has had a terrible impact on the completion of the film.  Grants and funding, of which I still need over $300,000, are more difficult to procure than ever. I have my production company and a very talented script-writer in place and continue to search for completion funds. I continue to lecture at many venues and receive incredible responses as to the value of the project.  The other component is to create a book with reproductions of Caroline’s paintings and newer images from our expedition illustrating the changes that have occurred over the 80 years since Caroline was there.

11. Current trends are pushing video and slideshows upon photographers. How do you see your work evolving in the next 2-5 years?

MW: I am just starting to explore the video side of the business.  It is a very different way of telling a story. Stills are capturing a moment in time and video is time in motion.  The most important thing I am learning is that you have to make a choice when on location – shoot stills or shoot video. Don’t try to “mix and match”. The overall results turn out mediocre since it is difficult to switch your creative brain from one function to another.

12. What three people – be it friends, family, photographers, athletes or anyone else – provide your greatest source of inspiration?

MW: My father gave me the wisdom and strength to pursue my dreams.  Caroline Mytinger is my all-time heroine.  She travelled to a place and completed her goals in a time most women were not allowed to venture.  Chris Newbert and David Doubilet are my underwater photographer idols.

Final Thoughts

As always, I’d like to extend a huge thank you to Michele Westmorland for answering this interview and supplying beautiful images to illustrate it. Please take the time to leave a comment for Michele and visit her website.

* ALL IMAGES IN THIS POST ARE PROTECTED BY MICHELE WESTMORLAND”S COPYRIGHT *

Interview Series: Conservation Photographer Amy Gulick

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Amy Gulick is a professional photographer and a writer with a passion for both nature and its conservation. She is a fellow with the International League of Conservation Photographers (iLCP) and she’s published in most major outdoor/conservation magazines, such as Outdoor Photographer, Audubon, Nature’s Best Photography, National Wildlife, and Sierra.

For the past two years, she’s been busy with her latest project: Salmon in the Trees. The project shows her hands on approach, as she spent 5-6 months shooting in Alaska’s Tongass National Forest, a year editing, designing, and writing for the book, and a year promoting it through public outreach. It’s the hands on approach that insures her images aren’t just visually stunning, but also powerful tools for conservation.

Somehow, between public speaking tours, Amy found the time to sit down and answer my interview. Here is what she had to say:

13 Questions with Conservation Photography Amy Gulick

1. I’d like to start out with the same question I ask for each interview. Was there an “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

AG: Before I could read or write, I loved telling stories — orally and by drawing pictures. It’s how humans have communicated for most of our existence on this planet, so I was just doing what came naturally. But as soon as I could hold a camera and figure out what it could do, it became my tool of choice for telling stories. So from a young age, I was fascinated by the power of the camera to communicate. I never lost that fascination, and it’s what motivates me to continue telling stories.

2. You are a founding fellow of iLCP. How did you initially become involved and why?

AG: Virtually all of my photography and writing has always focused on nature in some way — natural history, wildlife, outdoor recreation, etc. The more stories I did, and the more time I spent in nature, the more I saw an urgent need to focus on conservation issues and help others understand their importance. Relatively speaking, there aren’t a lot of photographers actively pursuing these types of stories, so we end up finding each other throughout the course of our work. The iLCP was the natural next stop in uniting us so our work could be used more effectively. I am honored to be part of such a worthy group, and continually inspired by my colleagues.

3. What benefit is there to being an active member of photography organizations like the ILCP?

AG: At the end of the day, conservation is about people. People making conservation happen on the ground. People convincing decision-makers that conservation is important. People documenting issues so other people can learn. The more people you know in conservation, the more likely it is that your photography can achieve positive outcomes. The iLCP is like this amazing spider web of photographers connected to people all over the world doing great conservation work.

4. I was lucky to have Garth Lenz as an instructor shortly after he became a ICLP fellow. A big part of his work is public outreach. You also mentioned that you are in Alaska this summer promoting and showing your “Salmon in the Trees” exhibit. How important is it for photographers to market their own work directly to the public in this manner?

AG: If our photography is going to make a difference, it is crucial that we are speaking to the public and decision-makers. Just having the photographs out there isn’t enough. We have to become spokespersons for the issues, and we’re in a good position to do this because we can show compelling images and use them to tell powerful stories. The real work begins after we make our pictures.

5. Did you self-publish your book (I read it won an award for independent publisher but cannot find more info online)? If you did self-publish, can you tell me about the process, the risk, and the reward of putting your own money on the line?

AG: No, I did not self-publish “Salmon in the Trees: Life in Alaska’s Tongass Rain Forest,” which has won 3 awards to date: Independent Publisher Book Award (called an “IPPY): Silver Medal for the Environment/Ecology/Nature category; and 2 Nautilus Book Awards: Gold Medal for Small Press Honors and a Silver Medal for Photography/Art. Before I took my first picture for the project, I approached Braided River, the conservation imprint of The Mountaineers Books. I also approached a few conservation organizations working on the Tongass National Forest issue. Together, we all agreed that visual communications tools (a book, exhibit, web site, YouTube, etc.) could help raise awareness about this magnificent part of the world. So I established relationships first with my eventual publisher and the NGOs I’m working with. This is an effective way to ensure that the photographs will be used as effectively as possible. As photographers, we can’t work alone in conservation. Partnerships are essential.

6. Your  ”Salmon in the Trees” sends a positive message, something that many iLCP projects do not. What did you enjoy most about focusing on a thriving ecosystem instead of one that has been destroyed or threatened? What was the hardest part?

AG: I very much enjoy delivering a positive, hopeful message that celebrates a place and its people. A positive story gives people a sense of pride and inspires them to want to conserve what they have. While not all of the Tongass is thriving — parts of it have been decimated by industrial-scale clearcut logging, enough is still intact holding the ecological integrity of the whole place together. So there’s hope, and that’s the story I give people. If you can’t give people hope, they’re not going to feel like they can make a difference. The hardest part is convincing local people that there may be a sense of urgency to act when the ecosystem is still intact. The old adage “we don’t appreciate what we have until it’s gone” rings true.

7. Successful photographers often balance two roles: creative professional and businesswoman. What is the biggest lesson you’ve learned in both roles?

AG: It’s not enough to create outstanding images. You have to know how to market them, form partnerships, communicate a story, give media interviews, etc.

8. You’ve landed numerous cover shots, won awards, and published a book. Is there one moment that stands out in your memory as a career highlight?

For me, it’s all about the impact that my images have. For my “Salmon in the Trees” project, the best rewards are when people thank me for portraying their beautiful home in the Tongass rain forest and celebrating them and their way of life as an overall part of the ecosystem. Just to be able to tell the story of the incredible Tongass has been a career highlight.

9. How important are awards like the Daniel Housberg Wilderness Image Award or the Voice of the Wild Award to your business? Do they result in more sales and exposure or merely send a confidence boost to your latest project?

AG: For me, these awards are significant because they validate my work as a conservation photographer. While I always strive to make powerful images, how I use the images and to what end is what is most important. The Daniel Housberg Wilderness Image Award and the Voice of the Wild Award are given by conservation organizations whose sole focus is conserving the wild integrity of Alaska. While I’m honored and humbled to receive these awards, I don’t make images with the intent of winning awards. It’s all about conservation.

10. Are you happy with your current work & how do you see it developing in the next 2-5 years?

AG: I’m fortunate to be able to pursue my passion, and I’m grateful to all of my partners who’ve helped make the “Salmon in the Trees” project a viable visual communications campaign. I hope I can continue pursuing these types of projects because it’s what gives my photography and life a purpose.

11. What three people – be it friends, family, photographers, or anyone else – provide your greatest source of inspiration?

AG: My husband is my greatest source of inspiration — the best partner in life I could ever ask for. He’s always willing to listen, share adventures, and do whatever it takes to pursue stories. My colleagues at the iLCP are a constant source of inspiration — working in very difficult conditions to bring back important stories. I think I draw some of my best inspiration from those who came before me and worked so hard to protect what I am able to enjoy today in places like national parks, national wildlife refuges, national forests, etc. People like Ansel Adams, William Henry Jackson, Stephen Mather, Teddy Roosevelt, and all of the countless others who left an incredible legacy for those who followed them.

12. A few details about time, income, and clients:
A) What percentage of your time is spent on Shooting? Editing? Marketing?
B) What percentage of your income comes from editorial clients? Commercial clients? Stock? Workshops? Other Sources?
C) How many days do you spend on the road each year?

AG: This is a tough question to quantify because I’m project-oriented versus commercially-oriented. For my “Salmon in the Trees” project, I spent a total of 5-6 months in the field shooting pictures, one year editing, writing, designing the book, exhibit, web site, YouTube, etc., and I’ve spent more than a year doing public outreach on the issue.

13. Any final thoughts you’d like to add?

AG: Photograph what you’re passionate about! Passion will take you far.

Final Thoughts:

I need to sent a major thank you to Amy Gulick for answering my questions between two speaking tours. For anyone interested in conservation and environment, check out Amy’s website and her latest book: Salmon in the Trees.

Interview Series: Action Sports Photographer Krystle Wright

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Fresh off a month in Pakistan, Krystle Wright took time away from the camera to answer my interview. She admits it isn’t easy to find the right words; its her images that normally speak for her. They do a good job too; she’s recently grabbed third in NPPA’s Sports Feature awards and landed on ESPN’s Top 10 Female Action Sports Photographer List.

She’s also not afraid to get in thick to make an image. She’ll jump into crashing surf, hike well north of the Arctic Circle and put her athletic background to the test on mountain hikes.

12 Questions with Krystle Wright

1. I’d like to start out with that “ah” moment when you realized your life would be tied to a camera instead of a more tangible career. How did it happen?

KW: I always knew that I couldn’t work in an office as I seem to have a short attention span and it had to be something that was involved with sport. Through chance I decided to take a punt on photography though it took about a year before I really started to get the hang of things and put myself on a path to establish myself as an adventure sports photographer. Over time, photography just slowly engrained itself more and more on my life.

2. In your website biography you state that you come from a sports background. What sports did you compete in and what made you decide to stop competing and start shooting?

KW: Growing up on the Sunshine Coast, I had the opportunity to compete in a variety of sports such as soccer, athletics, swimming, tennis, cross country and as I grew older, I moved towards more adventure sports such as mountain biking or rock climbing. I absolutely loved athletics and thought my heart was truly set on it but photography just naturally took over. I was soon finding that rather than competing on the weekends, I was taking myself to sporting events to document with the camera. There was never a sudden point that I stopped one thing and started another, it was a natural progression over time that I realized that photography was my calling.

3. What’s the hardest part of being an athlete turned photographer? What’s the easiest part?

KW: The great thing about documenting adventure sports is that you as a photographer have the opportunity to be heavily involved. There are times that it becomes tempting to put the camera down just so that you can enjoy a quick rock climb or snowboard. Whether I’ve been hanging around on the rope for hours or freezing my hands off in blizzard conditions, if I am able to come away with ‘that ‘shot’ that truly encapsulates the atmosphere then I get the amazing feeling that’s hard to beat with anything else. I’m not sure if there is an easy part but I guess there are times when I’m glad to be sitting comfortably and warm behind the camera while the athlete is going through tormenting weather conditions.

4. I found your name on ESPN’s Top 10 Female Action Sports Photographer list. I felt it was odd differentiating between men and woman. Do you think there is anything that is easier or harder in the action sports industry simple because of sex?

KW: For one thing, there definitely aren’t many female adventure sport photographers but I feel its changing slowly as more females are getting into the industry. There have been occasions where I feel that I have been discriminated against just because I’m female and the typical cliche of how could a woman be interested in sports photography. Sure I’ve had to deal with the odd wanker athlete or photographer but its great to spin positives out of bad situations. Sometimes at events, I found that I can wander off and search for angles and no other photographers will follow me leaving me the opportunity to find something unique and original. The most important thing is to produce quality work, stand your ground and it won’t matter what sex you are as your work speaks for itself.

5. Your client list is diverse and split between editorial and commercial clients. Can you break down your work for me:

  1. What percentage of your time is spent on Shooting? Editing? Marketing? KW: No bloody clue to be honest. This year I have spent far more time shooting and madly trying to catch up on editing which leaves not much time for marketing.
  2. What percentage of your income comes from editorial clients? Commercial clients? Stock? Other Sources? KW: 65% Editorial, 18% Other sources, 15% Commercial, 2% stock
  3. Which type of client gives you more freedom in terms of work style and vision? KW: Through building strong relationships with certain magazines, some editors have given me free reign and I absolutely love those opportunities. There is definitely more freedom with magazines whereas a newspaper or news agency tends to have you shooting to a formula restricting the creativity.

6. This is a simple question, but I feel it is important for newer photographers. How long did it take you to get started, to begin earning a living from photography, and what did you learn in that process?

KW: While studying at university, I started completing a lot of work experience and through doing this, I started getting the odd shift at the local paper. Everyone has to start somewhere and from this point you keep building and extending your network. Soon enough, I started working the odd shift with news agencies and larger newspapers but as soon as I finished university I decided to take the chance and establish myself in Sydney rather than stay in Brisbane. I had to start over in Sydney and it took a few months before I scored a casual position with the Sunday Telegraph and at the same time slowly built up a rapport with a range of magazines. As a freelancer, it is key that you are incredibly self proactive and patient. Things definitely don’t happen overnight and by sticking to it and continually persisting, you’ll be rewarded eventually. It can be tiring some days but its important to keep networking and persisting editors with pitching new work or ideas.

7. Taking into account any contest wins, publications, images sold, is there a single moment or frame that stands out as a career highlight?

KW: Recently I was over the moon to hear that I placed 3rd in Sport Feature in the NPPA. That image tends to stand out above the rest in my work as it was one of the shots where I worked incredibly hard to get myself into the right position and deal with brutal conditions for what seemed like an eternity as I waited for the BASE jumper to leap. I think I also got lucky with the weather as the clouds moved in. Its one of the shots I’ll keep with me for life.

8. Successful photographers often balance two roles: creative professional and business man. What is the biggest lesson you’ve learned in both roles?

KW: I think I’m still learning those roles and how to balance it. I know plenty of photographers who have been in the business far longer than I have who still struggle with this combination. My advice is to encourage other photographers to be more business aware and have a strong understanding of business practices as it’ll make life a whole lot easier. You never stop shooting or sacrifice your creativity, you just need to find the extra time to build your business skills.

9. What’s the best advice you can offer to an aspiring photographer hoping for their first big opportunity or assignment?

KW: Don’t feel overwhelmed by the opportunity. When you reach this stage, its a clear sign that your producing strong quality work so rather than feel under pressure, just relax and keep what your doing as its obviously working.

10. What is your favorite new trend in action sports photography?

KW: I’m not really one to keep up with trends but lately I keep seeing photographers mounting cameras in incredible new ways that does my head in a bit.

Least favourite?

KW: People who follow trends and don’t stick to their own style.

Biggest change in the past 5 years?

KW: Hmmm its hard to argue against digital as it keeps making huge leaps and bounds in improvement in both cameras and lighting.

11. What three people – be it friends, family, photographers, athletes or anyone else – provide your greatest source of inspiration?

KW: Camp4 Collective – It was too hard to only choose one photographer from this collective so maybe I’m cheating here but everyone in Camp4 are doing incredible work that continues to push the boundaries in adventure photography. I’m always excited to see their latest project.Tim Clayton – From the beginning Tim has been instrumental in how I’ve developed my photography. His work speaks for itself and Tim also pushes sports photography into new realms bridging the gap between sport and documentary. It always great to share a beer with Tim & have a yarn about everything.

Christopher Anderson – An amazing photographer producing beautiful work. His images have really stuck with me.

12. Any other comments you’d like to add? A quote I heard the other day which really stuck with me:  “Security is mostly a superstition. It does not exist in nature, nor do the children of men as a whole experience it. Avoiding danger is no safer in the long run than outright exposure. Life is either a daring adventure, or nothing (at all). “- Helen Keller

Final Thoughts

I need to send a huge thanks to Krystle for coming through with this interview. Her answers are great and her timing couldn’t be better as it means I’ve escape another week without a delay to this series.

Please take the time to check out more of Krystle’s photography on her website and blog.

* All images in this post are protected by Krystle Wright’s Copyright *
(Say Krystle Wright’s Copyright five times fast)