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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: Montana State University Phototgrapher Kelly Gorham

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On his website, Kelly Gorham says he began his career with humility by begging the local newspaper for assignments. Over the past 21 years, his photography has been featured in publications around the globe, including National Geographic Explorer, Sports Illustrated, New York Times, and USA Today.

Although he still freelances from time to time, the majority of Kelly’s shooting time is spent as the staff photographer for Montana State University, his Alma Mater. The position really gives him an advantage most photographer dream of; he claims to spend 60 % of his time shooting photographs, 20% shooting video, and only 20% on editing.

When I emailed Kelly about the interview, he welcomed the opportunity. He answered my questions immediately, despite having a busy weekend of NCAA basketball to shoot. Here’s what he had to share:

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?

KG: I first thought about being a photographer at age 6. I started to appreciate the photos in National Geographic and that same year my parents got me a Sears-Roebuck camera. However, I never considered it seriously as a career until I was 18. I had taken a photo class and was learning how to use my first SLR, a Pentax K1000, when I saw an interview with the late fashion photographer Francesco Scavullo. I was hooked and changed my college major from architecture to photography. I never looked back.

2. What was your last non-photography related job? How long did the transition take and what lessons did you learn during the process?

KG: My last non-photo job was working as a rock crusher for a mining company. I was the only person not on parole. It was just before my first year of college. I learned a lot about people at that job and I think that’s also when I started to develop my journalistic curiosity about people. The transition didn’t take long. Two months after that job I got a job assembling catalogs and mixing chemicals for the Photographer’s Formulary. They produce high-end photo chemicals. It was really interesting because at that time I knew nothing about darkroom work so my exposure to photo processing was kind of from the inside out. I loved that job. The owners are terrific and I really enjoyed the exotic nature of the chemicals and some of the darkroom processes.

3. Where do you live and why? How does your geographic location help or hinder your business model?

KG: I live in Bozeman, Montana and am the staff photographer for Montana State University. I still freelance for magazines when I have time. I’m lucky to have a staff position, but for freelancers I think Montana is a terrible geographic location if you want to work for magazines or do commercial work. I only get assignments because I’ve spent years developing relationships with editors around the world and they trust me.

4. You’ve been published in a huge amount of newspapers and magazines. When you first started, were you shooting images on assignments or shooting first and selling the images afterwards? How long did it take to go from shooting on spec to shooting on assignment?

KG: I have actually never shot an assignment on spec. I earned an internship with a daily newspaper during my summers in college and learned quickly that it’s better to get assignments from publications. Most editorial work is art-directed in some way so you have to have a relationship with the editors and designers. They want specific photos to illustrate stories. I took my first full-time staff position with a daily paper in 1998 and I’ve held staff positions ever since. I much prefer working as a staffer because I get to concentrate on my craft rather than business.

5. If you could give only one piece of business advice to a young photographer, aside from finding a more lucrative career, what would it be?

KG: Follow your passion. If you want to be a photographer then do it, but don’t do it halfway. You have to give it everything you’ve got. Learn people skills. Successful photographers can talk to anyone. The photographers without social skills wash out eventually. Learn to look and act professionally. I don’t know why photographers insist on looking like they just woke up wearing week-old clothes. People treat you way better if you can carry an intelligent conversation and dress the part. I’ve actually seen judges that wouldn’t allow photographers in their courtrooms if they weren’t wearing a suit and tie. Beyond that, I would suggest that young photographers take a few years and go to larger markets where there’s work. We see a lot of people in Montana and the resort areas of the West thinking they’ll make a career but there’s just no work. You need to spend your time shooting, not continually scrambling for assignments. If I could go back in time I would have went to New York right after college.

6. Do you buy into the whole “photojournalism is dying” talk or do you simply think its changing? If it’s changing, what have you done to stay relevant or ahead and what do you see developing in the next few years?

KG: Not at all. I think there’s a need for good journalists now more than ever as more and more amateurs try to enter the professional market. Truly professional photographers are actually few and far between. I’ve worked on staff at places when we’ve posted for photo positions and I would say 1 out of 20 portfolios were worth looking at. There may be fewer newspaper staff positions but I think a good photographer can always find work. I also think photographers need to think more in terms of how photos are used. That’s the biggest change. You need to be able to quickly produce multi-media slideshows and video. I also think photographers work more closely with editors, writers and art directors than they used to.

7. What’s the harshest lesson you learned early in your photography career and how can others avoid falling into the same trap?

KG: Get it in writing. It’s a tough business and you need to have solid business skills. Learn everything you can about the business of photography. Don’t be afraid to charge for your work. Register your copyrights. I’ve lost a lot of money over the years to people stealing my photos and I hadn’t registered the copyright with the Library of Congress. Now it’s part of my workflow. Every photo I shoot gets registered. Get involved with photography organizations like the American Society of Media photographers. They can be a tremendous resource. I also recommend the book, The Real Business of Photography by Richard Weisgrau.

Another lesson is to check your ego at the door and listen to people. Some of the best advice I’ve had about my photography was from people that weren’t photographers but were editors that knew how to look at photos.

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

KG: I couldn’t do what I do without the support of my wife. She is patient and tolerant of my career that keeps me away from home a lot. I usually work about 50-60 hours a week on days, nights and weekends. Sometimes I go a couple of months without a day off. She’s a trooper to put up with this. My wife is also a good critic of my work. She doesn’t hold punches and is brutally honest about my photos. I value her opinion. I also rely on my co-workers. I work with a team of writers, designers and editors and they’re terrific. I know people have a romantic idea of photographers off in the wild pursuing their art and having complete control but it just doesn’t work that way. In my world photography is a team sport.

9. What’s been your favorite assignment or photograph to date? What part of your work brings you the most pride or satisfaction?

KG: I like assignments where I can spend a lot of time working on an essay and truly explore the storytelling aspect of photography. This is why multimedia is so great because it’s a great venue for photo essays. I spent several years working on a project about relics of the Cold War in Berlin. I still feel really passionate about this project and am happy with the result.

10. Many entrepreneurs find it difficult to separate their work from their lives. What do you do to maintain a work-life balance? How does time away from the camera affect your work?

KG: I don’t really have a work-life balance. I eat, sleep and breathe photography and I have now for over 20 years. When I’m not working I read books about photography or photographers or I think about new ways I can approach my assignments. I work out a lot and engage in physical sports like cycling and Nordic skiing but ultimately I think I do this to stay in shape for my assignments rather than as a past time. When I’m away from my cameras for very long I get grumpy. I need photography like surfers need waves. This is another reason I married the best girl because she is the only person that can get me to take a break. I love spending time with her and that’s the only time I don’t think about photos.

Final Thoughts:

As always, I want to finish up by passing on a sincere thank you to Kelly. I appreciate you taking the time out of your schedule to answer questions from a complete stranger.

These interviews are a regular series on my blog, so make sure to leave me a comment with the types of questions you want answered by today’s top pros and I’ll do my best to include them.  Check back every Monday for a new interview.