Tag Archives: photography

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: 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: 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: 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)

Interview Series: Editorial Photographer Katrina D’Autremont

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Much like the beginning of my own website biography, Katrina D’Autremont is a photographer with two homes: Argentina and USA. She claims to be more American, yet her most known body of work, Si Dios Quire, was shot in her family’s home in Argentina.

She’s back in the USA now and continues to seek “the familiar in the foreign” from her Philadelphia home. Her career is gaining momentum and in the past few years, she was named to PDN’s 30 (2011), featured at the Sash Wolfe Gallery, and awarded a Silver Eye fellowship.

I appreciated learning from D’Autremont’s responses for the simple reason that she’s balanced two home nations throughout her photography with success. Here’s what she had to say

Eleven Questions with Katrina D’Autremont

1. I start every interview with the same question. Was there an ‘ah’ like moment that you realized you would be a photographer and not pursue a more tangible career? If not, how did you decide to pursue photography?

The moment that I realized I would pursue photography in a more meaningful way was when I was in Argentina and I was about 23. I was taking a class at a small local photography school, and one day I left the class and I was walking through the streets of Buenos Aires and thought “This (photography) is something I will still want to be doing ten years from now, and I want to do it better than I am doing it now.” It was in that moment that I decided to go back to school and to study photography, and pursue it more seriously.

2. You were just named to PDN’s 30 2011. What does that sort of recognition mean to you personally? To your photography career?

I think the PDN 30 is a great milestone. I have yet to see in what ways it will affect my career since it is something I believe will have an impact over time. No award is essential to making work, but it is always validating to have your efforts recognized. It is especially great to feel the support of the photography community in which you are involved.

3. The newest portfolio on your website, Si Dios Quiere, is an intimate look at your family in Argentina. How did they feel about your work?

Well, this question does not have an easy answer.

Obviously, I am very attached to this particular body of work because it really is about my relationships with the people I love and am closest to, and yet the farthest from physically.

In the beginning, my family didn’t understand what I was trying to accomplish, but once they saw the photographs they began responding to it personally. They became more than just participants. In a way they are more like characters in a story and their lives make up the images in the scenes.

There was one particular moment at my grandfather’s funeral, when my family was passing around this book that I made from the photographs from the series. It was then that I realized how important my work is to my family as a whole. It holds an intangible part of our history. Relationships change and shift, people pass away, and my work becomes more and more what I originally intended it to be – an extension of my family album, a way for us to look back at our lives together.

4. On your website biography, you say “American eyes saw Argentina; Argentine eyes saw America. Can you explain that a little bit and help me understand how it relates to your photography?

My mother is Argentine and my father is American, and while we always lived in the United States as children, we would go visit Argentina for extended periods of time and it was an integral part of my childhood.  Even though I am technically “half and half”, I grew up mostly in the US, and I am “American”. When I moved to Argentina at nineteen, hoping to regain some of my Argentine identity, it was a bit of a shock to realize just how American I really was.

The cultures are very distinct. When I think about this in relationship to my photography, I think about something I call the “not here” aesthetic. It is something people can’t exactly pinpoint, but they feel the distance in the images.  They know that a cup is still a cup, but there is something that says it is not just like the one they have in their cabinet.

In that same way, I think that I look at the place I live now, Philadelphia, and other places in the US and it seems slightly foreign to me. I try photography here the things that seem anomalous, slightly outside of what seems normal or familiar to me.

5. Do you think growing up with two nationalities – or simply two distinct homes – has helped your photographic vision?

Of course, in the most basic of ways, it has given me the physical space in which to photograph. This is not some invented landscape; most of the photographs take place inside my family’s home. And I am not a tourist in another country; I am actually in the spaces that I grew up in.

When I look at the United States, I have a harder time photographing unless something strikes me as distinct or foreign in a way, which is why I am not as attached to the work I make here. I have been working in Philadelphia where I live now, and even though I have amassed a number of images, I don’t quite know how to approach them. It may take me several years before I can really see what is contained in these images.

6. You’ve won a number of awards and been featured in magazines, and had a gallery presentation of Si Dios Quiere at Sasha Wolf Gallery. Is there one moment that stands out as a highlight?

The Silver Eye Fellowship was a definite highlight. It was amazing to be given a solo-show, a grant, and to be treated with such respect as an artist. They are an amazingly supportive organization and it is a relationship that I hope to maintain throughout my career.

I love the smaller non-profit organizations that exist throughout the world. I really feel that anywhere you go you can find a photography community. I had the honor of teaching a workshop in Guatemala City last year with La Fototeca, and it was definitely one of the best experiences I have had. Through photography, I was not only taken to a new place, but more importantly I found a community of friends the moment I got there. It really showed me how important photography is in my life.

7. If you could give an aspiring photographer, let’s say on day one at photography school, a single piece of advice, what would you tell them?

Make lots of work. Worry about the rest later. I think we get so caught up in the reasons that make working difficult: time, money, insecurity, etc., that we often stop ourselves from just letting the images progress on their own. Don’t worry about that in the moment, just try and shoot as much as possible. I need to remind myself of this all the time.

8. In your mind, what has been the hardest part of earning a living within the photography industry?

The hardest part is that the industry is changing so fast. You have to sort of pick an avenue and follow it. But even within that avenue you have to be flexible.

9. Are there any harsh lessons you’ve learned that you can guide aspiring photographers away from?

The one thing I would say is that there are a lot of photography competitions, awards, and reviews these days, so be careful where you spend your marketing money.

Also, know that everything takes a lot more time than you think it will, so be very patient.

10. Speaking of business, how do you make your living? Editorial work? Print Sales? Commercial photography? Other Avenues? Simply not eating? What percentage of your income comes from each of these categories?

I do a little bit of everything: licensing, editorial, assisting, teaching. It just depends on the day. I can’t really break it down into percentages.

11. Where did you study photography and what did you think of the experience?

I studied in at the University of Arizona as an undergraduate, and then I got my M.F.A. at the Rochester Institute of Technology. It was a mostly positive experience. Graduate school is not always easy, and it definitely pushes you in ways that might make you uncomfortable, but in the end you come out of it with a stronger body of work.

Final Thoughts

As always, I want to extend a sincere thank you to Katrina for taking the time to answer my questions and for including such stunning photography to illustrate this blog post. Please take the time to check out her website.

Last week’s interview with Mattias Fredriksson landed on a number of websites. SBC Skier ran the entire article on their website, and Powder Magazine highlighted it on their facebook fanpage, as did the Swedish magazine Magasin Åre. It was great and really helped draw more readers to my project. I appreciated their help and encourage you to share these interviews with any photographers – from beginner to pro – that you know. As a community, we’re better off sharing.

* ALL IMAGES IN THIS PART ARE PROTECTED BY KATRINA D’AUTREMONT’S COPYRIGHT *

Interview Series: Sports Photographer/Editor Rich Clarkson

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Rich Clarkson is an icon in photography. He worked at National Geographic as director of photography before leaving to help manage the production of Brian Lanker’s I Dream a World project & book. Earlier in his career, he worked for Sports Illustrated, landing more than 30 cover images.

Today, he currently manages Rich Clarkson & Associates, a photography agency based in Colorado. Aside from handling the Colorado Rockies photography duties, the company also covers all 88 NCAA national championships.

Clarkson took time away from a busy schedule to talk about his projects-over-frames approach and how he analyzes an image and a portfolio.

Eight Questions with Photojournalist Rich Clarkson

1. You’ve undoubtedly flipped through thousands of portfolios during your time at National Geographic and at Rich Clarkson & Associates. What are the biggest errors you see photographers repeating?

RC: Portfolios that seem so tailored to the assumed tastes and priorities of the recipient that it is hard to tell who the photographer really is.   There was great, though temporary, disservice years ago when News Photographer magazine ran a story from ten newspaper photo directors asking what they wanted to see in a portfolio.  The answers were all over the place, but they evidenced more self-appointed bravado than intelligence.  Many of them sounded like categories in Pictures of the Year — three spot news, two features, two sports, one portrait-personality, one picture story . . . Then there was a limit to the number of pictures that some insisted upon.

Any good portfolio reviewer wants to see what the photographer chooses to show — and how they show it.  I do not dictate what the portfolio should look like.  That said, less is always more. . .

2.    When you look at an image critically, where do you begin?

RC: Technical competence, composition — and then if that is under control, the most important element: content.

3.    When you look at a portfolio critically, where do you begin?

RC: Obviously presentation.  That shows professionalism.  But I can’t really evaluate a portfolio without talking at some length to the photographer.  Looking at portfolios anonymously introduces almost no insight. You get something of the talent, but not the potential.

4. You encourage photographers to think in terms of projects, rather than individual frames. Can you go into greater detail about why this is important?

RC: The first thing I do is to encourage photographers to think of the final usage — what magazine, what newspaper page, how significant is the story visually — is it one picture or multiple.  Effectiveness on the staff of any publication is being attuned to the personality of the publication, the readers– and not unimportant, the editor.  Not just the picture editor/director of photographer — the top editor.  And if they don’t “get it,” then do two things: begin an educational campaign and secondly, take a step back and evaluate whether they may actually know what he/she is doing.  Because someone doesn’t run your picture the way that pleases you doesn’t mean they are out of tune with the readers . . .

Projects are something I encourage photographers working for regular publications (and others as well) enable you to work on another level — of your own choosing and with you as the boss/user.  Long term projects show how a photographer learns, advances and at the same time, has his/her ownership of something they deem important.   And just as important as having a project for personal growth — meeting and making friends with significant individuals outside the realm of photojournalism/journalism.  We are often meeting interesting and noteworthy people.  Use the introduction to keep in touch.  Look at some of the best photojournalists today and their friends include many in politics, music, business.  Use your entree to meet/work with people that enable you to expand your own intellect.

5.    Can you describe how you approach a new subject to capture a project? Is there a step-by-step process, a defined shots list, or simply a conscious mind frame to capture more?

RC: Projects should cut new ground.  I have seen thousands of project/picture stories dealing with someone dying of cancer or coping with wrenching poverty or . . .  Gene Smith, Eugene Richards, Dorthea Lange — they have already done those.  Take on something of significance, even though it may be subtle, and do something unique.  If you are going to invest a lot of time on your project, make sure it counts — both for the reader and you.

A good example of project ideas was Brian Lanker who came to me when I was at the Geographic with an idea for a project.  (Not just a book but a many-faceted project built around the pictures.)  Portraits in pictures and words of America’s great black women — those who forged themselves ahead as part of both the civil rights movement and the women’s movement.  It is what I call a “Oh Yeah!” idea for you get it right off.  I left my job at the Geographic to manage elements of that project because it was so right — and so right that I could generate the money to make it happen — which eventually topped $1million.  And the book part of the project, “I Dream A World,” still holds the record for the best selling trade coffeetable book in American publishing history.

6.    Does this “projects over frames” theory work for all photographers or merely for photojournalists?

RC: It can work on any level — but the project needs to be something that has depth and legs — not something that is just a limited topic.  One picture . . .

7.    In today’s marketplace, how important is video to tell a complete story?

RC: Video and still picture are two different things.  It is possible to combine them and there are some very effective multi-media presentations going these days.  Begin with those of Brian Storm who understood how these can work 20 years ago when he was graduating from college.  (I tried to hire him at the time.)  Single pictures are how we remember — for they encompass Cartier-Bresson moments that are memorable.  And they concisely summarize an often complex message.  Television at its best enables us to attend an event in real time — a Superbowl, a political convention, a breaking major news story.  The compelling still photograph is how history records it.  So it is possible to use still photographs and mixing with video at times in a new and good story-telling medium.  But it takes just as much expertise as when LIFE magazine was laying out picture stories on the page 50 years ago — and the readers reacted well to that new medium.  This is a new medium, that in my opinion, may be short-lived — with the exception of the thoughtful production of a MediaStorm where the medium is well-understood.  Video does some things well.  Still pictures do some things well. Combining them is a real trick — and when done well, is very effective.

8.    Any other comments you’d like to share on this theme?

RC: Everyone should be expanding their interests, contacts and experiences.  This is what drives the content that make one effective.  Not winning contests.

Three Bonus Questions for Sports Fans

1.    What is your favorite sports image of all time? What is your favorite sports image from within your own portfolio?

RC: There are so many great images that picking one is problematic.  But perhaps Neil Leifer’s picture of the Casius Clay-Sonny Liston knockdown.  For one of my pictures, the one that seems to resonate over the years was of Jim Ryun training for the Mexico City Olympics running through the sand dunes near Alamosa, Colorado done for LIFE magazine.  Jim is a small speck on the rolling sand dunes.

2.    As a sports fan, what is the most memorable event, moment, or play that you’ve captured on film?

RC: Covering the Munich Olympics as TIME magazine’s only photographer — with the many layers of events and personalities that took place.

3.    Do you ever catch yourself watching instead of shooting?

RC: Early on, I pinched myself and said you cannot let emotions take over in the place of professionalism. There were athletes, coaches and teams that I got close to but just have to put those feelings aside when the event is happening.  There is time later to get emotionally involved.  But this is no substitute for knowing your subject — often times personally and very well.  Thus, when you see it, you understand the significance of an event or something as simple as an expression when it is taking place.  Homework covering sports is not just knowing the game and the sport (although that is important) but knowing the participants very well.  In many of the early years working on Sports Illustrated stories, I would accompany the writer much of the time which often included having dinner with the athlete/coach the night before the competition — and knowing the significance of what I would then be witnessing.  Today, SI photographers rarely work with the writers and those moments are pretty much lost.  But then, this is an era of smash-bang action, principally of the NFL and NBA, where behind-the-scenes has no great importance to the perceived tastes of readers/sports fans.

Final Thoughts

I owe a big thank you to Rich Clarkson for taking time away from his busy schedule to satisfy my curiosity. It’s a pleasure to have access to such great photographic minds. Please take the time to check out his company’s work.

Interview Series: Photojournalist Micah Escamilla

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Last week I said I would have an interview with Mattias Fredriksson ready by Monday but it is still a few days away from being complete. Luckily, it doesn’t mean that we’ll have a week without a photography interview because Micah Escamilla answered my last minute request.

Micah is an up-and-coming photojournalist and a great friend. We met during our year together in Western Academy of Photography’s Written Image Program (Between the two of us, we pretty much collected all the awards on graduation day). Since graduation, Micah has been freelancing for newspapers in southern California, attending workshops in Ecuador, volunteering in Argentina, and doing everything she can to improve her photography.

She was also kind enough to supply images that highlight her best work and prove that, despite her young career, she belongs in this collection of photojournalists.

12 Questions with Micah Escamilla

1. I’ve started every interview with the same question. Was there an “ah” moment when you realized your life would be tied to a camera instead of a more tangible career?

ME: Hey Jeff, first I want to say thanks for asking me to be one of your interviewed photographers. You have featured a wide range of very talented folk here, and I’m honoured to be included alongside them.

I can’t remember having one specific “ah” moment regarding photography because it’s always been a kind of gradual thing for me. Photography was a fun, non-serious hobby starting in my late teens. I had a lot of friends in bands and I would shoot their concerts and sometimes their portraits (I don’t want to know how many rolls of film I gave away for free back then!). Something that really propelled me into creating images more seriously, though, was the demise of a relationship in 2006. I had a difficult time with it and photography became a form of therapy for me. Around that time I also started to travel (mostly to impoverished nations) and in that process I considered becoming more serious about photography. It was probably then that I realized I wanted my images to help people in some way. I had known about a photojournalism program in Victoria, BC for a number of years and finally decided to quit my office job (best decision EVER) to pursue making images that matter and hopefully make some sort of positive impact.

2. You attended WAP’s Written Image program in 2008-2009 but you’ve also self-taught many different techniques both before and after attending the school. How valuable was a year in a dedicated photography school and what advice would you give aspiring photographers thinking about signing up?

ME: I think anyone who is interested and driven enough can become an incredible photographer either in a classroom setting or on their own. For me personally, I think I needed that year of school. I needed to have structure and assignments and deadlines. I needed to be accountable to others. I made lifelong friends and mentors there. I also ended up learning about a number of photographers and avenues of work that I wasn’t aware of before. Anyone can learn/gain these same things on their own, I guess, but for me personally, when I’m left to fend for myself I can slack off way too easily. Like right now, I have had Michael Frizot’s “The New History of Photography” sitting on my bookshelf for a good six months with the intention of studying it, but all I’ve done so far is quickly flip through it once or twice. I really should start reading it soon.

3. What lesson didn’t they teach at school that you wish you’d learned?

ME: In our particular program, they really should have done a lesson on portraits (both indoor and outdoor) using one off-camera light – a softbox or umbrella, etc. (I think they’ve incorporated that lesson since we graduated). When working for newspapers or magazines, knowing how to use at least one light can really improve your portraits.

Also, any photojournalism should absolutely include a section on video/multimedia. Our four days with Quinton Gordon were nowhere near enough. Actually, that goes for his multimedia AND business courses. Business (as much as I hate it) really needs to be a major focus and Q’s few days to teach us just wasn’t enough.

4. What did you learn in school that you continue to use every day?

ME: One of the things Quinton always encouraged us with was printing our work and living with it on our walls. He also said we should make small prints when editing a project, because it works and looks very different (and I think, better) than a group of images on a laptop. I don’t do this every day, but I do it with every project, and it makes a huge difference. I really should be making more prints, though. In fact, that’s one thing I’m doing later today after I finish this interview.

I also take advantage of networking, which I had felt uncomfortable with for a long time. I always felt like some kind of groupie and didn’t want to bug anyone. But the more networking I did, the more I realized its worth and it has opened my eyes to how helpful the photojournalism community is. 99% of the photographers I’ve met have been kind, helpful and often available at a moments notice. We really take care of one another and I love that.

5. A lot of people I’ve interviewed have been in the industry for more than a decade and haven’t been in the “struggling” financial state for a while. You’ve only been freelancing for two years now. Have you had to supplement your income with other non-photography work?

ME: Well, see…part of me feels like I can’t really whine about finances, because I’m currently under the rent-free roof of my very supportive parents. It’s not where I want to be, but it’s where I am for now until I’ve, slowly but surely, finished paying off my WAP tuition debt. I will say, though, that if I was on my own, I would definitely be struggling more. So, I would definitely push harder to shoot weddings. I would work more to build relationships with editors at a few magazines. I would probably even try to get some writing gigs. I’ve been fortunate to have a great relationship with Rick Sforza, my photo editor at the papers, and he’s given me tons of work these past two years. Keeping myself available for him has been my number one priority. Outside of the newspaper gigs, though, I still only do photography work (weddings, portraits, etc). I’ve played with the idea of becoming a part-time barista again (it was the only other job I’ve had where I enjoyed the work), but I really don’t want anything to cut into my photo-making time.

6. Your first career choice and studying wasn’t in photography. What did you do before you started pursuing a career as a photographer and what made you make the switch?

ME: Actually, photography was my first career choice, it just took a long time to choose it. I had a difficult time for a lot of years trying to decide what I really wanted to do with my life. I always knew what I DIDN’T want to do, but could never settle on what I DID want to do. Like everyone else, I had bills to pay so for seven years I worked full-time as a receptionist at California Baptist University. Because I was on staff, the university said they would pay for my degree, so I decided to get my Bachelor’s in Sociology. It was the only subject offered at night that I was interested in. I loved the people at CBU, but I hated my actual desk job. Once my photography hobby began to develop into something more, and once I had enough confidence in myself that I could create images for a living, the decision to quit the desk job was easy.

7. What’s been your career highlight so far?

ME: It would be hard to pick just one. Every time I meet a fellow photographer who is passionate about making images, it’s like more light is poured into my world. I LOVE meeting other photographers. I also love going on workshops. The Truth With A Camera workshop was probably one of the best workshops I’ve been a part of. I’m headed to my first LOOK3 festival next week and I can’t wait to experience that. Pretty sure my mind is going to be blown.

As for a highlight in my actual work, I would have to say that a project I’m working on right now has been one of the best things to happen to me. While on assignment for the paper back in March, I met a 3-year-old boy named Ronan. He’s in need of a bone marrow transplant and I felt an instant connection with him. On the same night after I met Ronan and his mother, Rachel, I asked them to think about allowing me to document his journey. Rachel, and Ronan’s father, Nick, very graciously said yes, and I’ve been a part of their lives ever since. I think this story will not only be of benefit to Ronan and his family, but hopefully also to anyone who is in need of a transplant. Hopefully this story will encourage people to donate to the Be The Match foundation, and also register to become a donor. If someone sees my images from Ronan’s story, and that someone decided to become a donor, and that person is able to then save a life…it doesn’t’ get much better than that.

8. Where do you want your work to be in 5 years? What types of projects are on your bucketlist?

ME: I often joke (although I’m kind of serious), when someone asks me this question, that I one day want to be one of the LUCEO kids. I love what they have created, and the example they are setting for what I believe to be the future of photojournalism. I think co-ops/collectives are a great way to keep the business and community of photography moving forward. I’d like to help start and/or be a part of one at some point.

As for my work, I of course hope it continues to grow, and I want myself to grow along with it. I would love to work both nationally and internationally. I have an idea for a project on dancing that I want to begin. At some point I would love to do some type of in-depth documentary work in the world of sports. And I will never want to stop finding and telling stories on behalf of people and/or communities who need and deserve to have their stories told. I want to create positive change among humanity. I never want to lose that focus.

9. When you review your first two years as a working photographer, how do you rate your success? Are you happy with your progress so far and what has been the biggest frustration?

ME: I guess that depends on how you define “success.” For the past three years (two of work, and one year in photo school), I have been the happiest person I’ve been my entire life. I have no doubt that I’m on the path I’m supposed to be on. I don’t think I’ve ever “called in sick” because I literally enjoy every single day that I’m working and I get disappointed when I don’t have assignments. Even if the assignment isn’t as exciting as others, I still have a smile on my face. It’s the best job on the planet, I think.

My biggest frustration, so far, took place after I moved back to California after graduation. I had no photography community here and it felt very lonely for a lot of months. Eventually I decided to reach out to the local newspaper photographers (most of whom I hadn’t even met yet) and started a monthly meet up where we grab beers and appetizers (thanks to Don Denton for the idea!). That was one of the best decisions I made, I think. We still meet up once a month and are now turning some of those meet ups into learning opportunities. Tomorrow we have our first critique session and we’re now talking about photo trips and group exhibitions. It’s been pretty cool and everyone seems to enjoy the time together.

10. What motivates you as a photographer or, better yet, why do you make pictures?

ME: I’ve often said in the past that, I make pictures because I have breath in my lungs. I can’t not make them. I see photos all the time, everywhere I go. When I think about why it’s such an emotionally and spiritually connected part of my life, I believe it’s because I’ve always felt that so much of life is important, yet easy to miss. Whether the moments are considered big or small, I want to save them. Savor them. A still image magically freezes and tells a story. It’s a beautiful thing and I’m so grateful to be a part of the process.

11. What three people – photographers, friends, family, artists, neighbour, whatever – inspire you the most?

ME:- I am inspired most by the people that allow photographers into their lives. Much of the time they let us in during a difficult time and their willingness to have a complete stranger come in to document what are possibly their most intimate moments is no small thing. There’s a lot to be said for that kind of strength, respect and trust.

- Matt Eich is probably my favourite documentary photographer, and has been since I first learned of him three years ago. His work is raw and honest. He’s very wise and well-spoken (well beyond his years), and he and his wife Melissa are two of the nicest people you will ever meet. Although his current Baptist Town project is ridiculously good, my favourite photos of his are the ones he takes of Melissa and their daughter, Madelyn.

- If I can batch together my closest girlfriends (there’s about 6 of them) and make them one of my “three people” that inspire me, then that’s what I’ll do. They are strong, encouraging, inspiring, creative, smart, beautiful women whom I can trust with my life and heart. I would not be as sane as I am today without them. I love each of them so much, and am forever grateful to have each of them in my life.

12. Any comment or thought you would like to share?

ME: Just another thank you for the interview. It’s been great keeping in touch and watching your work continue to improve. Give Romi a hug from me!

Final Thoughts

A big thanks is needed to Micah for not only answering my interview but for doing it on short notice. She’s living up to her own words about how photographers are always there for one another. If you haven’t yet, check out her website and blog.

*All photographs in this post are protected under Micah Escamilla’s copyright.*

Interview Series: Editorial Photographer Andrew Querner

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Andrew Querner grew up in British Columbia before moving to Canmore, Alberta, to pursue his passion for climbing photography. While his home hasn’t changed, his work has and Andrew now focuses on social interest work. His new approach takes him around the world and his current portfolio includes a photo essay from Kosovo’s Stan Terg mine, Yellowknife, and the Athabasca glacier.

Fresh off a trip to Europe, Querner took the time to answer my weekly photography interview and sheds light on life behind the lens and the longer-than-anticipated transition process from part-time photographer to full-time shooter.

9 Questions with Editorial Photographer Andrew Querner

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?

AQ: Since the end of high school I’ve played around with photography, never giving it much thought. It was not until I started rock climbing though, that I had a subject that compelled me to take it more seriously. At some point, the desire to make a good picture surpassed any athletic ambitions I had. I began to put my work out there and to my surprise, some of it was published. This was the beginning.

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

AQ: To be clear, I have yet to make the transition to full time photographer. While not always the case, typically I’m holding down some other kind of job on the side. For several years now I’ve dabbled as an arborist. I used to be in quite a rush to adopt the “full time” label but I’ve realized that there are as many different paths to becoming a photographer, as there are photographers.

3. When you begin a personal project, do you already have a destination in mind for the final product or do you merely go to cover the story and worry about a sales point later?

AQ: With personal projects I’m rarely thinking about where it will eventually end up or how I’m going to cover my costs. If that happens, then great, it’s a bonus. But for me, the whole point of a personal project is to satisfy a curiosity, or to try to understand the experience of another through the process of making photographs. That is to say, it’s personal. I rarely have a concrete destination in mind, as I want to avoid any subconscious tailoring of the project to a particular publication or what have you. I’m aware this makes little to no business sense but this approach is really helping me to figure out what I’m trying to say with photography.

4. You live in Canmore but I do not see too much content from that area on your website. Why do you choose to live there and work elsewhere? Is there any benefit or issues from this type of arrangement?

AQ: You’ve touched on a sensitive topic, one that I debate back and forth in my head all the time. When I was pursuing climbing photography, the choice of Canmore made perfect sense. There’s a strong climbing community here and of course, the Rockies provided a playground. As I began to move towards subjects of more general social interest, I found that I had no choice but to travel to investigate the stories that mattered to me. Understandably, there is not much “news” coming out of this part of the world so I’m finding it difficult to procure more than the odd assignment now and then. In a lot of ways, it feels like I’m spinning my wheels here so the logical progression is to relocate to a larger metropolis or, for lack of a better expression, a more relevant part of the world. I don’t want to fall victim to the greener grass mentality because there are a lot of great lifestyle aspects about living in the mountains but in a professional sense, I feel isolated.

5. Some details:

a. Years as a shooter?

AQ: Tough to say but it started to feel serious about seven years ago. Prior to that I was more a photographer by measure of enthusiasm.

b. Current Location?

AQ: At home in Canmore, Alberta.

c. Breakdown of income: What percentage comes from editorial clients? From commercial clients? From other sources?

AQ: Photography-wise the majority comes from editorial. About half of my income comes from my day job.

d. Time breakdown – What percentage of time is spent shooting? Marketing? Editing? Personal Projects?

AQ: Shooting gets the least amount of respect, unfortunately. I spend the most amount of time by far, thinking about or doing some kind of marketing which includes a certain amount of social networking upkeep, entering contests, applying for grants, and of course devoting huge amounts of time to personal projects- all stuff I consider marketing. I dare say that there is also a fair amount of inefficiency on this front, as a lot of it seems experimental. I never really know what’s working and what’s not. This is the most challenging part of making a business in photography and I’m not very good at it.

6. If you could only give a single piece of advice to an aspiring photographer, aside from finding a more stable career, what would it be?

AQ: I still very much consider myself aspiring, but the best piece of non-abstract (don’t give up!) advice I can think of is to make personal projects. It’s an exercise in coming up with ideas and gives you a laboratory for experimentation. Almost all of my paying work has come as a result of personal projects. Perhaps more importantly it cultivates the habits of a healthy photography practice.

7. Was there ever a time when you questioned if photography was the right career choice? If you weren’t shooting, what would you be doing?

AQ: I often wonder if the questioning will ever go away. Mostly owing to the financial aspects, it can be a roller coaster ride. The rewards still seem to outweigh the difficulties and to be honest I can’t see what else I would be doing although I like to think that I would be involved in radio production.

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

AQ: Lately, I’m drawing inspiration from (always evolving):

David Grossman (Israeli writer)
Ismail Kadare (Albanian writer)
Radiolab (radiolab.org <> )
Phoenix
Too many photographers to mention…

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

AQ: I spend hours upon hours looking at photographs and reading about the photographers that make them. I love the medium and for some reason it resonates. But I’ve come to realize that the picture (and I think I’m poorly paraphrasing someone else here) is simply the result of an actual real experience. While the formal objective is to make a lasting document, I take a lot of pleasure from the interactions that come before and after the photograph is made. Being somewhat reserved in nature I often seem to find myself in situations that, if it weren’t for the camera, I certainly would not be there. In that sense, I’ve become much more engaged with the world around me- both immediate and more distant. I never imagined that photography might do this and it has become one of the primary ways for me to learn and experience.

Final Thoughts

As always, I owe Andrew a big thank you for using his valuable time to share some thoughts, information, and samples from his budding photography career. It definitely helps to learn I’m not the only one taking my time transitioning to full-time photographer.

For anyone who hasn’t checked out Andrew’s work, please check out both his website and blog. I’m waiting he hear from a few more photographers, but hopefully I’ll have another photography interview ready for you next week.

* All images in this post are protected by Andrew Querner’s Copyright. *