Interview with Digital Tech Shannon Roddy

Just as the end of the Dark Ages gave rise to the Renaissance man, so a modern polymath arose from the ashes of the film age: the digital tech, a.k.a. the capture tech. Working on set by the glow of a well-calibrated screen, this discreet Leonardo mingles artistry with acumen to immortalize the photographer’s vision in binary code. Shannon Roddy, at 34 a sought-after New York tech, talked to me about how she got her chops, what it takes to make a shoot go smoothly, and where the unpredictable life of a digital tech has taken her.

You can read the interview in the Winter 2012 issue of Resource Magazine and (in a slightly longer version) on MAC-On-Campus.com.

Interview with Kris Graves, Gallerist and Photographer

In this economy, you might think a person would have to be some kind of superhero to open a successful photography gallery as a young newcomer to the New York art world. And you’d probably be right. I recently interviewed 28-year-old Kris Graves, collections photographer at the New York Guggenheim museum by day and co-owner of +Kris Graves Projects gallery by night, about how he accomplished this amazing feat. You can read the interview in the Fall 2011 issue of Resource Magazine and (in a slightly longer version) on MAC-On-Campus.com. Check out Resource‘s redesign, too.

Occupy Wall Street: Not the Same Old Hey-Hey-Ho-Ho

I usually write about photography. And now for something completely different . . .

Ever hear a crowd of protesters belt out a Queen song? Me neither. Until I went down to the Occupy Wall Street encampment, that is, and heard a bunch of protesters launch into an enthusiastic rendition of “Bohemian Rhapsody.” It was a moment that crystallized the impressions I’d been gathering over an afternoon in Zuccotti Park: There’s something new happening here. That was during the first week of the “occupation,” and when I went back during week two, my impression only grew stronger that the Occupy Wall Street effort is the first distinctly 21st century grassroots American political movement, and it’s not going to just peter out when the temperature drops.

Occupy Wall Street working groups

And yet, with the occupation in its third week, I continue to hear the protesters dismissed as hippie wannabees spouting vague left-wing rhetoric and flattering themselves to think that their public slumber party amounts to something important. To be certain, you can find people in Zuccotti Park who will reinforce that view if you look for them. But step away from the drum circle and head into the heart of the park, and you’ll encounter something else: clusters of people gathering in working groups to address every aspect of building and sustaining an effective effort; twice-daily “General Assembly” meetings where a large crowd gathers to make proposals, announcements, and decisions in a remarkably calm and collaborative manner; and a media center that is deploying all of the tools and networks of 21st century technology to organize, get messages out, and brainstorm on a grand scale.

Much has been made of the fact that this nascent movement has yet to put forward a cogent set of demands. This is an entirely valid point, and the fact that the group prioritizes an egalitarian decision-making process and describes itself as “leaderless” leaves open the possibility that just anyone with any uninformed opinion might be seen as a spokesperson or representative in media reports. But I believe there’s a method to this seeming madness, and that it’s not simply a sign of incompetence. Ask yourself: If the protesters had shown up with a clear political identity and set of demands, how quickly would their movement have been defined, digested, and dismissed by the media-consuming public? If they had staked out a position in the American political landscape, how long would it have taken people who identify with a different position to decide the protests weren’t relevant to them? By keeping the discussion flowing and not rushing to define its position, Occupy Wall Street has gained momentum and kept its movement open to participants of all political stripes.

An irate latter-day hippie? No, a General Assembly participant relaying the speaker's words to the back of the crowd via a "human amplifier" system.

The protesters have also managed, in a time of extreme divisiveness and animosity in American politics, to find a point of unity to define their movement. Do you know anyone who doesn’t agree with their fundamental contention that something has gone wrong with our financial system and its relationship to government, and it needs to be fixed? This point of unity has served as a starting point for a process that has no political-party support or corporate funding or major news outlet to serve as a megaphone, but is being carried forward in the long-standing American tradition of people putting their heads together and rolling up their sleeves.

Last weekend, I sat in on a meeting of an outreach working group that had gathered to discuss ways of drawing new participants. The moderator, a clean-cut looking guy who opened the meeting by explaining how to signal for points of order and information, began the discussion on outreach with this: “At our first meeting, people talked about wanting to get the Tea Party here. So this is not an exclusive organization. We’re not trying to bar anything. Don’t think it’s only lefty organizations that we’re looking for here. It’s literally everyone.” As the meeting proceeded, participants created an agenda, covered it point by point, and talked about setting up Google docs for collaborating on outreach work. It was not exactly a scene from Hair.

Many demonstrators' messages evoke another American movement that began with people coming together to address common grievances.

Today, I listened to one of the protesters call in to Brian Lehrer’s radio show to ask Wall Street traders to come to a meeting and contribute their expertise to the effort. “It’s not going to be a mob discussion,” he said. “It’s going to be a discussion in order to fine-tune the message. . . . It needs to focus; it needs to get on point about how we guide this to a real legislative process.”

I think we should all set aside old preconceptions about political protesters and stay tuned.


[My friend Sean Captain has noticed the difference in these protests too. To journalists and photographers in places where the protests are happening: They're worth covering. I'd love to see your take on them.]

American Photo Article on Gina LeVay’s Women of the American Widow Project

The September/October issue of American Photo magazine is on stands now and includes an article I wrote about photographer Gina LeVay’s ongoing Women of the American Widow Project series. It’s important work about people who have faced extraordinary sacrifices as a result of our recent wars. I encourage you to pick up a copy and check it out. You can also see more about the project on its Web site. If you’d like to support Gina’s excellent work, please visit Fractured Atlas.

Interview with Documentary Photographer Matt Eich

Dorthea Lange’s Depression-era migrants, Sebastião Salgado’s tableaux of workers . . . we’ve all seen these iconic documentary images. Even if you end up shooting product for De Beers, you will probably have received a healthy slice of early inspiration from the documentarians of the image-making world. But if examining the lives of others through the captured image is your calling, how do you follow it in this era of shrinking budgets without ending up feeling like you would fit right into one of Lange’s shots from the Dust Bowl? I asked Matt Eich, a 25-year-old documentary photographer with an already impressive resume. Since being honored as the 2006 College Photographer of the Year, Eich has won numerous grants and accolades, and has had his work published, exhibited, and collected widely. He’s also a founding member of the LUCEO photographers’ collective. Read the interview on MAC-On-Campus.com or in the Summer 2011 issue of Resource Magazine.

Interview with Creative Content Producer Agatha Maciejewski

If you’re a photographer, she’s that person whose eye you’re always trying to catch. If you’re an ad agency account manager whose client wants to launch a new campaign, she’s the next person you’ll call. And if you’re just about anyone on set at an advertising shoot, you’d better know who she is. She’s the content producer, a.k.a. the art buyer, a.k.a. the eye of the hurricane that is a large-scale ad production—the person who finds the right photographer for the job, musters all the resources for the shoot, and manages the whole process, from budget to delivery. What is it like to be this photo production mastermind, and what does it take to get the job? I asked 31-year-old McCann Erickson Creative Content Producer Agatha Maciejewski to explain. Read the interview on MAC-On-Campus.com and in the Spring 2011 issue of Resource Magazine.

Congratulations to American Photo’s 2011 Top Ten Wedding Photographers!

There are few areas of photography that demand as broad a range of skills as wedding photography. Wedding shooters have to have the keen eye of a documentarian, the artistry of a portraitist, and the attention to detail of a food or still-life photographer. They also have to have the stamina it takes to shoot all day long. I had the pleasure of speaking with some of the best in the world this spring. Read my American Photo article to hear what they had to say about their craft and see a selection of their images.



View the article in PDF format.

Interview with Detroit Photographer Carlos Diaz

On a recent trip to Detroit, I had the opportunity to spend some time with photographer and educator Carlos Diaz. He not only talked with me for the better part of an afternoon about his work, but also gave me the grand tour of the photography department at the College for Creative Studies, where he is a professor. Diaz has been teaching there for nearly three decades—needless to say, three decades of remarkable change in both the field of photography and the city of Detroit. You can read all about the interesting things he had to say about that in my profile of him on MAC-On-Campus. And if you’re in Detroit this coming fall, you can catch some of his work at the DIA.

Interview with Commercial Photographer Eva Kolenko

Eva Kolenko recently spoke with me about how she launched a successful career as a commercial photographer straight out of photo school. The article is part of the “Breaking In” series featured on MAC-On-Campus and in Resource Magazine. Check it out here or in the Winter 2011 issue of Resource.

American Photo “Advocacy in Africa” Article on Photographer Chris Farber and Working with NGOs

I recently had the pleasure of sitting down with photographer Chris Farber to talk about the work he’s done with NGOs in East and Central Africa, especially his recent Darfurian Voices project with the group 24 Hours for Darfur. He had many insightful things to say about doing media work for NGOs, combining photography and video production in a project, and handling the practical aspects of working with organizations in the developing world, sometimes under tough physical conditions. You can read his insights and see a selection of his work in the article I wrote for the November/December issue of American Photo, which is on the stands now. Check out his Web site to see more of his work as well.



View the article in PDF format.

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