Photo Forward is MOVING (A Quick Announcement)

Hello everyone and welcome to the Photo Forward Podcast, I’m your host Ben Brewer. Today, as you might have gathered from the title and a bit of irregularity in the schedule recently is more an announcement and some housekeeping than one of our usual deep-dive interviews with photographers, videographers and visual creators.

So, as some of you might have known, for the past 6 years, I’ve been based out of Madison, Wisconsin. And as much as I’ve loved living in the Cheesehead state, sometimes it’s simply the right set of life circumstances at the right moment to make a leap of faith and relocate geographically. So, spoiler alert: I’ve moved!

I’ve made the decision to move back across the border to my home state of Minnesota to continue to grow my freelance work and if I’m being honest, take some steps to grow personally.

So what does that mean for Photo Forward. In short, it’s going to be pretty much business as usual. The Podcast will continue with a renewed focus on bringing on exciting, creative, and inspiring guests...with one caveat. As you all I’m sure are aware: Moving on its own is a long, stressful, and time-consuming process — and adding in relocating a business and home office doesn’t make it much simpler. So for all of you that have been Jonesing for new Photo Forward episodes this last month, I wanted to apologize for the lack of updated content. This podcast project has meant a hell of a lot to me this past year and your support and listenership has been a huge driving force along the way.

So, in short: New Photo Forward episodes are ON THEIR WAY, but you’ll have to be a bit patient. I’ll be giving plenty of updates (be sure to follow @BBrewerPhoto on the socials) as we “re-launch” the podcast in my new state. I can’t wait to keep producing the series and look forward to having you (and all your friends) along for the ride in 2019 and beyond.

So, as always — Keep seeing, keep shooting, and keep putting your best Photo Forward. Cheers everyone.

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NATE RYAN // Musically Inclined (#010)

Okay, show of hands. Who here, when you were starting your photography career or just getting into taking pictures said, “I want to be a music photographer!” or “I just want to go shoot photos at concerts!”. I think I can safely say that, at least, the idea has crossed the minds of most visual storytellers at some point. There’s something entrancing about the being a concert or music photographer — maybe it’s the spectacle of the lights and showmanship, maybe for the more video-centric amongst us the purposeful, natural blend of audio and visuals, or maybe it’s something about being part of the concert “experience”.

But shooting concerts for free doesn’t put food on your table. Photo credits don’t keep the lights on. Like being any type of photographer, to truly “make it” as a music photographer you have to niche down, achieve a unique style, and find your creative vision that makes you different – not just better – and create work with value.

Today’s guest is a perfect example of focusing down in your work and honing your craft, but never losing sight of the real-world practicalities of making photography work that makes you a living. Nate Ryan is a Minnesota-based photographer and filmmaker, capturing editorial and commercial imagery with a journalistic approach, telling visual stories with integrity. An avid cyclist and active outdoorsman, Nate loves to capture the stories and environments of the natural world. As the staff photographer at 89.3 The Current since 2010, he’s captured photos and video of the countless studio performances with bands that visit the station, as well as many live performances at venues in Minneapolis and St. Paul.

In today’s episode, I get an inside perspective on what it means to be more than just a concert photographer, how Nate pushes himself on every assignment as a photography team of one, and how he creates work for himself that fires him up to get PAID by national clients to shoot that kind of work for them. You can find show notes with photos and links online at photoforward.media/podcast/Nate

So, without further ado, my behind the curtains conversation with 89.3 The Current Photographer, Nate Ryan.

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PHOTOS FROM THE EPISODE: COMING SOON

QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments!

SHOW NOTES: COMING SOON

Creative Constraints and How to Harness Them (#009)

I know you’ve always heard this old adage: “Think Outside the Box” . It’s often used as something like a motivational poster, acting as a pseudo-metaphor for creativity or innovation. But let’s take a step back to examine that: Think OUTSIDE the box. Think outside the BOX. That assumes there’s a box, some bound on creative output (more on that later). But it makes a critical assumption that I’ve got to say I disagree with: That substantial success only comes through side-stepping constraints, especially creative ones.

Hey everyone and welcome to the Photo Forward podcast, where we dive in deep each week on the art of visual storytelling, exploring the stories behind some of the greatest photographers in the world. From their origin stories to finding balance as creative professionals, to how to actually make a living as a photographer, videographer, or multimedia creator – I’m your host, Ben Brewer

Now, I’m not some genius of Creativity, but I can speak to what I know working as a photojournalist. Along all my assignments, all my projects, all my editorial work — I know this much: The only way I’ve been able to succeed and grow into a better photographer is through limiting CONSTRAINTS.

Yes. That’s right. Aspects of my job that actively constrict my photography have improved my work the most. How so you ask? Well, I see it growing me in four big ways from four kinds of creative constraints.

Work with what you got (LIGHT)

No Do-Overs (ONE CHANCE)

No option but to produce (NECESSITY)

Deliver your work to the world, FAST

I can pretty comfortably say, there aren’t a whole lot of professions out in the working world, like a photographer, that share this unique blend of limitations AND expectation for visual creativity, i.e. ART. I love it, I feed off exploring the box that I’m constrained in. And making my best work inside it. Sure, I can break the mold and innovate outside the box like that old adage, but not until my skills grow, making me the champion of the box I’m in. Let’s break these down:

So, first: Work with what you got (LIGHT). Aside from portrait shoots and some of my video work, almost all of the photo projects I’m on, I shoot with all available light. This is DEFINITELY not a dig against photographers that integrate flash into their creative style. That’s their deliberate choice and honestly, their work kicks ass. Check out the photos of a friend of mine, Phillip Montgomery to see some truly unique, amazing visuals, shot with a speedlight (@PhillipMontgomery on Instagram)

When I’m making these images on assignment, I don’t get to complain my way into having better light, fewer flickering fluorescent bulbs, better matched color temperatures. Nope. And because of the ethical standards that we as photojournalists hold ourselves to to capture the world as it is, there are absolute rules to how much I’m allowed to tone images in post-production editing. Capture creative angles on fleeting moments, no matter what light I have, or don’t have. So, next time you’re shooting photos, play with the light you have. And I do love that word PLAY here, exploring joyfully how you can use it — not complaining that there isn’t enough or that it isn’t quite right.

So, the second constraint on my work is really one of the defining characteristics of photojournalism. Take a look at all of these images of transformative visual moments in history. They’re staggering, they’re arresting, and they all happened in the blink of an eye and then gone, passed, over and done with. What makes the photographers so damn talented, comes from their ability to capture these split-second images. And that, right there, is the essence of the second constraint — No Do-Overs — and as a result of that, Capture Authentic Moments (Though honestly, everything that goes into the ethics of photojournalism, that’s really its own videos worth for a future episode).

So, what makes this constraint so powerful on photography? Think about it this way. When you’re forced to create the image you want, the first time, no do-overs, you have to make it happen in three big ways: planning, intuition, composure. You put yourself in the physical place you’ll need to be, making sure your equipment will deliver exactly what you need it to. You visualize the shot you need to make, following that gut feeling and anticipating peak action or fleeting moments of humanity. And finally, you stay composed and focused on making those anticipated images regardless of the circumstances going on around you, no matter how hectic, emotional, or “hurry up and wait” the situation may be.

And this dovetails right into the third instance of constraints on my photography — Necessity. Part of what comes with being a professional photographer or any professional creative for that matter, is that when all the of that planning, intuition, and composure come together, you HAVE TO deliver your visual creativity ON DEMAND. When I agree to cover a news event or making a portrait image for editorial clients, I commit to delivering for them. No excuses. Sure, extenuating circumstances come up, but those are the exception not the rule. Often times, I may be one of the only still photographers on location at newsworthy events and, if I don’t make that memorable image happen, it’ll never happen. When your clients depend on you to deliver, that necessity is a constraint that drives me CRAZY. It pushes me to create on a totally different level.

And when you create memorable images for the world, as the Reuters photographer on assignment or the designated freelancer for the New York Times, MINUTES MATTER. At events where the big TV news agencies are on location, by the time the live feed cameras stop rolling, still photographers are already behind, already fighting against the breakneck speed of information, 24/7 news culture. It’s definitely not unusual to see a pack of still news photographers *hauling ass* back to laptops to download, caption, edit, and file off images to our photo editors or assignment desks. And it’s not just good exercise in a physical way. It’s exercise in creativity and visualization. I feel like I’m practically downloading in my mind the full set of images on the card— which angles/positions worked, when you nailed focus and exposure and when you DIDN’T, and when specific moments of emotion or peak action clicked, all in the name of shaving minutes off time to deliver these images to the world. In the words of photographer Chase Jarvis, founder of Creative Live — “It’s Chaos; just the way I like it.”

And there we have it, those are the constraints, the walls of the box, that I work within as a photojournalist. I’m constantly learning to find the walls...so I can eventually break outside of it. These limitations and challenges stay attached to me, even when I’m not on assignment. They challenge my way of thinking in every aspect of my life . Because not having all the light, not having all the equipment, not having all the opportunity and time in the world… that’s what drives innovative, transformative work.

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QUESTION(S) OF THE DAY // What was your favorite quote or lesson from this episode? Please let me know in the comments!

ACKERMAN + GRUBER // Dynamic Duo (#008)

In past episodes of Photo Forward, we’ve looked at a ton of different topics in visual storytelling — from creating a long term documentary project to how to pitch that work to editors in the wider world. And in all of those stories, it’s been typically centered around solo operators, freelancers, and individuals. Well today is breaking that mold ENTIRELY.

Crafting a successful freelance photography career is NO SMALL FEAT. From accounting to marketing to insurance and everything in between… It’s ALL on YOU. Now imagine adding an extra personal wrinkle: Your photography partner is also your LIFE PARTNER. That’s the story for today’s amazing guests – Jenn Ackermann and Tim Gruber.

Jenn Ackerman and Tim Gruber are a husband and wife team based in Minneapolis, MN. You will almost always find them working side by side, which has been the case since grad school. They enjoy the collaborative nature of being a tight-knit team and pushing each other to create images that sing. Their goal on every assignment is simple - evoke emotion and authenticity in every image they make to advertising, corporate and editorial clients. They pride themselves in being storytellers and work to create a narrative in every photo they take.

Their work has been honored by the Communication Arts Photography Annual and Advertising Annual 2009, 2013, 2014, 2015, 2017, 2019, American Photography 28, 30, 31, 32, 33, 34, 35, 36 PDN Photo Annual, Review Santa Fe Center Project Competition, Photolucida’s Critical Mass, Inge Morath Award, Magnum Expression Award, POYi, and many others. Their most recent documentary film won an Emmy and they were named a McKnight Fellow and to PDN's 30 Photographers to Watch.

In today’s interview, Jenn, Tim and I tackled a ton on the nature of crafting AUTHENTIC visual storytelling work, getting through those “scary” times building a creative business, and how crucially important open communication is for growing a collaborative partnership.

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QUESTION(S) OF THE DAY // What was your favorite quote or lesson from this episode? Please let me know in the comments!

SHOW NOTES // Coming Soon!

Breaking Your Bad Creative Habits // (#007)

We humans, big hairless apes that we are, have become proficient over millenia at a great many things — crafting tools, harnessing nature… you get the picture. But we’re also adept at something you might not even actively think about: HABITS.

This is your brain on habits. [I mean… not literally YOUR brain. But yours probably isn’t all that different from this fella’s.]

For better AND worse, our big human brains are very, very good at linking stimulus, response, and reward through connections in our brain called neurons. And, through a wild process called myelination, the neurons that “fire together” end up “wiring together”, making that connection stronger over time.

Basically, if your brain activates in certain areas at the same time enough times, it wants to save energy and make it easier the next time those neurons fire at the same time. There is some really incredible research going on right now on how this process of strengthening connections shapes diseases such as depression and anxiety, but we won’t go too far down the rabbit hole on that.

You’re probably wondering, what the hell I’m on about and how I’ll bring this back to photography. Stay with me. So, what does myelination have to do with habits? Like a neuronal pathway, the more you follow the action of a habit (again, both good ones and bad ones) the stronger that connection gets over time. The same holds true when we’re taking photos — how we shoot drives and dictates how we’re GOING to shoot in the future.

Now that isn’t to say that one should reinvent the wheel every time you pick up your DSLR or your camera-phone. Keeping a consistent look and overall feel in your work is a must as a professional (more on that in an upcoming article). What I’m really trying to stress here is to not switch over to autopilot, and unconsciously, habitually capture photos. Your brain is basically subconsciously going: “Well, I’ve shot in this venue before with this lens and gotten this result … so why don’t I play it safe and do the same this time.” I know for a fact I’ve been guilty of this exact thought process.

Just a few months back, I was on assignment taking a portrait of a U.S. Attorney working here in Madison on human trafficking. While I was waiting around for the individual to arrive for our brief portrait session, I scoured the area to think of a good way to capture her image in a short amount of time. My mind first, habitually, gravitated to the front of the building at 35mm and frame her between the two major pillars of the Courthouse building. Essentially, where my brain went right away was myelination in action. With the benefit of hindsight, I can look back at countless quick portrait assignments where I took the same tack, and went to capture the photo that SAME WAY.

Prosecutor Julie Pfluger poses for a portrait outside the US District Court for the Western District of Wisconsin, Monday, November 20, 2017.

So what did I do next. Here’s the really critical part: I stored that photo idea away, mentally labeled it the “safe shot” and proactively did everything in my power to come up with two other portrait ideas/styles that bore ZERO resemblance to the safe, habitual choice. The first alt angle I took was to go into a unique location. I wasn’t able to shoot inside the building, being a federal courthouse and all, BUT, there wasn’t anything wrong with shooting inside the revolving door of the building. And after tweaking my positioning to avoid being directly in the reflection of the glass, I was able to get this really stark portrait of Attorney Pfluger.

Prosecutor Julie Pfluger poses for a portrait outside the US District Court for the Western District of Wisconsin, Monday, November 20, 2017.

So, what other things can we do to get away from our silly brain’s tendency to take the energetically simplest route and follow our photographic habits? Well, as stupid and corny as it sounds, knowing is half the battle. Seriously. Think about it.

Now we know from learning about myelination that we are literally in direct control of changing and adapting our brains, changing real life outcomes. The best way to break out of old photo habits? Break those “wired together” neuronal pathways and DO SHIT DIFFERENTLY. Ever shoot portraits with a 400mm telephoto lens? Ever walk up to a total stranger on the street and capture their image? Ever get uncomfortably close to the subject of your photos? You’ll never wire new connections if all you do is think through it. Different and better results come from taking action. It’s your brain chemistry; don’t let it get in the way of you creating your best photography.

As you might have noticed, neuroscience/chemistry/all that holds a pretty special place in my life, even now as a professional visual journalist. I’m working a number of other articles that look at some of the scientific principles behind photography and making meaningful creative work. So, if you enjoyed this and want to see more, let me know in the comments!

So, my question to you all to wrap up today’s article is: What’s your worst photo habit? Tell me in the comment section or tag your Instagram Story using the hashtag #photoforwardmedia and I’ll share some of my favorite responses!

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COBURN DUKEHART // An Editor's Insight (#004)

All you younger photographers, all you independent photographers, all you freelancers – break out the notebooks because this episode is not one you’ll want to miss. While we’ve talked in previous episodes about making photographs and crafting stories that are meaningful, we haven’t really looked hard at how to get that work seen by the world. (Don’t worry, in a future episode of Photo Forward, we’ll be talking with an expert on pricing and the financial side of creating your work.) But today we’re taking a brief detour from photographers to take a deep dive into the other side of visual storytelling: photo EDITING, with today’s guest Coburn Dukehart.

Coburn Dukehart is the Digital and Multimedia Director for the Wisconsin Center for Investigative Journalism where she directs its visual strategy, creates visual and audio content, manages digital assets and trains student and professional journalists. Our conversation centered around her decades of distinguished work at national news organizations as a photo editor for National Geographic, National Public Radio, and The Washington Post among others.

Coburn has received numerous multimedia awards from the National Press Photographers Association, POYI and the White House News Photographers Association. Her multimedia work also has been honored with a Webby, a Gracie, a Murrow and duPont awards, not to mention a nomination for a national Emmy.

In this episode, Coburn and I talk extensively about a number of visual storytelling topics like: what to do and what NOT to do when you’re making a story pitch to an editor, why building trust with the individuals in your photo stories is critical to making meaningful visual work, and how understanding the ethics of shooting and publishing photos (even captioning them!) can make a key impact on how visual media is viewed. You can find show notes with photos we talked about and links online at photoforward.media/podcast/Coburn . So, without further ado, our interview with Coburn Dukehart.

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PHOTOS FROM THE EPISODE: Coming Soon!

QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments!

SHOW NOTES: Coming Soon!

ANDY MANIS // One Picture, One Story (#006)

“It’s what’s between the ears that makes the picture. Not what’s in front of the eyes.”

Hello everyone and welcome to the Photo Forward Podcast, where we explore the stories behind some of the greatest visual storytellers in the world. From their photographic origins, to finding work-life balance as creative professionals, to how to actually make a living as a photographer, videographer, or multimedia creator — we uncover what makes them tick and their shutters click. I’m your host, Ben Brewer.

Associated Press. The A. P. If you follow the editorial, photojournalism or news photography world, you already know that organization is a heavy hitter. (For those of you that don’t, the AP is a global news agency and wire service with over two hundred bureaus in over a hundred companies. And a hefty stack of Pulitzers to boot since their founding around 100 years ago.) And so, if you as a photographer could put AP contributor or stringer in your bio, that carried a hell of a lot of weight.

But the world has changed since the heydays of wire service photography and newsgathering. As newspapers struggle to reinvent their business model in the digital world, that pushes organizations like the AP, Reuters, AFP and more to cut back on the number and regularity of contributor content.

But you’re thinking, “Yeah, that’s a great sob story, Ben. Why should I care? My photography work is totally different.” Everybody thinks they’re immune to the democratization of visuals, but the truth is, we’re all vulnerable. If you don’t intentionally reinvent yourself and adapt to our new visual world, you’ll get left behind all the same. That’s why I brought on today’s guest, AP Photographer and all-around great guy.

Andy Manis started his freelance business in 1995 and has been going strong ever since. Manis began his career in photography in 1980. He has held positions as a college staff photographer, staff photographer at newspapers, a photo editor for a wire service and an educator. Some of Andy’s clients include the University of Wisconsin, Wisconsin State Journal, Getty Images, The Associated Press, The New York Times, Washington Post, USA Today among many others. Manis lives in Madison with his wife and step-daughter where they love to cook and enjoy the outdoors.

In today’s episode Andy and I break down how adapting your freelance work to the changing state of photography is critical, why sometimes, the best marketing tactic is just making face-to-face connections, and the importance of telling a unique story, even in a single photo. We even get into a bit of the nuts and bolts of taking care of yourself as a freelancer and some tips Andy has for avoiding burnout.

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PHOTOS FROM THE EPISODE: COMING SOON

QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments!

SHOW NOTES: COMING SOON

SCOTT STRAZZANTE // Shooting from the Hip (#002)

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SCOTT STRAZZANTE

Scott Strazzante (@scottstrazzante) is a former POY/NPPA National Newspaper Photographer of the Year, an 11-time Illinois Photographer of the Year and was part of a Chicago Tribune team that won a Pulitzer Prize in 2007 for investigative journalism.

You can find the transcript of this episode here. Transcripts of all episodes can be found here.

After spending the first 27 years of his career at Chicago newspapers, including 13 at the Chicago Tribune, Scott Strazzante joined the photography staff at the San Francisco Chronicle in 2014. Scott’s personal project, Common Ground, has been featured in National Geographic, Mother Jones, New York Times’ Lens Blog and on CBS Sunday Morning. The 23-year-long effort, which has won BOP’s Best Feature Video and POYi’s Community Awareness Award, became his first book with PSG. And, In October 2017, Scott’s second book- “Shooting from the Hip-” was released. The book consists of iPhone Hipstamatic snaps from around the USA.

In this episode, we dive in deep on the practicals of getting started and staying motivated on a VERY long term documentary project, how a kid from the South side of Chicago got connected with some of the greatest photographers out there, and why getting creatively bored is the best way to rethink your photographic style and technique.

Enjoy! 

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PHOTOS FROM THE EPISODE: COMING SOON

QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments!

SHOW NOTES: COMING SOON

JEROME POLLOS // Don't be trendy; Be timeless (#001)

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JEROME POLLOS

Jerome Pollos (@TheRomer) is an award-winning Northwest photojournalist specializing in documentary work, weddings and portraits for clients who love timeless, candid moments.

You can find the transcript of this episode here. Transcripts of all episodes can be found here.

Joining the U.S. Navy right out of high school as a self-described "troublemaker", he was sent to journalism school in Fort Benjamin Harrison, IN, studying broadcast journalism, TV and radio; writing, and a two-week course on photojournalism — which he unceremoniously failed. After a deeply emotional photography assignment, while stationed in Washington, D.C., he saw the true power of photography and his love for the craft grew assignment by assignment. Pollos had an illustrious 13-year career at the Coeur d'Alene Press in Coeur d'Alene, Idaho, but searching for greater creative control and financial freedom, took the freelance plunge in 2014. After a rocky start, he has excelled as an award-winning editorial, wedding, and portrait photographer in the Idaho and Northwest. 

When I was thinking of how best to start this weekly series, at first, I gravitated to the idea of interviewing a “big name” photographer, capitalize on their status and get listeners hooked from the get-go. But I realized early on that didn’t jibe with my whole philosophy for undertaking this – I’m in it for the long haul. Obviously I want to connect with incredible photojournalists the world over, but the soul and purpose of this show – educating photographers on the art of visual storytelling, from photographers with stories of their own that fascinate me.

So, when I stepped back to thinking about photographers with fascinating stories, unique philosophies, and with whom I’ve got a personal connection— it was actually pretty obvious who to invite first. My mentor and friend Jerome Pollos – who gave my career a massive kick-start at my first internship at the Coeur d’Alene Press back in 2010.

In this episode we unpack a ton of interesting stories about finding your visual style as a photographer, how to totally screw up a long-term documentary photo project, and making the earth-shattering move from a staff photographer position to a full-time freelancer (and not losing your mind and bank account in the process). I hope you guys get as much out of this listening as I did recording it.

Enjoy! 

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PHOTOS FROM THE EPISODE:

QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments!

SHOW NOTES

• COMING SOON!