What Didn’t Make It Into Witness, Part I

As you can imagine, there is a lot that goes into making a book, especially an anthology of 20 years of work containing 300,000 photographs. My new book, Witness, is coming out soon, and I’m in the final stages of copy editing it and making sure I have all the right photographs in it. But there are so many to choose from…so I’m not sure. To placate my anxiety about this, I am going to start posting a few that I know aren’t going in, but that I still desperately want to find a place for in the book but probably won’t. So here is the first one.

Here is the backstory, when I shot this image for Mercy Corps in May, 2016 in Jijiga, Ethiopia: Berwako (she’s in the truck) buys milk from about 350 local pastoralist households every day, paying them 70 birr (a little more than $3) for every five liters of milk. Women in this village used to sell their milk to passing cars along the highway, but now they don’t have to leave their village to receive cash on the spot. Milk is a critical part of pastoralist Ethiopia, a central source of food and income for millions of people. Thanks to Mercy Corps, milk is now processed locally and is a higher quality, improving the incomes for hundreds of pastoralists and their families.

I loved this shoot, and this image. But there are more from the sequence, one of which DID go into the book. SO–want to get the book? I want you to get the book. But it’s not quite ready. So do me a favor, just so I can see who is reading these blog posts. Comment below saying you want it and I’ll make sure you get an email when it’s ready to order. That won’t be long by the way. As I said, the book done and going into copy edit this week. So you won’t have long to wait. More soon.

A New Breed of Commercial Work

Most people know my work as deeply ingrained in the non-profit, humanitarian world. And that’s true. However, during my career shooting up close to life’s most intractable issues in the world’s toughest places, I’ve also shot an incredible amount of very cool and amazing commercial and destination event work. In the interest of not getting completely typecast, I want to highlight some of this work. Take a look at some of the selects below, and by all means holler if your company could use some commercial work itself.

Iconic Images of the Great American West

Recently, given all the time off I have had from regular assignments due to COVID-19, I have been going through my archives looking for iconic images of the American West. I found a few. I would love for you to take a look and see if anything registers to you. In the days ahead I will be adding more, but for now enjoy these…and if you see fit to keep a brother in business, maybe pick up a print or two. Referrals welcome!

Delivering the Goods

Earlier this year I went on assignment with Water Mission to Indonesia (again) to shoot some of their program work there. I always love these assignments, and I come back with loads of usable images. One of the things I committed to doing with my clients many years ago was to cover everything I possibly could in each location they send me. So–I’m looking for those moments of real human emotion, yes, but I’m also trying to exhaust the possibilities in each scene so that the work gets used. Wides, mediums, closeups, weird angles, whatever I can to give them the most bang for their buck. I really have very little control over how these images get used, but my hope is that they do, and setting up the client with many solid images, some iconic, increases the odds that they will use the work. That’s just good business, and the best way to increase the reach of how the images can affect change. Here are a few samples from that shoot:

Seeing a Scene

Some thoughts on “seeing” a scene…really this is more about “feeling” a scene; looking for and sensing where the movement and emotion is. So any time I walk into a home like this I’m just waiting for things to unfold naturally. These photos I made in November 2016 in Haiti. Medical Teams International staff and volunteers were setting up and giving care through a Mobile Medical Unit in Chateau Arniquet, Haiti, in response to the need after Hurricane Matthew wreaked havoc on rural and coastal communities, blowing over crops, flooding fields and homes, and making life otherwise miserable for many. So I found myself at this recipient’s home. For those that want to know: here’s what I used to take the black and white image: Nikon D4, 24mm Nikkor lens at f/1.4 at 1/5000 of a second; all the others I shot at f/1.4. I’m not in a hurry in these situations. There are multiple shots I know are good, and all these ones I would have thought to myself “yeah, that’s on point.” When I look at them later, there is usually one I gravitate toward, for reasons I really can’t explain. The black and white image in this series is the one that got me. I think it was the mom and the expression on her face.