Pulitzer Prize winner- Cheryl Diaz Meyer- The reply

[North of Auckland]

Firstly many thanks to Cheryl for taking time out to answer our questions and I wish her well in whatever projects she is working on.



What's the biggest obstacle you found to becoming a professional photographer whose photos are in demand?

Obstacle may be a strong word, but I do know that my work is sometimes scrutinized more intensely…in one instance, during my embed with the Marines in Iraq in 2003, one of my photos landed on the cover of the New York Times war section, and when then Secretary of Defense Donald Rumsfeld saw it, I was nearly thrown out of my embed. It was a photo of Iraqi detainees that showed them stripped, tied up and in pain. Many other photographers had made pictures of detainees before this image was published, and yet this photo brought a storm of protests from the White House.

What are the most important skills outside technical camera skills that you've nurtured for your craft?

Empathy is the most critical skill I’ve found in the business of photojournalism. I often walk into people’s lives at their worst moments ever and I try to approach my subjects as a human being and not a camera with a dispassionate eye behind it. It’s important to show gratitude to the people who allow me into their lives and who share their stories with the viewers whom I represent.
Further down the line, I’m a big proponent of having dual language skills.

Do you take many photographs for fun, or does the pressure of your job mean that you keep photography as a career?

I do enjoy taking photos for fun, as in snapshots, but not as often as I’d like because whenever I pick up the camera, I usually turn on a certain work mindset that is difficult to let go. I have to consciously and very purposefully turn off the critical thinking.

What advances would you like to see in cameras - e.g. technology solutions that would help you do your job more efficiently/effectively?

As most photographers age, they struggle with back pain and other health issues related to carrying heavy equipment; I personally wish Canon and Nikon would prioritize making lighter professional camera bodies. I just bought a Canon Mark III and I am thrilled that it is a fraction lighter than the Mark II. I will eventually purchase the 5D Mark II or the ensuing model, which is light, but it is also a less sturdy frame. This can be risky to rely on a camera body that is not up to task for heavy-duty travel assignments.

Of the different countries you have visited, has one stood out more than the others?

Iraq. In the midst of so much chaos and turmoil, war not only brings out the worst in humans but also a poignant grace. It is paradoxical, and I truly fell in love with the many Iraqis who rose above. There were many times as I worked there that I had to trust completely in my drivers and translators, I was very fortunate to meet Iraqis of such utter and complete trustworthiness. These are the people whom I must thank for my life, because on any given day, any decision they made could’ve jeopardized me, and they risked their own lives to keep me productive and safe.

What gear do you take into some of the conflict areas? And how do you look after it?

I bring two sets of everything and back up cords of all varieties. That means two camera bodies, redundant lenses, extra batteries and chargers, cordage that can power and/or connect equipment if one system fails, a satellite phone, flak jacket, helmet, and sometimes a gas mask. Then there’s the water purifying system, in case I do not have access to potable water. If I’m in a dusty environment like the Middle East, I’ll also bring nylon stockings, which I cut up and tape around my lenses to help prevent them from being destroyed. (Any travel like that requires a thorough cleaning of all camera equipment afterwards.)
I do my best to find a safe place to stay where I can leave my extra equipment. I take the precaution of locking up all my equipment in my luggage each day, and sometimes I lock up my luggage in metal mesh netting too. But at some point, I simply have to trust that my gear will be safe, otherwise I wouldn’t get any work done.

How do you relax or switch off at night when in a conflict zone?

By the time night falls in a conflict zone, I am beyond exhausted usually, so I’m either working madly or deep asleep. Small things include showering every night, calling my husband, satisfying my sweet tooth— I am an expert at finding the sweet shops in town and stocking my room with local delights, if they are available.

How have things changed with your photography since winning the Pulitzer Prize?

My shooting has not changed since winning the Pulitzer. But as a consequence of the new multimedia initiatives, I’ve learned to record and edit audio, as well as shoot and edit video. This adds a new dimension to my work.

How is journalism photography different to other styles of photography?

I started out studying art photography so when I switched to photojournalism, I had to undergo a very elemental mindset change. Photojournalism uses photographs to tell stories, to inform, to educate—so truth is held in utmost sanctity. Photojournalists should not interfere with the integrity of the scene or the photo. The ethics in photojournalism dictate that the photographer is an observer and a witness, we do not suggest, we try to be as unobtrusive as possible so that a situation can develop as naturally as possible.
Art and other kinds of photography are not dictated by the same rules. In art photography, the voice of the artist is celebrated. And the photo is ultimately a reflection of the artist. The thought process in art photography is the antithesis of photojournalism.
This is not to say that in photojournalism we remove the artist’s voice, but that it is secondary to the pursuit of truth in storytelling.

What is the next project you are working on?

I’ve got a list of stories I’d like to pursue in the Philippines, some hard-hitting and some about life-style.

How do you control your emotions when shooting in emotive locations?

It can be a challenge, at times, to deal with painful situations. In my heart, I truly believe that photojournalism is a calling, and that being allowed to witness and document the world’s news and sometimes tragedies, is an honor and a weighty responsibility. I cover the news not only for myself, but also for the millions of viewers who might need to know what I saw that day. Knowing that, keeps me focused. But I must admit, there are times when that is not enough and the scene overwhelms me. Feeling what I’m shooting is good. It keeps me grounded and connected to reality.

Have you ever intervened in a situation where someone was "crossing the line"? - e.g. someone was overstepping humanitarian boundaries.

I’ve never found myself in a situation where I felt that my intervention was necessary or would change the outcome. Is war not “crossing the line?”

Do you use Photoshop, if so to what degree?

I use PS to tone, color correct, adjust contrast, burn, dodge and caption my photos. Most of what we do in the US to photos is what was permissible in the darkrooms of old, with the caveat that the picture must be truthful.

Do you have any suggestions, for people who are not professional, of exercises or ways for pushing towards better quality of pictures?

Learning to see and use light in photography is probably the most basic lesson that any amateur (and at times, professionals) can practice. It doesn’t necessarily come naturally, but looking at light and how it shines, reflects or bounces around a room, for example, is one way to begin the journey. The more a photographer recognizes the power of light and how it defines one’s pictures, the stronger their images will be.
For the more advanced amateur, I recommend they practice looking at the edges of their frame and composing with information on their edges. Many photographers only look at the middle of their frame and forget to use the corners and edges, this is a skill that photographers get better at when they nail down the basics, and it can make images so much richer and more interesting compositionally. As an exercise, try shooting all the important information on the image edge, forget the center. Then try shooting more information on more than one edge. Gradually incorporate the center of the frame when you have successfully used three or four edges.

From your experience as a professional, where do you see the type of work you do going in the future?

The venue for photojournalism will only become increasingly electronic, whether it be on the web or some other electronic medium that has yet to be defined. Cell phones are becoming much faster, and even though the iPhone is having some growing pains with the unexpected volume of data usage, the personal devices will quickly improve and we will be reading more of our news on the run. Interestingly, this will probably change the way we shoot images, depending on how they will be viewed.

Which photographer's do you enjoy the work of?

I enjoy so many kinds of photography, from Henri Cartier Bresson to Man Ray to Diane Arbus to Sebastiao Salgado to James Nachtwey. I simply love looking at photos because regardless of the form, they always seem to tell a story.

What was the hardest part in your first few years as a Pro?

Patience. I started my career at a major metropolitan newspaper right out of photojournalism school and I had so much to learn. I wanted to hurry up and know what I needed to know already. But photography is analogous to life, and only life experiences will enrichen one’s photography—and that cannot be hurried or taught, one simply has to experience life to gain the knowledge. So through the years, I’ve come to appreciate that and enjoy where I am today because tomorrow will be here soon enough.

Did you have a big break, or did you simply tough it out and fight your way into the pro ranks?

Landing my first job at the Star Tribune in Minneapolis was a huge break for me since I was expecting to work my way from a much smaller daily and eventually graduate to a metro paper. I was initially hired as a summer intern, where the director of photography observed me all summer. After three months, she offered me the job. I began with daily assignments and eventually the management entrusted me with international assignments. From there I progressed to The Dallas Morning News where I was often traveling to war zones. And now, I am freelancing, working on stories that I want to pursue.

Have your styles changed over time, and if so, what do you think of your older shots now?

My shooting was more artful in the beginning, more about the visuals, a process of self-discovery— and that reflected my training. And then, as I tried to find my voice as a storyteller, I became very purist in my photography, shooting cleaner images in a fairly straightforward photojournalistic manner. Now, my work tends toward social documentary, i.e. photojournalism with a conscience. But the aesthetic of my images still reflects my art background.
I enjoy looking at my older work, particularly my very early photography, because there was a real innocence in my pictures. I really didn’t understand what made my images successful or not. Today I am very analytical about my images. But since veering from the mindset of personal exploration, I do appreciate the path where I began.

What did it feel like when you first heard that you were in the running for a Pulitzer Prize?

I was beyond excited to hear that my colleague David Leeson and I were possibly finalists for the Pulitzer, and I wanted to be grateful for that, if that was what we achieved. But of course, that meant we had a chance at the Pulitzer Prize, and I didn’t want to be disappointed, so I was scared to even think that we might win. I didn’t allow myself to believe we had won until I saw our names flash across the computer screen. It was a combination of disbelief and immense excitement.

[North of Auckland]

Do you have any suggestions, for people who are not professional, of exercises or ways for pushing towards better quality of pictures?

Learning to see and use light in photography is probably the most basic lesson that any amateur (and at times, professionals) can practice. It doesn’t necessarily come naturally, but looking at light and how it shines, reflects or bounces around a room, for example, is one way to begin the journey. The more a photographer recognizes the power of light and how it defines one’s pictures, the stronger their images will be.
For the more advanced amateur, I recommend they practice looking at the edges of their frame and composing with information on their edges. Many photographers only look at the middle of their frame and forget to use the corners and edges, this is a skill that photographers get better at when they nail down the basics, and it can make images so much richer and more interesting compositionally. As an exercise, try shooting all the important information on the image edge, forget the center. Then try shooting more information on more than one edge. Gradually incorporate the center of the frame when you have successfully used three or four edges.

Now this is something I will be trying to do. What a fantastic tip

TBH I thought all the answers here were brilliant and food for thought.

[Photocol]

That was a great Q&A, Jack. I agree with what you wrote. I think a lot of people forget about Looking at the light before taking the shot. Without it there's no photo!

[Tony]

Very interesting read. Its kinda weird the contrast between asking about gear inbetween hearing some of the stuff she is shooting. I feel a bit guilty about wanting to get tips from her, when her photos of are this sort of thing.

[North of Auckland]

I feel a bit guilty about wanting to get tips from her, when her photos of are this sort of thing.

Why?

I plan on picking the relevant bits from each interview and trying to add them to what I shoot. Some things will help others maybe not

[Tony]

"Why?", its a good question, I dont really know (not critising in anyway).

I guess the topics shown seem really important and my personal interest in gear and stuff seems a bit shallow. Maybe its the thing of wanting to take from her (knowledge) when in many ways the appropriate response to the material could be to be "giving", I dont know, its a bit confusing. All I can tell is it is something to do with what she is showing in her images being important.

Awsome interview Jack! I have actually been doing the frameing thing in my mind all day

[North of Auckland]

I have actually been doing the frameing thing in my mind all day

Me too

[North of Auckland]

Do you have any suggestions, for people who are not professional, of exercises or ways for pushing towards better quality of pictures?

Learning to see and use light in photography is probably the most basic lesson that any amateur (and at times, professionals) can practice. It doesn’t necessarily come naturally, but looking at light and how it shines, reflects or bounces around a room, for example, is one way to begin the journey. The more a photographer recognizes the power of light and how it defines one’s pictures, the stronger their images will be.
For the more advanced amateur, I recommend they practice looking at the edges of their frame and composing with information on their edges. Many photographers only look at the middle of their frame and forget to use the corners and edges, this is a skill that photographers get better at when they nail down the basics, and it can make images so much richer and more interesting compositionally. As an exercise, try shooting all the important information on the image edge, forget the center. Then try shooting more information on more than one edge. Gradually incorporate the center of the frame when you have successfully used three or four edges.

As anyone tried this?

I'm trying it, though I am finding it challenging

[Nicola]

no, but I remember reading this and thinking I must .... and now I'm thinking it all over again
thanks for the reminder Jack