Sorry about the pun, but I couldn’t help myself.  I just got these tear sheets back from a Irena Tesarčíková, my new favorite editor at Reflex Magazine in Prague.  It is so nice to see the photos used well that I had to share.

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In the Story Building classes I teach at Boston University Center for Digital Imaging Arts my students are required to come up with a story ideas that they will cover exclusively for the duration of our class.  One of the things I end up explaining again and again is, “Just because the idea makes a good STORY, it doesn’t necessarily mean it will make a good PHOTO STORY.”

Making them throw out half a dozen story ideas to get to one that has visual potential never makes me very popular with them, but one day they’ll realize what a gift it was to throw out the boring in pursuit the visual.  In the professional world, you aren’t afforded the same luxury too often.

Photojournalist are regularly called on to illustrate stories that are frustratingly non-visual.   One such story would be the anniversary of when the Suzy B. Hero rescued a cat stuck in a tree during the lighting storm of 1970.   Good story perhaps but it happened in the past and now there is nothing left to shoot. Occasionally, on slow news days, the story is little more than a recycled press release promoting the opening of a new business (Zzzzzzzzz).  And often it is about a Johnny B. Corporate, an amazing CEO who turned around a company saved 500 jobs at a widget factory.

So what is a photographer to do?  Time for a Portrait.

Portraits are often the default way to illustrate a story when the story isn’t unfolding in front of you, or is just too boring to make a photo out of.  Because of this, portraits get assigned a lot (I’d say portraits make up almost a third of what I shoot.)

I approach certain portraits situations with a mild amount of dread, knowing that the story doesn’t have a visual hook to build a strong portrait around.  I know that if there isn’t some kind of concept, I (and most likely my editor) won’t be completely satisfied.  For me to really be happy with a portrait, it has to function on 3 levels.

Level 1: It has to be visually appealing.

Level 2: It should be able to communicate the gist of the story all by itself, as if it were to stand apart from the text.

Level 3: In an ideal portrait, the image is shot in a way that it provokes thought or stirs emotion.

To illustrate, I recently worked on a story from the New York Times about kids who grow up with a hyphenated last name and the choices they make once they have kids of their own.  It is a interesting story because it is something that probably many of us have wondered about at one time or another.  But, unfortunately there isn’t much of a visual concept there that you can weave into your photo.  Here is the result:

Portrait of Nathan Lamarre-Vincent and his wife Sarah Miller with their children Cormac Lamarre-Vincent, 4, and Kellan Lamarre-Vincent.

Level 1: check.

Another New York Times story I did this month was about a CEO whose development company was doing some long awaited construction work in South Boston.  Here is that result:

Portrait of Joseph Fallon, CEO and President of The Fallon Company in his office at One Marina Park Drive in Boston overlooking the building site currently under construction for Vertex and The Residences at Fan Pier.

Level 1: check. The light and composition are decent.

Level 2: check. The layer of construction on the right gives you an idea about what the story is about.

But occasionally, around comes the portrait assignments that you yearn for.  Ones which you’re given enough lead time to really think about executing beforehand or ones which the editor really wants you to take some risks.  Here are two such assignments I had recently:

The first story was for the Boston Globe about a surgeon named Bohdan Pomahac.  He and his team at Brigham and Women’s hospital in Boston have completed 4 face transplant surgeries, which has made the Brigham the second busiest center in the world for the experimental operation.

Playing with the concepts of the interchangability of body parts, particularly facial elements, I decided to do a collage, made of of multiple pictures of Dr. Pomahac’s face, a nose, an eye, an ear, all stitched together after the shoot.  Here is what we got:

Portrait of Dr. Bohdan Pomahac in the operating room at Brigham and Women's Hospital September 26. 2011.

The second portrait was a story for the Globe Sunday Magazine about man named Dennis Maher who was convicted of committing a series of violent sexual crimes but was later exonerated with the help of DNA evidence after spending more than 19 years in jail, wrongly accused.

Working with the idea loss – loss of time, loss of a life – and working with the weather conditions that the day gave me, I eventually came up with this:

Portrait of Dennis Maher at his Tewksbury home November 10, 2011.

Unfortunately, as satisfied as I was with these two portraits, the powers at be decided that in both cases the images were too risky for the story.  And that, is the final lesson of the day.  Cover your ass.  Take the less risky shots first then experiment.  You can check the story links to see what ultimately ran.

Sigh.  At least this blog “Sight Unseen” continues to live up to its name.

There are a lot of things in this life that I can’t imagine.  I have a hard time grasping what it is like to have or love a child, I am not a parent.  I also can’t realistically touch the fear of having a disease like cancer, I have been mostly healthy my entire life.  But because my job puts me right in the midst of people living through the extremes in life I often get a vicarious understanding of parts of the world that I wouldn’t otherwise be able to experience.  Working on stories that explore the rich experience of human life is the most rewarding part of my job, though in certain cases it is hard to witness.

The miracle of parenthood and the terror of disease are examples I mentioned because of one such story I worked on recently for CNN about mother and daughter, Kezia and Saoirse Fitzgerald, who are both fighting unrelated forms of cancer, at the same time.   It is a difficult story and one which has only gotten progressively more difficult for the family since I photographed them.  For what they are going through, the Fitzgeralds seemed remarkably graceful, brave and hopeful.  But it was impossible for them to hide the worry and lack of sleep on their faces.

Here is a recent excerpt from Kezia’s “New Mom…New Cancer” blog:  Saoirse had a CT today. The results are not good. She has new lesions on her skull and her large tumor at the back of her head has grown. I am not sure where things go from here. We are still going to NY next week for further tests. We should know more Monday. Today is the first day I thought about the reality that she might die. The first day I let myself see the reality of her disease. Today I feel helpless, hopeless, and humbled. Today I have no answers – just questions, what ifs and uncertainty. Today I am weak, but she is strong – she makes me keep going. All I need is her smile.

You can keep up with the story and even donate to help the family from Kezia’s blog.

Kezia Fitzgerald tries to feed her 14-month-old daughter Saoirse while undergoing chemotherapy treatments at Children's Hospital Boston, August 25, 2011. Because both Kezia and Saoirse are undergoing chemotherapy for their two unrelated forms of cancer, Kezia says the benefit is that she knows what it feels like for Saoirse. "Because she can't talk, it is easier to be like 'okay this is what she's feeling like today'" Kezia explained. Often patients undergoing chemotherapy have a hard time eating.

14-month-old Saoirse Fitzgerald carries around a recent drawing done while undergoing chemotherapy treatment at Children's Hospital Boston.

Both Kezia Fitzgerald and her 14-month-old daughter Saoirse have catheters implanted under their skin running to their jugular veins which enables the hospital staff to easily administer fluids, chemotherapy treatments and draw blood. Kezia (right) has a Port-a-Cath and Saoirse has a central line.

14-month-old Saoirse Fitzgerald gets attention from doctors as she walks the halls of Children's Hospital Boston, with her mom Kezia in-tow, August 25, 2011. Kezia is wearing a home hydration system which will allow the family to go home rather than depend on the hospital to administer fluids following Saoirse's chemotherapy treatments.

Kezia Fitzgerald holds her fussy 14-month-old daughter Saoirse as a nurse works to finish her chemotherapy treatment at Children's Hospital Boston.

Mike Fitzgerald tries to comfort his fussy 14-month-old daughter Saoirse as his wife Kezia talks to the attending physician Dr. Katherine Janeway.

Mike Fitzgerald stands by while his wife Kezia feeds their daughter Saoirse at Children's Hospital Boston, August 25, 2011. Both Kezia and Saoirse are undergoing treatment for their two unrelated forms of cancer. Faced with two family members getting cancer at the same time, Mike Fitzgerald said there isn't much you can do to make sense of it. "It is so overwhelming you just kind of ignore it," Mike said. "It's not easy."

Saoirse Fitzgerald leans on her mom Kezia following chemotherapy treatments.

Children's Hospital Chaplain Jessica Bratt gets a "high five" from 14-month-old Saoirse Fitzgerald before Saoirse left the hospital following chemotherapy treatments. "She's feeling pretty bad." Fitzgerald said. "Because we try to keep her brain occupied, I think it helps her feel better."

Mike Fitzgerald and his daughter Saoirse share a kiss while drawing at Children's Hospital Boston, August 25, 2011. "She inspires us every day," Mike said.

Saoirse Fitzgerald lays on a pillow next to her mom Kezia following chemotherapy treatments

11,314 – That’s how many photos I took in the month of August.  Most people who don’t shoot for a living are amazed by the fact that a photographer can shoot between 200 and 300 frames during a simple portrait shoot.  But even I am amazed at 11,314. Needless to say it was a busy month, one which took a week in September in the woods of Ontario to recover from.  But it was great.  As usual, I shot for a number of my regular and favorite clients (The New York Times, The Boston Globe and NPR) but also had the opportunity to work a few new ones including CNN, the Financial Times of Germany, the Swiss magazine VIVAI as well as shooting two videos for the BBC.  Here are some of my favorite shots from the month that you might have missed in the publications…

Portrait of Michael Sandel, Author of "Justice", Professor of Government at Harvard University and “most influential foreign figure” of the year in China according to Newsweek Magazine.

Mike Fitzgerald and his daughter Saoirse share a kiss while drawing at Children's Hospital Boston, August 25, 2011. Both Saoirse and Fitzgerald's wife Kezia are undergoing treatment for two unrelated forms of cancer. Faced with two family members getting cancer at the same time, Mike Fitzgerald said there isn't much you can do to make sense of it. "It is so overwhelming you just kind of ignore it," Mike said. "You just have to focus on getting better," Kezia added.

Portrait of Saran Kaba Jones, Executive Director of FACE Africa at the Boston Public Garden August, 2, 2011.

Trombone Shorty at the Newport Jazz Festival August 6, 2011.

Portrait of Tom Perrotta, author of "Little Children" "The Abstinence Teacher" and next "The Leftovers" which comes out at end of August and is likely to be made into a series for HBO.

I read the following quote from Magnum’s Christopher Anderson today and I had to repost it because it is so spot on:

“Forget about the profession of being a photographer. First be a photographer and maybe the profession will come after. Don’t be in a rush to pay your rent with your camera. Jimi Hendrix didn’t decide on the career of professional musician before he learned to play guitar. No, he loved music and created something beautiful and that THEN became a profession. Larry Towell, for instance, was not a “professional” photographer until he was already a “famous” photographer. Make the pictures you feel compelled to make and perhaps that will lead to a career. But if you try to make the career first, you will just make shitty pictures that you don’t care about.”

Coincidentally, this quote comes during a week of a lot of reflection on my career, spurred by a long vacation in the woods and an old letter my Mom recently found and sent to me, where I boldly declared my intention to become a photographer:

“That is me committed, April 22, 2001,” I wrote. “I am determined that this is what I’m going to do and I know I can do it well.  It is going to be a hard road to get there, but I’m definitely up for it.”

I was living in Northern Ireland at the time and was captivated by photographing the sectarian side of culture and the resulting political unrest.  According to the letter, my plan was as follows:

“As of today I’m aiming at going back to school and taking a few classes in photography to develop a better portfolio with the intention of submitting it to National Geographic in January for an internship they offer in the summer.  I realize that I’m setting my sights high and I realize disappointment is going to be a big part of this decision, but I really feel like I can do it.”

Got to love that youthful determination, right?!  I sure do.  I remember not being able to sleep at night because my mind was abuzz thinking about photos.  I had never been so sure about anything in my life.  And it felt great.

It has now been 10 years since I started pursuing this dream and for the most part, I am realizing I have accomplished most of what I set out to do (with the exception of the National Geographic internship – If you’re reading this Ken Geiger, I’m free next summer…)

But now that I HAVE made photography my profession, Anderson’s quote still resonates.  The biggest challenge I face these days is how to maintain the focus, drive and passion that comes with making photos for photography’s sake, despite what one friend described as “bastardizing” the passion by making it a living.  So much of what I do as a freelance photographer has nothing to do with taking photos – keeping up on the books, finding new clients, learning technology, trying to stave of depression, remembering to maintain a life outside of work… that it slowly erodes away at the energy formerly reserved just for creating.  And while I put everything I have into each assignment I shoot, lets face it, not every job you get is going to nurture your creative spirit in the same way as personal work does.

And so, 10 years into this business and looking at the 10 years down the road, as hard as it may be, I hope I can heed Anderson’s advice – to be a photographer first and let the profession come after.  Maybe I should even be as brazen as I was at 23 and renew my bold assertion that, “While disappointment may be a big part of this decision, I am determined that this is what I’m going to do and I know I can do it well.”

The picture at the top of the post is a photo from a story I found during my time in Belfast from a boxing club where Catholics and Protestant kids transcend the  sectarian divide of the country and come to fight in peace.  Below is a photo from a working class Catholic neighborhood in Belfast where sectarian ideology is a common bond and where youth form their political identity at a very early age.  It was my very first published photo.

As a photographer, you learn to see light in a way that most people never notice. When I’m shooting, it is always the first or second thing I consider when determining how I’m going to approach the my subject.  As such, I have many times fantasized about the power to take the biggest light I have at my disposal – the sun – and position it and soften it as needed for my shoots.  I have bags of lights, softboxes, reflectors, snoots, gobos, etc but because my collection isn’t quite as awesome as Gregory Crewdson’s I am usually forced to play nice with the sun at whatever time of day my assignment is scheduled for. That is until this week. Enter author Courtney Sullivan and her dollhouse which I was photographing for one of the New York Times “Domestic Lives” essays.  The assignment was to make a series of dreamy, nostalgic images that would support Sullivan’s essay about her childhood dollhouse obsession, a hobby which she has carried into adult life.  So, I lined up my shots of the sugar jar, the newsweek on the coffee table the recliner in the bedroom, and this time, instead of wishing I had some sunlight streaming in the windows, falling perfectly on my subjects, this time I just “stepped outside” and set the “sun” (a bare-bulb alien bee 800) to about 8pm and presto: Instant magic hour!  Below are a few of the shots.

The 2011 Newport Jazz Festival turned out to be another fun and hectic shooting experience this year (oh, and also WET!).  I was working the festival for both National Public Radio as well as the New York Times.  Both were live blogging the event and NPR was live streaming many acts which meant that I had to shoot, hustle back to our tent, edit/tone/transmit, and get back to cover the next act in sometimes as little as 15 minutes.  Here is a glimpse of my cheat sheet for Sunday:  underlined indicated shoot for both clients, ****indicated NPR live broadcasts.  Sunday was a slower day than Saturday but note the time between the first three sets.  Not much room for error… or lunch even.

In between all the shooting I also managed to shoot a number of “Rogue Video” concerts of impromptu musician performances amid the ruins Ft. Adams State park along with Mito Habe-Evens of NPR (which I hope to post as they are produced).  And below is some general festival stuff which you might not have caught on NPR’s website or in the NYT.  These are some of my favorites.

I will be participating in a panel discussion on how I got my foot in the door of the editorial market and what I’m doing to keep it there amidst rapidly evolving technology and shrinking budgets.  It is open to current and former students as well as the general public.  So, if you are interested in attending, please do!

July 21st at 6:30 Boston University CDIA’s Waltham campus.

20 of my favorite most recent images have been added to my website www.jacobsphotographic.us.  They feature work for a number of my regular clients:

The New York Times

The Wall St. Journal

The Boston Globe

The Daily

Polaris Images

Education Week

As well as some recent personal stuff.  Work will be added on a regular basis so check back often!

Here are some standout images from my most recent students at Boston University’s Center for Digital Imaging Arts.  Links to their personal websites can be found below the photos.

From Dwayne Liburd‘s photo essay on the transition to life as a 30 year old.

From Michael Cox‘s story about a therapeutic riding center.

From Tori Stuart‘s story on a predominately women-run community supported agriculture farm.

From Renee Cameron’s Story on a local jewelry maker