Gregory Heisler has spent the last quarter century photographing covers for magazines like Time, Sports Illustrated, and Life. In 1994, he was famously blacklisted from the White House press corps for shooting a double exposure of President George H.W. Bush (“The Two Faces of Bush”) for Time’s Person of the Year cover. Since then, Heisler, now 58, has seen photography shift from film to digital and magazines switch from staff shooters to freelancers. Since 2009, he’s been teaching portraiture at the Hallmark Institute of Photography, in Massachusetts. September 30 through October 5, he’ll be teaching a course at the Santa Fe workshops called The Evocative Portrait. —Grayson Schaffer
Grayson: You’re a professor now?
Gregory: It’s like camera school—vocational school. It’s for people who really want to take pictures for a living. They wouldn’t be there to become a curator. It’s very hands on.
Grayson: Like you’ll be doing at the Santa Fe Workshops.
Gregory: At the workshops there’d be a little more theory and a little more emphasis on the philosophy of it. The classes that I teach are that but the emphasis is more on craft.
Grayson: In your workshop, what kinds of skills will you be working on.
Gregory: It’s kind of a color week, the emphasis is on color, so we’re going to be looking at color from the subjective point of view as opposed to the objective. Not looking for correct color or accurate color, we’re going for color that’s more about feeling. So I would say, a lot of our time is going to be spent looking at ways to express ourselves, particularly in the context of portraiture. To express oneself creatively using color and light.
Grayson: What do you mean by color? Lighting, post production, or just subject matter?
Gregory: The emphasis is more on working with light in ways that are expressive. Not big deal lighting stuff with huge strobes. It could be ways of manipulating ambient light, it could be very simple. There’s sort of a whole spectrum of ways to do that.
Grayson: Where are you in your own work, are you still producing editorial pictures?
Gregory: Yes. Less frequently because I’m doing the teaching gig, but because I’m an artist in residence, I’ve still been able to accept commercial jobs, and what I’ll do is I’ll make little videos on the side that I then bring back to the school and show the students the next day. I did a cover for Sports Illustrated about three or four weeks ago of Lebron James. They called Friday for a shoot on Saturday, and the magazine was on stands by Wednesday. I had videos to show the class on Tuesday. It’s very timely. And the two things really dovetail well together.
Grayson: How has your work evolved over the years. You used to have that iconic, TIME magazine, medium- and large-format format film look. Is that still how you’re producing pictures?
Gregory: I was shooting lots of large format portraits then but I’ve since changed to digital, where you have so much more control. There are millions of things you can do with digital; you can be more spontaneous, and you’re more in control of your color palette. Also, sort of counter-intuitively, I’m now working more simply because of digital. I’m working less with strobes and more with continuous lighting—LED’s, Tungsten, etc. and working to make very simple images. I did a series of images for the National Arts Club in New York, of different authors, and writers, and those are some of my favorite pictures I’ve done in the last several years. They’re very simple, all done on black backgrounds, very quiet. But they’re really beautiful. It’s just a different kind of portrait for me.
Grayson: Interesting, so this Lebron cover, did you shoot that with a 5D or a digitial Hasselblad?
Gregory: That was actually shot with a Hasselblad and strobes, which contradicts everything I just said.
Grayson: It does seem like as you see people using smaller and smaller kits. That Hasselblad is used more for magazine covers than anything else.
Gregory: That’s probably true. It’s such a funky camera. They designed it from the ground up but they designed it in landscape view. It’s a landscape camera. And basically 99 percent of people use it vertically, and it absolutely sucks to use vertically. It doesn’t have a vertical shutter release, the viewfinder’s on its side, and the camera hangs off the tripod. If they were designing a camera from scratch they could have designed a vertical camera, or a revolving back, but they didn’t, which is kind of shocking. I’m sure somebody will come up with something like that sooner or later.
Grayson: When I look through your older work, it seems like people would hire you to do all kinds of images. I can’t point to one specific style and say that it was you who shot it. But these days it seems like art directors are hiring for a really specific look—a schtick. Is that something that’s changed over time?
Gregory: That’s a very accurate perception. These days it might be someone like Platon who might have a very specific look or style for the pictures that he takes and that’s something that people want. Twenty years ago it might have been William Coupon, who was doing things in a very specific way, on a painted background, and all his pictures were the same. That’s always been surprising to me because… well, actually, it’s not surprising. Art directors want a sure thing.
Grayson: Is it as simple as that? Art directors want to play it safe?
Gregory: Yeah, it is. I hate to say it because I think people are risk averse these days more than ever. Before they even pick up the phone, they know what the picture’s going to be. So there’s a certain comfort in that, a certain security that they can lay out the cover of the magazine and kind of know what it’s going to be. They can put one of his other photographs in its place and have an idea what it’s going to be, and they can sell that to their editor. The last thing people want is a surprise, these days. The weirdest thing to me is that magazines would never do this for their writers. They would never hire a writer who writes for another magazine; they want to have their own stable of writers. Newsweek would never hire a TIME writer, and TIME would never hire a Newsweek writer—but they would both hire the same photographer to shoot a cover for them. In fact they want to be in the club in a way. These magazines don’t have enough confidence to have their own style, so they use a borrowed style. That is shocking to me, but your perception is very accurate. It’s a way to be more commercially viable, but to me, that’s not having a style, that’s having a schtick. To me, style is like your fingerprint. Nobody else has it. A schtick is like gloves. You can buy them and put them on. Technique is like that. Anyone can set up their lights in the same way these folks do and come up with largely the same results. Not the same pictures, but largely the same result.
Grayson: When you come to a picture, it’s got to be more difficult if you don’t know, for example, that you’re going to put somebody in a chair and shoot them from ankle level. How did you figure out that you’re going to shoot Lebron over plexiglass in your recent SI shoot.
Gregory: You kind of figure out every picture from scratch, which is not to say I never do pictures that I’ve done before—but I really try not to. Whenever I get an assignment I try to think how to shoot this person for this story in this magazine at this point in time.
Grayson: Do you have a series of questions that you ask yourself? Ways you think about it?
Gregory: Those would be them. If you’re shooting Bruce Springsteen for Rolling Stone, it would be a different picture than shooting Bruce Springsteen for TIME or Fortune. There’s no reason those pictures should all be the same. One story might be talking about his latest release, another might be about his fortune, another might be about how he stays fit. Those are all different images, and that to me is what makes it interesting—trying to figure out how to tailor the image specifically for that person. There’s no reason you’d shoot Mother Theresa and Newt Gingrich the same way.
Grayson: How long does it take you to think of these things?
Gregory: Sometimes day, sometimes not until you’re walking into the room. And even then, sometimes it all goes out the window. A lot of the challenge and the reason for the success of those one-shot photographers is that their pictures almost have to be subject proof. Because you usually only have a few minutes with the person. You never know who’s going to walk into the room—whether they’re going to be friendly, grumpy, sick of photographers, or between meetings.
Grayson: On the opposite side of the spectrum from being subject-proof, do you have photo shoots that fail from time to time?
Gregory: I think they all suck. The picture I was hoping for is never the picture I get, but yeah, I think they fail all the time. Fortunately my clients don’t think they do, so I can continue to have a career. But I just look at them and think, ugh.
Grayson: You’ve had some fairly well known people work for you. Who were some of them?
Gregory: Dan Winters worked with me for awhile about 20 years ago. There’s a guy named Gregor Halenda. We used to joke that he hadn’t earned the “y” yet. He just relocated from Manhattan to Portland. He’s terrific. He does a lot of stuff with still life and motorcycles. There’s a guy named Monte Isom who just worked with me freelance, and he’s doing well. It’s interesting because it takes so much to be a good photographer. Some of it is the industry, some of it’s your personality. People aren’t hiring just a picture, they’re hiring someone they can work with. That plays a big role .
Grayson: Do you ever feel threatened by the success of your former assistants?
Gregory: No I think it’s gratifying. It’s awesome!
Grayson: It’s interesting, because you definitely meet both kinds of photographers—the proprietary kind and the generous kind—but it seems like the guys who are really at the top of their field recognize that they’re doing something that can’t be easily replicated and are willing to share what they know.
Gregory: My brother used to say some people have an “inferiority simplex.” It’s not that they’re under the delusion that they’re inferior; they actually are inferior and they secretly know it. I think that’s what those photographers are like. They’re very jealous.
Grayson: What about your work flow?
Gregory: It varies with the client. For SI, they’re on a very tight deadline, and they want raw send-offs. So they want files FTPd right from the shoot. That stuff goes off, and at that point let go of it. Later, I’ll send them processed jpegs with what I think it should look like, but it’s up to them whether they abide by that or not. In the case of Lebron, it pretty much looked the way it was supposed to look.
Grayson: So when you send them jpegs, you’re monkeying around in Lightroom or Photoshop, burning and dodging to get it where you want?
Gregory: Well yeah, in the case of Lebron, it was kind of done. We had five or ten minutes with him, but we’d spent the better part of the day messing with lighting, so as soon as he walked in it was good to go. We did a global correction with a digital tech on set and then sent them off. Normally I do all my own post work. It’s not that I do it better than anyone else, I just do it my way. I make decisions. People who print at labs are probably far better printers, but they won’t make my decisions mid-process. I don’t want to be out of the loop. I want to be a photographer and do all of it.
Grayson: On Lebron, what were you using?
Gregory: That’s a funny one. The picture was actually set up to photograph him with the NBA trophy, which ended up not getting used. The trophy is a highly polished golden globe—so I wanted a good reflection, which is more like a still life than a portrait. It’s difficult to cast the light. Even an octabank would leave a spot. So I got a 12-foot roll of white seamless paper and pounded the light through it. It’s very diffused soft light, but it’s incredibly inefficient. The light off him was like f4. But on the other side of the seamless it was like 90. The seamless is opaque for all intents and purposes. I don’t remember using gels.
Grayson: Were you an early adopter of digital?
Gregory: No. I went along kicking and screaming. Digital held no romance for me at all. I hated it. I miss my big cameras. The working process, I miss it.
Grayson: But you figured out how to do it?
Gregory: Yeah, I pretty much put a clothespin on my nose and took a plunge. It’s amazing, but it’s weird to be on the far side of a learning curve. And it’s always like that. If you learn how to use a Deardorff, you’ll always know how to use every 8×10 camera. You’re good to go. But if you learn how to use the 5D and then the 5DMKII, each one is a little bit different. They have different focus points. If you want to switch from Aperture to Lightroom, you have to learn how to do all that stuff. It’s a constant learning curve which I hadn’t signed on for. I wanted to grow in terms of making pictures, not adapting to new software and technology. But that’s the game now.
Grayson: Any look, any style, any era, all available at the touch of a button, now.
Gregory: Yeah, there are a lot of decisions to make, creatively. Now, with digital, you can really be the author of your own work. From the beginning to the end of the process, you control everything.
Note: We’ve partnered with Santa Fe Photographic Workshops to interview several of their instructors for upcoming workshops that we find interesting. If you want to join Gregory in Santa Fe for “The Evocative Portrait” go (here).