Photographs by Ackerman + Gruber/Mpls. St. Paul Magazine

Photographs by Eliesa Johnson/Mpls. St. Paul Magazine

MSP Communications

Associate Creative Director: Michael Norseng

Heidi: What advice do you have for any photo director looking to transition out of magazines?
Michael: Over time, (and this is a continual discovery), I have found that titles can often be misleading.  And especially people’s perceptions of those titles.  “Photo Editor”, outside of the NYC publishing carousel, newspapers, or rarified titles and markets, can be a bit of a limiting designation.  Two decades in, I still often get the question, “so what did you do or rather do exactly?” The reality is that for each person, the experience, responsibilities, and creative role in the process is varied.  I think it is beneficial to shift the semantics and attempt to make people understand that the term is broad and more of an umbrella to describe a lot of other sub roles.  In my case and just a few: Researcher, Producer, Project Manager, Video Producer, Art Buyer, Problem solver, conceptor, and yes, Creative Director.  I think that understanding of capabilities and embracing the ability to sell oneself can be a difficult roadblock to overcome, but in the end it is essentially about not limiting yourself to just being defined by one thing, or one title.  There is no clear path.

For me it took stepping away from NY, and having someone, Creative Director Brian Johnson, and a company, MSP Communications, realize that I could be an important asset/cog in the wheel of their creative process.  I feel lucky in that regard.

You had an impressive run at Esquire, what do you miss most about being in editorial?
I’m incredibly grateful for the time I had living in NYC, working in magazines, and especially at Esquire/Hearst.  But there was a confluence of reasons of why the experience was coming to an end, both personally and professionally.  I was extremely, (extremely is an understatement), blessed during my time in NYC that I rode this wave and crossed paths and learned from some of the best Photo Editors, Creative Directors, Designers, and Editors in the industry.  And additionally by extension, photographers, writers, illustrators, agents, subjects, on and on…and on. I believe, and I hope, I carried a lot of what I learned from those individuals on to this role I am in now.

One of the things that David Granger, former Editor and Chief of Esquire, and by extension David Curcurito, Design Director, instilled in all of us was to continue to be ambitious, curious, and varied in terms of story-telling and put out high quality work into the world no matter what the restraints.  Every day it felt like we were constantly evolving creatively.  Or at least I hope we were.  It was often a fulfilling and exciting place to work, even if not everything we tried landed in the way we hoped.

By extension too, there was a recognition that individuals had capabilities outside of their designated roles, (back to the previous question).  So yes, I worked on photography and managed that department, but also contributed a few times little bits of writing, or story ideas, or what have you.  It was the sort of environment that fostered ambition and embraced whatever people wanted to contribute and there were no set lanes in which you were forced to stay.  In fact, I think the entire reason why I was originally promoted from within there about a decade ago is because I had expressed an interest in producing video content and extending the reach of the stories (mostly in a surface visual way) online or eventually on the ipad.

So it has been exciting transitioning to MSP Communication where that work or my varied background has been valued.  I am not only involved in some editorial photo capacities with Delta Sky Magazine and Mpls/St. Paul, but also working on video projects as well.  The environment is collaborative, my colleagues are great, and I feel like I’m working in a similar role to put out public facing work which is both ambitious, but of a high quality both locally and nationally.

Photograph by Ture Lillegraven

Photograph by Caitlin Cronenberg

As a creative, what is the most important ingredient to keep you fully engaged?
I have a broad range of personal interests and knowledge, so I love diversified subject matter.  Or the ability to think of ways to poach or have cross-over applications to how something is presented in a unique way.  It is one of the reasons why I’ve always loved editorial, and especially what could be called as general interest, because the subject matter, perspective, and story-telling is always varied.  I also love the pace that it provides…that there is constant creation on all levels of size each day. If it doesn’t work once, learn from it, and move on.  The goalpost is constantly shifting and you have to work fast.

I think I’m also excited by putting out content into the world either in print or online that either engages or people consume in some regard.  If it initiates an emotional response, or the person looking at feels like it was well done, enough to capture their attention, then that is the ideal.  Personally I want the work that either myself or my colleagues put out to deliver on being high quality.

How much has your video experience influenced your career?
I think it safe to say that if I wouldn’t have experimented with video, or taken advantage of the opportunities to do it, I wouldn’t have found myself in the position I am in today.  I believe it is what separated me from the pack when individuals were being brought through the door to interview at Esquire 10 years ago.  And it has been instrumental of course to me in this next role I find myself in.

How did this video series come about?
My new(ish) colleagues at Mpls St. Paul Magazine/MSP Communications had this incredibly ambitious video series pitch, (in conjunction with Explore Minesota and The Superbowl Host Committee), already in the works before I started here in December.  So although I heard only minor mentions of it during my interview process last fall, it wasn’t necessarily a reality until I started.  I think it was my first week of work here when Brian Johnson, (Creative Director), Drew Wood (Editor), and Jayne Haugen Olson (Editorial Director), and I sat in a room and collaboratively said ok, we have this seed of an idea and an opportunity, so how do we execute upon it and what do we want this ultimately to be and look like.  Given my background, and some experience in this regard, I think they, and leadership and MSP, collectively leaned on me and my perspective and background in terms of the best way to execute, package, and present these.  So we/I hit the ground running.  And now we are leading up to week 30 of 52.  It has been exciting, to say the least, each and every week putting one of these out there.

Tell us about your creative process for these videos?
Essentially, what these are, and the elevator pitch which I often repeat, is that Superbowl 52 is coming to Minneapolis in 2018, and thus we wanted to figure out a way to capitalize on that and shine a spotlight on the state via videos with 52 notable individuals, one each week until next year, that have connection to the state. The goal each week has been to not only tell their stories through individualized love letters, but also bring in elements of things to ether do and/or see if someone was to come and visit.  All within 2:30.

Because of how we/I am executing these, with different contributors, restraints on time and access to subjects, etc., these are all a bit apples and oranges in terms of presentation.  I would like to think each one is unique as the different subjects we are covering.  The front end title sequence, (with exception of the background) and closing credits are for the most part templated, initially developed along with a former colleague and great AE designer (Tom Losinski), but I am able to alter them each week to be specific to each subject.  So I like to think the bookends or cookies to the Oreo stay relatively the same, and it is the cream/content that shifts week to week.

And that constant shifting of sands also goes for my role on the project.  For the most part you could say I’m the lead in the creative execution along with my partner and colleague Drew Wood.  But there is so much as well that happens behind the scenes with my colleagues that people will never get to see…in terms of how we get the most eyeballs on them, the design of the website, etc.   And in terms of myself week to week,  I would say my lead role is that I am hiring the individual photographers, directors, cinematographers, etc, to do these and  managing the output, the say on the final videos.  I’m also working alongside my colleagues sending requests to PR to try to wrangle talent/subjects, which has been fun and extension of some of the moderate communication I did before with PR people.  And some weeks, and this has been fun, actually trying my hand at interviewing the subjects off camera.  Har Mar Superstar, Lindsey Vonn (upcoming), and Alec Soth have been a few highlights in this regard.  Or and additionally, outside of outputting the titles each week,  I’m actually from time to time editing the actual videos or shooting some of the b-roll, or just working with the directors on the best final cuts.  It has been really fun.  Intense at times.  But I/we are pleased I think with what we are producing.

And again, back to the beginning of this interview, and I feel like this series is emblematic, there are no clear lanes of responsibility on this.  It is just all hands on deck, in a collaborative editorial environment, to put what we hope is good, high quality storytelling to the world…at an extremely quick pace. You can find a few below and the rest here:  myboldnorth.com

Alec Soth was shot and edited by Kevin Horn

Jim Brandenburg filmed by Ackerman + Gruber

Erik Asla

I know you were a  Herb Ritts protégé what were key insights he offered and how difficult was it not to follow his footsteps?
I think the main value of working with Herb was to realize how important it is to always aim for perfection. He never stopped doing exactly that. It’s challenging and hard at times. Also, I saw how he was able to make people feel at ease by focusing all attention on his subjects, whether celebrities, models or ordinary people. In my eyes, that was his main gift in addition to his keen eye, communication.

Herb is not someone whose footsteps one automatically tries to follow. He was one of a kind. I did not want to become a poor replica of the master, so I took deliberate steps to go a different route.

In a sentence describe what it’s like to have a mentor?
In the best of times, it is an extremely rewarding relationship for both parties. Usually, with lots of sacrifices on the part of the protegé.

How did your former law schooling transcend into your photographic career, if at all? 
Did not transcend at all, but I realize I have a creative and an analytical side. Needless to say, the analytical side has been completely sidetracked for the last couple of decades.

How did you make the transition from commercial to fine art?
It was more of a necessary evolution than anything else. The desire to create something that represents my way of seeing without embellishments or the influence of other visions.

Your fine ark work, The Stillness of Motion celebrates the organic beauty with a linear eye; we don’t feel rushed nor pushed into a lane. What was your creative message?
I try to capture imagery that resonates with who I am, how I see things, how I think, dream. What my preferences in life are. All of that, really. The serenity and graphic simplicity envelop everything I am and strive for.

How many images did you shoot in order to refine it to the edit you currently have?
Multiple thousands. I guess that’s partly why it’s rewarding when I feel that I have one that stands out. Because the road to getting there is often quite long.

Describe the creative space you feel when in your commissioned work vs the fine art?
Ideally, you want to have the same freedom in commissioned work as in fine art. Though in reality, that is seldom possible. Fine art is so unconstrained, so liberating. In the end, all that matters is that you create something that resonates with yourself and your audience. And that you do it without compromises or short cuts.

Outside

Photo and Design Director: Hannah McCaughey
Photo Editor: Amy Silverman
Deputy Art Director: Petra Zeiler
Photographer: Nigel Parry

Heidi: How many set ups did you do and what type of direction did you give for this image for Cory in the snowsuit?
Nigel: We got to maybe five or did six different setups, things were going well. Then we we’re coming to the last set and I said, “This is where I want you to put your big snow suit on as if you’ve traveled, you’ve done your climb and you are finally at rest. It’s obviously in a studio, but just try and make yourself feel like the avalanche has just happened.”

“Cool, that’s good.” he said, “I just need to go over and pick up this message,” and he just sat at the dressing table for maybe 10-15 minutes.
I said, “Okay, when you’re ready,” and he then walked back over to the set and we started shooting again.

“Just try and take yourself back there and I’m going to keep shooting.” He carried on just looking at me and all of a sudden, he started crying.” There are tears in his eyes I said, “I’m going to keep shooting,”

“That’s fine,” Cory replied.

After I stopped shooting I went and gave him a big hug and assumed what just happened was he’d taken himself back into that terrible state where he had almost died and he was reliving the emotions. He said,” You know when I went over there and picked and picked up that message? I was told that my best friend just committed suicide.”

“You’ve got to be kidding me,” I said, “I’m so sorry,”

He said, “No, it was my decision to keep going on. It seemed fitting anyway, I knew I was going to be quite upset.”

Do you find that a little challenging to shoot a peer?
Cory is an adventure photographer and takes incredible photographs in situations where I wouldn’t even in my wildest dreams think to find myself. He takes very different pictures. To me, photography is so compartmentalized; we’re just in two totally different spheres.

What type of direction did you get from Hannah?
The direction I got from her was simple. She told me he’d almost died and she wanted something similar to the photos you see of people before they climbed Everest; with a nod towards early 20th century images where they’re very slow shutter speeds so everyone had to sit very still and stare at the camera. I thought this was perfect direction since he’s a mountaineer, there’s no smiling, no movement. The fact that I was shooting a lot of black and white made it easier and more powerful.

Had you met Cory before?
No, though he seemed like a sincere bloke. I don’t know what he was like before the accident, and maybe that’s changed him. But I found him a terrifically interesting in every way. You want to get to know him more. I think he’s very visually appealing and we have been doing some corresponding actually because he’s doing a bit of portrait work, and I’ve been mentoring him a little with of all of that.

Is there something creatively that you learned about yourself or did anything shift for you as a photographer after the shoot?
Every now and again you have what is an abundance of creativity and you can work with that if you want. It’s really an abundance of Limbic resonance. That’s what photographers want in their arsenal. Because that’s just, there are areas of your brain which basically feels emotions and is able to empathize with another person. If you’re able to do that, That’s your major tool, once you’ve got all your lighting source figured out. As a portrait of photographer you want to be able to get so close to the person, not necessarily as in proximity, but just be close to them emotionally and on their wave length that you and they become joined mentally, emotionally. That’s what one always strives for. I don’t know how one gets it. I just know that this is my goal in portrait photography. I’m so desperate [laughs] to people — because it makes people open up. Our shoot was great in that respect. If somebody is very receptive to that, then it makes for a wonderful connected shoot where the person who’s being photographed knows just about when I’m going to shoot the photograph, and I know what they’re going to do next. You become sort of connected.

You do have a nice connection then since you’re mentoring him.
Well, I do now, but the first time I met him was when he walked in and said, “Oh my God, I can’t believe that I’m meeting you and you’re going to photograph me.” I said, “What? What are you talking about mate?” [laughs].Yes. That’s very lovely of him to say that. He said, “You’re also my hero.” “Oh, well that’s fantastic. I’m sure by the end of this you’ll be my hero because I’ve never climbed a mountain that spared my life.” I replied.

Do you have any photographic influences?
Yes. I’ve had many. Not many of them are living right now. I’ve tried to emulate or pay homage to David Bailey. I use David Bailey as the person I would love to learn from, I was totally taken by his pictures. His directness and his cruelty in some respects. It’s a sort of cruelty you don’t get from Irving Penn who I also love. Also for the decisive moment, the good old favorite Cartier-Bresson because I started out as a reportage photographer. Cartier-Bresson was my idol and hero, alongside David Bailey as well. I find that there’s an awful lot of similarity between portraiture and Cartier-Bresson’s work. In fact, there’s an awful lot of similarity between portraiture and virtually any other kind of work. Once you’ve mastered portraiture, you can pretty much jump off to anything. The key to portraiture is to have an environment in which, be it lighting, or whatever it is in that environment that you’re photographing, the moment comes to make the magic happen.The only difference between say, portraiture, and reportage is that reportage people have to get themselves in the middle of the crowd. Whereas I have to get my studio set so that when the magic happens, I can get it. There’s very little difference in the actual execution, the principles of execution they are very, very similar.

Do you remember some of your first images when you thought, “I love photography and this is what I want to do?
Well, I remember a lot of my first images. The first image that I ever had published was a picture of some little girls walking down some steps inside the British museum in London. I realized that even though it was only sold as a postcard, that must be a great way of making some money out of something which I enjoy so much. It was the fact that I was willing to put money behind this to make a wet plate of it than print it on paper, buy the paper, buy the ink and distribute it. There must be something good about it.

What would you tell your younger self, now that you have so much experience as a photographer?
I’d tell myself not to become a photographer, be a lawyer or a doctor or do something that can’t be replaced by a phone and a bunch of algorithms–but no, I wouldn’t change a thing about my chosen career. It has been the most wonderful, the most interesting, the most challenging, the most frightening. The road with the most twisted bends, and turns and highways and freeways. I wouldn’t change a thing. It has, and hopefully will still be wonderful.

Jesse Burke/ Wild & Precious

Heidi: You were named by Time Magazine as one of the of top instagram photographers to follow, when did you start your Instagram practice?
Jesse: Social media in my photography practice started back with the advent of Instagram in 2010. I had initially decided that I was going to use my Instagram account as a way of sharing personal photos only with my friends and family. Very quickly, my clients got wind of it and really liked the images. We then started having conversations about what it all meant. It was exciting and new for everyone; this, of course, shifted my thinking about how I could organically use Instagram and social media in general by applying my personal aesthetic. This is something that I strive to keep true throughout my postings, whether personal or commercial.

Jesse: Just because you have an iPhone and a social media account doesn’t mean you are a photographer. How has the iPhone shaped your craft?
When I started shooting with my phone as a secondary source I realized that my voice was still there in the images, even though the intent of the picture making process was a little bit different. I think over the years this has influenced my outlook on how I perceive myself and shifted my vision in my work. I think what sets me apart from other photographers is that vision. I stay very true to who I am as a person and that guides the picture making practice. In my case this means being a husband/dad first, artist/photographer second, and nature lover/farmer guy third.

How has your phone made you a better photographer?
Since I was academically trained as an artist, all of the practices that I was implementing into my artwork were very quickly falling into my social media channels and my commercial photography. I believe the strength of my voice comes from my art making background. Initially, I made a very concerted effort, and still do, to “keep it real” as much as possible. To be myself and not swayed by outside forces. I will post pictures through social channels that I really love regardless of their content. Sometimes they may seem a little silly but they’re important to me and I simply like them. That’s the approval process. There’s a lower bar for what I think is acceptable on my social channels, which allows me to be much looser in terms of my editing and shooting practices. I think this has expanded my outlook on how my photography can be approached and has strengthened my abilities as a photographer.

Do you feel this notion of the skill needed in being a photographer is undermined by technology?
I don’t. I believe it’s actually accentuated. Skill is a complicated word. Does it refer to one’s ability to control the tools or to have a unique vision? Both? I often think in a pretty conceptual or metaphysical way about photography. I trust my gut. I’m not sure I would call that skill, although one certainly needs a lot of skills to be a photographer, no doubt. For me the technology has really helped me by allowing me to have better pictures; sharper and higher quality images, a looser approach, and in the end more balance to my work. I think the quality of the camera, whether it be an iPhone or the Canon digital I use, is so good now that every picture can be technically fantastic. So the skill part comes back to the concepts and execution of the ideas in my opinion and I’m not sure technology harms that. I’m thankful that digital technology supports me and allows me the ability to create conceptual art pieces from my iPhone that I can show in the gallery setting and place into museum collections. Back when Instagram started I would never have imagined that the photos on my feed would live in museum collections. This still blows my mind.

Let’s circle back to vision, what is yours? 
If everybody has great files then it’s the artistic vision and aesthetic that’s going to allow the cream to rise. Originality is key in a world where authenticity is paramount. I see a lot of inauthenticity, especially on social media. Trends will ebb and flow and we as connoisseurs can get swept up in that. It’s nature and it’s not terrible, but I think holding on to your version of authentic can be your best asset. My artistic vision is just my version of how I see the world. My vision is dependent on my priorities, my family, the well-being of the planet, nature, animals, and art in general. If I had to be specific I would say my vision is that of a thoughtful, but wild, environmental portraitist looking for ways to connect my subject to the landscape and light. Ideally, something real and considered yet gritty and raw.

How do you stay authentic to yourself and your work?
I stay authentic to myself and my work is just by embracing what’s around me. I know that sounds cliché but if you look through my social media channels you will see that I’m just a guy living on and appreciating the land for all it’s worth. I have a little farm with my family (3 kids, 10 chickens, 2 ducks, 1 dog, and 1 pet skunk, as well as a various assortment of rehab animals coming in and out) in Rhode Island and we do all kinds of amazing things out in the wild together. We are explorers and we are open to what’s in front of us. Being open to the magic around you is such a huge part of the journey for me. I go about my life paying close attention to and documenting these things, and that has become the makeup of who I am as a person and photographer. There’s no space for lack of authenticity when you’re working in conditions like that.

You use your work as a diary, how are you archiving this and do you have broader plans for family posterity?
I do use photography as a diary of sorts, constantly documenting the events in my life. Sometimes that’s shooting art projects in the deep woods of Maine, sometimes it’s at the dining room table at breakfast with the girls, and sometimes that’s on a set shooting fashion models or Ford cars. I think as you live with my work you start to see how it all gels together and in the end, it becomes the authentic version of who I am as a person and inevitably as a photographer. It’s all over the place and that is my favorite part. My creative partners, whether they’re art directors, photo editors, or social media experts, are sophisticated and can see how my particular version of  authenticity can play into what they need for their clients. Sometimes it’s an obvious direct hit and sometimes it takes courage and a bigger leap. As far as family posterity is concerned, part of my larger goal in life is to teach my kids how to be aware of the magic I mentioned in the previous question. The journey to appreciate and acknowledge that is what guides this ride we’re on. Hopefully my girls will grow up to aware of what’s around them and brave enough to interact with it. Photography is one of the vehicles I use to ensure this happens.

What do you feel is your particular gift as an artist and when did you realize this?
Ultimately, I think my strength is in storytelling. Any project I approach, whether personal or commissioned, I try my damnedest to tell the whole story. This originates from my time at RISD attending graduate school. I started making work that truly explored a given concept from micro to macro. I was shooting landscapes, portraits, and still lifes that all spoke a common language and told a single story. Once I finished my thesis project, Intertidal, I realized that this methodology was working for me and I kept at it. This is exactly what I do for my clients because it’s the only way my mind works and it’s the best way for them to use me. Sure, I can take a single portrait of any given subject, such as a farmer. But I would much rather shoot the farm, the farmer, the farm dog, the produce, the soil… the details. I love the minutiae. The whole truly is greater than the sum of its parts. I want my photographs to elicit a genuine response to how amazing a situation is, to tell a story and share the narrative visually. A friend recently introduced me to this amazing quote from writer John Lubbock, “The Beauties of Nature and the Wonders of the World We Live In”that really sums up how feel about my approach, “What we do see depends mainly on what we look for. … In the same field the farmer will notice the crop, the geologists the fossils, botanists the flowers, artists the colouring, sportmen the cover for the game. Though we may all look at the same things, it does not all follow that we should see them.” I try to be them all.

What has documenting your daughters taught you about your craft? 
I’ve learned a lot of valuable lessons over the years by collaborating with my daughters. The first has to be acquiring some serious patience, something I innately lack. When I first started shooting with Clover, about 6 years ago, I realized this was uncharted territory for me. The way I had shot images up that point was slowly and carefully, working in a seemingly “adult” way. That wasn’t going to cut it with the kids. I had to get a grip on the fact that finding patience would allow me to get what I needed and wanted. Also, I realized very quickly that I wasn’t solely in charge. Once I let go of some of the control and allowed them to be themselves, and stop being a director, barking orders, the images became so much better. I now approach photography from a much more fun, almost childlike, way. I try to think of shoots from all perspectives, both still and moving, calm and chaotic, adult and childlike. The kids forced me to break out of my formal comfort zone. Obviously, becoming a father changes you at the core, but strangely it took me turning my camera on them to realize this. I want to see them smiling and crying, proud and wounded. I try to be very aware of all of these scenarios as they are happening. It’s hard to do, but many times you just have to be there. Being present is half the battle.

How did Wild & Precious come about and how have you grown professionally from that project?
Wild & Precious originated from a road trip that I took with my oldest child to explore and document the New England landscape and in the fall of 2010. Very quickly I realized that I was on to something and this might be my next personal project. Personally, I was growing as a parent and photographer while I worked on this project and naturally it spilt into my professional career. I have become this environmental portrait photographer/nature dad by way of Wild & Precious. Once I realized that was happening the road trips became a priority for us personally and it became important for me professionally to document it all. The project has allowed my work to really grow in ways that I never expected. I couldn’t be happier with where I am as a professional and I owe a lot of that to being that nature dad. Now I find myself working very specifically for clients to make work that was spawned from Wild & Precious. We recently worked on a children’s hospital commercial project that was about showing the strength and vulnerability of children. This is exactly what I am interested in my personal work so it was a dream to create those types of images for clients. 

Commercial clients are now doing more branded content with a hint to editorial, blurring the lines. What projects have you shot that fit this authentic storytelling?
This summer I worked with Fatherly.com to photograph a version of Wild & Precious for L.L. Bean. We collaborated together to create images that tell the story of “A Classroom In Nature.” This is at the core of everything I believe in both personally and professionally. It was a perfect collaboration and I couldn’t be happier with the results. Most recently I worked with Honda to travel around and document what it means to be a father in the US. I got to meet and photograph a wide variety of dads and their children. This was an incredibly eye opening project that jives perfectly with all of my personal and professional goals. It was unbelievable to get out there on the road and bond with these families and shoot pictures of them just being themselves. It was beyond rewarding and constantly forced me to assess my own views on fatherhood. I should also mention that the Wild & Precious film was my first foray into filmmaking and I am now completely addicted.

Who are you represented by and why did you choose them?
I am commercially represented by Tea & Water Pictures. It’s a relatively new signing for me, as of this past winter. I chose to go with Tea & Water for many reasons but ultimately it was because of their sustainability message that won me over. They want to do good things for the Earth and tell amazing stories. That is what my life is all about! It’s a perfect match up and we’re already doing great things together. I couldn’t be happier. It’s a real privilege to work with people who appreciate you on all levels, both artistically and personally. We’re bound for great things and I’m excited about the journey forward!

Are you your own photo editor? If so what is your approach?
I am my own photo editor. In terms of an approach, I always want to tell a meaningful story. Telling a rich story has always been the back bone of my approach to photography. I try to think about the narrative from all ends. I will include wide shots, medium shots, and tight shots in my edits. I will use portraits, landscapes, and still lifes as a way to show a whole story. I usually try to say something about strength and something about vulnerability, as I stated before. I love how opposing forces can feed off of one another. I like to think of my photographic approach to editing as a sliding scale from black to white. You need some black, some white and inevitably a lot of grey. The idea of curating a viewers experience is really exciting to me. The edit of my Wild & Precious book is one of the things I am most proud of. I suffered through that process but in the end, it came out perfect. It was so important that the images relate to one another in just the right way so that when you flip the page the connections make sense and gel. The book form is in many ways an idealized state of the work for me. It’s a curated collection of all my thoughts and dreams come to life presented in just the right way so we are on the journey together.

Southwest Magazine

Creative Director: Kevin de Miranda
Photographer: Cade Martin

Heidi: Did Derek share any reflections about his injury?  
Cade: We did not talk about the injury itself but we talked about his gravitating towards a piano after the injury. Derek dove into the shallow end of a pool at a party. After being diagnosed with a severe concussion and resting for 5 days, he woke up with an unquenchable urge to play the piano. He doesn’t even read music, but the most complex and intricate works – spanning all genres – now flow from his fingertips. In some ways, the injury itself is just a moment that marks a before and after and so much focus is on how his life has changed.

Tell us about the concept behind this shoot.
It was an honor to be trusted with this story and I was super excited when I heard about the opportunity. Kevin de Miranda, Creative Director at Pace Communications, came to me with the conceptual idea of Derek playing the piano at the bottom of a pool, it was perfect…then I just had to figure out how to pull it off. At the time, I had only photographed one underwater image before – but I loved the idea of creating something ethereal and beautiful. It was a bit of challenge logistically as well as technically but Derek was amazing throughout – as generous with his time and energy as he is with his story and his music. He was up for anything and ready for the underwater adventure.

Did Derek have any hesitation about getting into the pool since a pool where his injury happened?
Not at all, Derek was amazing from our first call and was completely game for anything and going anywhere.

Did you photograph the piano in a pool or was this done in post?
I put a piano in a pool at Matt Hyland’s 4^th of July party in 11^th grade and vowed that I wouldn’t do that again. Joking.We created the piano and the bench with CGI in post-production.

What were the technical challenges of this shoot?
The biggest challenge was the location honestly. We found a great outdoor pool in the Ft. Lauderdale area. We arrived and it had rained the day before so the pool water was very murky. We ultimately embraced the look and plowed ahead. I love the otherworldly effect you get with how an image captures underwater, but other than that, it is surprisingly similar to any other project as far as focusing on capturing what is needed.

Did he play the piano for you on set?
The piano was created in post-production so there was no piano there but he was always diddling with his fingers as if we was playing an air-piano.

How did this shoot inspire you as a photographer?
It would be hard not to be inspired, as a person, regardless of profession. The idea that there are gifts within even our hardest days is one that we can all learn from. As a photographer I’m inspired by characters and their stories, and by the adventure afforded to me by seeking that out. Derek’s story is utterly unique and almost unbelievable, but he is so genuine and open and accessible, I thought that was such a cool juxtaposition to capture. It’s what I enjoy most about what I do. I don’t know if I’m interested in the camera as much as the adventure, but the camera has been my trusty vehicle and we’ve developed a pretty good relationship. A story like Derek’s reminds me of the surprises and gifts I find on the other side of the lens.