Creative Director: Carolyn Perot
Art Director: Adam Vieyra
Photo Editor: Mark Murrmann
Photographer: Zach Gross
Did the magazine ask you for this treatment or did you put it forward as an idea?
I’ve been wanting to shoot more double exposures editorially and Mark suggested that could be a good way to go for these and he was supportive of me exploring that direction.
Is the overlay directly related to each person in the portrait?
Yes I used bills and paperwork as well as a photograph that the last subject took of the boarder wall between Mexico and the USA, she represented unocompanied minors in immigration cases in her previous job. Also she had napkin art she saved with beautiful messages from kids and families thanking her for helping them…I asked her to read them and she translated from Spanish, the messages were so beautiful and heart warming, there are hints of a message from one of the letters between the slats in the wall.
Where did that overlay content come from?
I talked to each subject on the phone before the shoots so I could hear their stories and experiences to get a clearer impression of how I would photographing them and to find out what the overlays might be. I asked them to send me some paper work and bills and I printed them out on plastic transparencies. I also asked them to set aside any other objects they have that was connected to their experiences.
How did you direct the subjects during the portrait sessions?
My approach really depends on the subject. I definitely have preconceived ideas and directions for the types of images that I’m looking for…but the subjects individuality play heavily on the final images. The way I shoot is a collaboration. I want to get to a place where they feel comfortable…and I want them to participate.