Category: interview

Kareem Black: Interview

Portrait of celebrity and lifestyle photographer Kareem Black by Tony Ward copyright 2024
Kareem Black. Photo: Tony Ward, Copyright 2024

Kareem Black: Interview

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TW: Do photographers continue to drop off print portfolios these days to potential clients, or is that way of getting assignments a thing of the past?

KB: I think there is no one way of showing work. I think that these days most photographers do prepared digital presentations on an Ipad or laptop.. I personally really like having a really nicely printed analog book and promo pieces.. one of the reasons I like this technique is specifically because most people aren’t doing it that way. I do also have a digital presentation that can augment the analog stuff. But, at the end of the day, each photographer chooses his or her own way really.

TW: Can a NYC photographer make it without an agent or does word of mouth continue to be an effective business strategy?

KB: I’d say that there isn’t one way for doing these things. I have done both and also a hybrid of both. When I didn’t have an agent, I would hire agents to negotiate my fee once I got a client that was calling and inquiring about a big job. I don’t like to negotiate about my work and then be on set with the same people I was just negotiating with. I like to be the good cop. Also, I think it really helps to have someone on your side that is current on all the legalities and usage ratios and concepts. I take pictures.. I want someone on my team that deals well with all of that other stuff, That being said, I know photographers and other artists that are wildly successful without agents. i’ve just preferred to do it the other way.

TW: What is the responsibility of a photographers agent?

KB: Well, Ideally and most importantly they deal with all the technicalities.. usage, percentages, being the bad cop in negotiations. I want my agents to know more people than i do. I want thoier scope of the politics of the industry to be wider than mine.. or at least different. I want them at the parties im not at. i want them to be working while i sleep ha. Contracts are so complex these days that i NEED them and the team at teh agency to be able to make sense of all the legalese. Agents are meant to make the photographers job easier.. The photographer’s job is to be a photographer.. not a lawyer or any such thing. Photographers are problem solvers and I think it’s logical to delegate the responsibilies that we may not be the best at.I deally the agent is another set or sets of eyes on the photographers work. Sometimes agents see trends in the industry that we as photographers don’t. There are many photographers who have work that begins

TW: Do you own the copyright to your images? Or do you or your agent sign work for hire agreements?

KB: Depends on the usage for the job. In most cases yes, I own the copywrite.. but part of usage negotiations are exactly that. Most of the time it is not an outright buyout in perpetuity.. Clients usually dont do that because it’s costly. Most of the time they negotiate an exclusive arrangement that overs a set amount of time (2 year exclusives seem to be popular). Fun example: I shot a campaign for MGM Grand right before the pandemic hit. there was a two year exclusive on those images.. Meaning, the brand could do whatever they wanted with those images within that time frame. the images were of lots of beautiful people having a good time in the enclosed space of the casino. the pandemic hit and all those kinds of images could not be used.. They just weren’t a realistic portrayal of what the world was like during lock down. Once the pandemic subsided, MGM wanted to used them.. but by this point the 2 year exclusive had expired and they had to pay me my fee AGAIN to use the images! free money is the best kind!

TW: How often do you ask your subjects for model releases and in what context?

KB:  Most of my subjects tend to be celebrities or people who we casted specifically for the job. The releases in those cases are handled by the line producer at the agency or magazine. If I’m shooting ” real” people, I generally ask them to sign a release depending on what’s going on on the shoot.

TW: How much can a photographer expect to earn for a billboard ad on Times Square?

KB: Well, its not really calculated in that way. fees are usually a product of usage ( where the ad will run and for how long ) If the ad is running in Times Square, its likely that it is running elsewhere and the usage has some detail in it that says the ad can be used outdoors etc. So, it kind of runs the gamut.. the first as I shot that ran in Times Square I think I was paid just a few thousand dollars.. I got a 70k day rate for another.

TW: Has AI had an impact on your workflow regarding commissioned assignments?

KB: Not in a major way. I do use the Adobe Ai in photoshop on occasion.. “Generative fill” certainly saves time in retouching. I feel that AI is a buzz word that encompases a bunch of stuff.. most of which isn’t “artificial intelligence” and most of which has been with us in some form for a long while.

TW: For celebrities, do you prefer to shoot in studio or location?

KB: Both. Either. All of the above depends on the story that needs to be told.

TW: Who is or was the most influential photographer that inspires your creative ambitions?

KB: Too many to mention really. inspiration is everywhere if you seek it out. I LOVE William Eggleston, Avedon, Guy Bourdin is probably my favorite photographer of all time. I love Kwaku Alston, Terry Richardson, David LaChappelle, Tony Ward, Matthew Salacuse, Brooke Nipar, Guy Aroch and many many others.

TW:  If you were to pick one assignment that you’ve had thus far, which one would you say was your favorite and why?

KB: I really think that when I shot the 2017 trade campaign for Viacom that was a really big statement for me. It’s one of the biggest shoots I’ve ever done and one of the most fun. For two weeks I shot in ads  NYC and LA for ALL the Viacom properties. Viacom  ( now Paramount )  was MTV, VH1, BET, Cartoon Network, Country Music channel etc. the assignment was to shoot one celeb from each property each in complete and subversive situations.. This involved multiple set builds and hundreds of extras.. Lots of moving parts, VERY challenging. This shoot felt like something that I was training for for all of my career. ALL, the skills that i had acquired ended up being used on that shoot. and I love the way the work came out.

TW: You are an excellent karaoke performer.  How did you get into it and what do you like most about stage performance?

KB: I’ve learned many life lessons from Karaoke: the concept of selling an idea, getting people on your side, convincing people to be excited about what you’re excited about and finally, being able to just let go! That’s Karaoke. there are many ideas that Karaoke taught me that are VERY applicable to my professional photography. including how to run a set with dozens of people on it. Being a photographer can sometimes be like being on stage! 

I got into Karaoke through a friend of mine named Chris Goldteeth,  who ran a party here in the city on the Lower East side called Karaoke Killed the Cat. It was an amazing party and we even went on a world tour in 2007!

TW: If you were to make a comparison to your photography business and your chess game, what is your next move? 

KB: Chess has long been seen as a game that is a measure of intellect and intelligence. This is NOT true. Many chess players are idiots. Chess is more about pattern recognition and prioritization.

Chess teaches us to be creative in our solutions and being able to think and put yourself in your opponents shoes.. In that way, chess teaches a form of empathy. Chess also teaches patience.

In chess, one should never make a move without a reason. Good chess is very efficient that way. Energy and time should not be wasted on extra actions. When it comes to my career, I think many of these principles apply. I think I’ve played a good game so far. I think the overall strategy is: identifying patterns and trends, applying knowledge you have learned from past games and being aware of how they fit into the games of today and being able to adjust actions to fit current circumstances. Chess theory grows and evolves over time.  Yhe more we learn ,  the more novel concepts are introduced into the game. We must be flexible and tolerant of new ideas.. This applies to chess, life and photography.

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To access Behind The Scenes videos of the Kareem Black feature, check out our new YouTube channel here:

https://youtu.be/3AEIz-5CXQM

 

Ted Kawalerski: Interview

Ted Kawalerski: Interview

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TW:   Let’s start from the beginning. You graduated from a jesuit college in Buffalo, New York with a degree in English. What drew you to major in English early on in life?

TK:    I graduated from Canisius College in Buffalo,  NY in 1970 and I received a BA in English. At this point in my life, I had no idea what my career path would be but my main skill set was writing, so English was the obvious choice for a degree. I was also a voracious reader.

TW:   After graduating from college you were drafted into the Army?  What were some of the highlights/lowlights of enlisting?

TK:    After graduating from Canisius I was drafted into the Army and I ultimately did a tour in West Berlin, Germany.  This period of time changed my whole life.  Living overseas was an incredible experience since I had never been abroad.  I immediately related to the German people and I also met incredible people in the Army.

TW:   When you served in the armed forces what led you to your early interest in Photography?

TK:   There are two factors that brought me into the world of photography. The military base that  I was living in had an incredible photo facility which had state of the art film processing stations and darkrooms. The German civilian who ran the place was an amazing photographer and he loved to teach people the technical basics.  Above all, he was inspirational but brutally honest when he looked at my pictures.  

My girlfriend had friends who worked in various advertising agencies.  They supported my journey into photography and provide valuable and critical advice.

TW:   When did you decide you wanted to become a professional photographer?

TK:    By the end of my tour in West Berlin, I decided to pursue a photography career.  When I returned home to Buffalo, NY I intended to spend some time with my family and then head to NYC.  However, I had an opportunity to work at an incredible studio, Greenburgh-May Productions.  This where I really learned the business of commercial photography. I worked in formats from 8X10 down to 35mm and this experience convinced me that I was never going to pursue still life photography. I did plenty of that and  I never enjoyed the process. There were four photographers in the studio and I ultimately did the small format location work that primarily involved people on location.  

TW:   You started your career in Rochester, New York and made a decisive decision to move    closer to Manhattan in the early  eighties.  What prompted you to make the move?

TK:    After working in Buffalo, I was married and moved to Rochester, NY because my former wife was doing graduate work at RIT and teaching art in high school. For a brief time I worked in another studio but shortly thereafter, I started my own business. I did primarily location lifestyle work and I started shooting for corporate annual reports. At this point in time this was very high level work, both in terms of quality and fees. After a few years we moved to Sleepy Hollow,  NY which is only about twenty-file miles from midtown Manhattan.  With two small kids, we didn’t want to live in the city.  After a divorce, I continued to live here because the location is perfect for what I do.  I can be in Manhattan, New Jersey and Connecticut on short notice and I am centrally located to all of the metro NY airports.  When I moved it was much more important to be in New York than it is now. Many agencies and design firms wouldn’t take you seriously if you were not working out of a major city.  I wound up commuting to New York so it was time to move.

TW:    With decades of experience beginning in the 1970’s and enjoying huge success in the field, how would you compare the business of photography before the turn of the century to what it is now, early in the 21st?

TK:     This business is completely different today than it was when I began working as a photographer.  The number of photographers has increased dramatically so obviously the competition is much more intense. Art directors in advertising agencies used to hire photographers directly but now, art buyers do that.  So there is another layer to deal with and the bottom line price has become much more important. Design firms directly hire photographers but they are under constant pressure to keep costs down and photographers that I know have not raised fees in 10-15 years.  A problem for photographers that specialize in corporate work is that , in my view, many people in corporations that hire them have no clue about the process.  The importance of Marketing / Communication departments has seriously declined over the years. At one time, these departments were run by Senior VP’s that answered directly to the CEO. Now they could be run by an unrelated department.  As a result, people that are in charge of projects, very often, do not know what they are doing.  

TW:    For years you were at the top of the field creating still photographs for corporate America.  What made you switch to motion picture production? 

TK:    The demand for high level corporate photography has been steadily diminishing over the last fifteen years. So, ten years ago, while having lunch in Manhattan with a friend of mine, I made the split second decision to start a small film production company.  I had been thinking about doing this for several months and at that moment I felt inspired.

I contacted Matt Stanton who had recently graduated from college and had been making films since he was twelve years old. He was also a very experienced editor. We started to make a few demos and shortly thereafter, Gene Mayer came on board. Gene is a fantastic graphic designer and in a different life, he was a client. He is the producer, art director and designer.

When I worked in Buffalo, in addition to shooting stills, we were shooting television commercials and I would periodically work as an assistant director. I would occasionally be tempted to pursue filmmaking but, at that time, making films was more complicated and required more people.  Today, with digital cinema cameras and digital editing, you are much more self empowered.  I was absolutely ready for a change.

TW:   What was the best assignment you ever had?

TK:    The one shooting assignment that stands out was for Liberty Mutual.  This was literally an around the world project. NY>Madrid>Istanbul>Rome>Hong Kong>Ho Chi Minh City>Santiago>NY.  I was doing environmental / situational portraits of various Liberty Mutual employees. Since this assignment came down just as we were beginning the film / video business, I was also shooting video (without charging the client) to be able to put together a small film for our reel.  My client loved the piece, but because Liberty Mutual’s in house production company didn’t do it, they didn’t use it.  This is just another example of corporate bullshit.

TW:   What would you advise the young photographer trying to make a career in the field of photography whether it be fine arts or commercial photography?

TK:   If a young person is interested in pursuing photography as a career and wants to study in a university or college, I would recommend majoring in Graphic Design and Art History. In addition, of course, the student should take photography courses as a minor. A professional photographer routinely interacts with art directors and graphic designers and by understanding their workflow you are enabling a much smoother relationship. Furthermore, and more importantly, one has to develop a sense of style and composition. By studying Graphic Design, you start to understand the relationships of elements in a frame.

Studying Art History – all types of art including photography – gives one a sense of what has been perceived and recognized as “Art” – good and bad. It’s important to absorb as much as possible in order to start to develop one’s own sensibilities without imitating specific genres. 

If someone wants to pursue a career in commercial photography, it is extremely important to work for an established photographer that does the kind of assignments that you would like to be doing. By working as an assistant, you learn the real world workings of professional photography. This is the motherload of technical training and business practices. This is why I do not recommend Photography as a major.  I have seen too many people come out of school absolutely clueless.

I have also seen people that have never had higher education become extremely successful photographers and cinematographers,  We just started working with a filmmaker that quit school when he was fifteen years old.  When you speak with him, you would think that he has an advanced degree. He was a big time skateboarder in Florida and he began making videos of himself and other skateboarders.  He sold them to skateboarding websites and eventually expanded into other types of filmmaking.  He taught himself Adobe Premier and he does all of his own editing. This led him to work for the UN where he established himself as a documentary cinematographer.

TW:   At age 73, do you love photography as much as you did when you first started learning  the craft?

TK:  Even though I’m not shooting very many still assignments now,  I love photography more than I ever did because I am totally absorbed in my personal projects.  I have been working on three different projects simultaneously.  Since I live on the Hudson River and I really love the diversity of the entire length of the river, I started a black and white project twenty years ago: Top to Bottom – The Hudson River.  There have been two shows and I intend to do a book. I have photographed people and places along the entire length of the Hudson River from the headwaters in the Adirondacks at Lake Tear of the Clouds all the way down to Manhattan. I periodically add new images to the collection.

Another project that I have been working on is Windows which I started shooting while traveling on assignments.  I was interested in images that were reflected in windows and images that were seen in and out of windows.  I knew that this idea has been portrayed frequently in photography and paintings so it’s been challenging to make pictures that I haven’t seen before. I have been throwing out many more images than the ones that I have kept.  I had a show of this work at a gallery in New York about ten years ago and after reflecting on the collection, I realized that there were too many fillers. I have recently been revitalized about this work and I am making 40”X60” prints of about twelve pictures that I edited down from about thirty.

Landscapes 4060 is the third body of work that I am currently printing.  I have found that this work is the most difficult to produce.  I rarely make a picture that I keep.  We are inundated with wide angle photos of the Grand Canyon at sunset and others like it and it’s easy to fall into the trap.  After many years, I have fifteen images that work.  In general, I have been brutal in the editing process.  This pertains to all of my work.

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REEL: Cork Factory Films & Communications, NY.

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Profile of Ted Kawalerski professional photographer

To access Ted Kawalerski’s website, click here: https://corkfactoryfilms.com

 

    

Mikala Mikrut: Hot Thoughts with Hot Thots

Text by Mikala Mikrut, Copyright 2021 

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Hot Thoughts with Hot Thots

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Change has been one of the few constants in many people’s lives, myself included, as of late. Over the past year I: graduated college early, got two part time jobs, and obsessed over avoiding the virus that has consumed not only a staggering amount of lives, but our media and thoughts daily. Over the past month I: started a podcast with one of my best friends, quit one of my jobs to get a full time one, and was a passenger in a rear-ending car crash. All that to say, I’ve had to learn to not only be okay with change, but comfortable with it. Yes of course there is so much to fear in our world as we know it today, but there is still so much to look forward to. And while it may not feel like it at times, we are still in control. In fact, these turbulent times may be the best opportunity to initiate the change you’ve been craving rather than sitting back and letting the universe have the only say in how your today is any different from your yesterday.

Yesterday I chose, last minute, to spend some time running errands with my podcast cohost, Sabrina. Our new creation and bundle of joy (yes, the podcast) is called Hot Thoughts with Hot Thots, and it all started with a drink. Sabrina and I were sitting at a table in the courtyard of The Velveteen Rabbit, a bar in Las Vegas, feeling sorry for ourselves that we apparently chose to sit next to the heater that was only for decoration. We laughed over our recent turmoils, tried to make one another feel better, then landed on how proud we were of our friends who have started businesses and hobbies to keep themselves busy and creative…Well that sort of turned into complaining about acquaintances who seemed to be getting attention for things that Sabrina and I felt we could excel in. One of those things, happened to be podcasting. For years, we would stop mid laughing fit to ask ourselves why we didn’t have our own reality television show as we find ourselves to be quite the comedians.

Well this comedian stopped sipping her fruity, pink, sugar-rimmed cocktail when Sabrina asked, “Why don’t we start our own podcast?” When I back-handedly said “good for” the podcasting acquaintance, I didn’t actually think we would start a conversation on creating a platform for ourselves to prove we could do it better. We decided to talk about what we love most, our opinions. And while we always enjoy each other’s advice and quips, we were pleasantly surprised by the support of our friends from coming up with the name to the amount of listeners. We received over 100 listens before we even released a third episode! In our episodes, Sabrina and I ask each other a question, answer a couple questions sent in by listeners, and then ask the listeners a question for them to answer in the next episode. With such a simple formula, we thought it would give us plenty of room to be creative and hopefully stay fresh long enough to keep our current following as well as generate more listeners in the future.

This small change we made in our lives, to record a 30 minute podcast about once a week, has given both me and Sabrina something to look forward to. We talk to each other that much anyway, but the fact that other people want to listen to and support those conversations make us feel appreciated in a way we’ve never felt before. This past year has been so isolating that I finally understand the craze of YouTubers and why someone would watch a person they’ve never met simply play a video game. It’s not connecting in the same way our parents taught us, through hugs and play and being together. This type of connection touches you in a different way, it’s hearing your thoughts come out of someone else’s mouth or finding out that you’re not alone with your questions or problems. While we may not know all of our listeners personally, we feel the support, love, and understanding of each one. People are asking us questions that not only allow us to share the things we have been waiting to say out loud, but also ones that challenge our thoughts and what we say and have said.

So while change can be scary at times, it may be invigorating to respond to life’s unexpected changes by making a change all on your own. Buy that house, move to that state, date the guy, get to know the girl. Whatever change you have been debating, its outcomes may pleasantly surprise you. If you’re scared, go ahead and think about that worst possible outcome and then ask yourself, “Would I be able to handle that?” Because if the answer is yes, what is holding you back? An “oh well” is always more fun than a “what if?” In my opinion at least. Moral of the story: do the thing. You already have at least one supporter, me.

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FIRST THREE PODCASTS:

1.Bleached Thongs and Lady Songs

 

2. Better off Alone and Australian Moans

3. Save Your Money and Be Happy Honey

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About The Author: Mikala Mikrut is a recent graduate of Southern Utah University. To access additional articles by Mikala Mikrut, click here: https://tonywardstudio.com/blog/mckayla-mikrut-impeachment/

Leif Skoogfors: Interview

 

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LEIF SKOOGFORS INTERVIEW:

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TW: When did you first realize your vocation would be to become a photojournalist? Who or what influences in your life early on led you down this path?

LS:  The weekly arrival of LIFE magazine, in those days a respected and worldly periodical showed me the world. I saved up to buy a 1958 book on LIFE’s photo staff and was fascinated by the adventures the men and women who worked for LIFE were.

Politics and world events were part of my blood; my father, a Swedish engineer, had worked for a time in Germany. He was in Prussia as Hitler tried his Beer Hall Putsch in 1923. After he returned to Sweden, he was consumed by news about the Finish-Soviet Winter War of 1939, and my father, who had worked in the US, decided his family was best raised there. Three months after the German invasion of Poland, he packed us up, and we emigrated to the US, so current events were subject to daily analysis.

My interest in world events and politics was consuming, and photojournalism combined all of this with art. It was the ultimate answer for me.

TW: What impact did studying with Alex Brodovitch have on your approach to photography and photojournalism in particular?

LS: I’m not sure I fully understood Brodovitch at first. He said to the twenty-plus students who met in Richard Avedon’s studio, he would only talk about photographs that were new to him; or were so terrible as to raise his anger. He ignored the mediocre. And most of my work was mediocre. It led to a healthy self-criticism. There is a push to go beyond, even in the most ordinary projects. And that is an invaluable lesson!

TW: As I reviewed the breadth of your work for this interview, it became readily apparent that the themes you addressed in your visual reporting from 40 years ago are very relevant to the types of demonstrations, marches and protests we see currently on the American streets and throughout the world. What are your thoughts about the Trump administration and the propaganda the white house espouses these days?


LS: I photographed Donal Trump once, at first as other journalists have written about, he pretended to be his own press agent under another name. I arrived at his Atlantic City casino and asked for the press agent by name, John Miller. A tall blond haired man came down the stairs and I said,”Hi John, good to meet you”. The man scowled and said, “I’m Donald Trump.” We didn’t get along well since I didn’t really know who Donald Trump was. An ego jolt?

More eloquent folks have analyzed The Trump White House. It is clear it sucks. And it is incredibly sad that the current demonstrations must go on to force more change. I’m sorry that my current situation won’t allow me to be out there still.

TW: What was the most exciting assignment you worked on where you believe your photographs may have influenced public opinion for the good of mankind?

LS: I’m not sure my photographs influenced people; I know I tried in my book, “The Most Natural Thing in the World,” done a long time ago. I tried to show the situation there, and the poor folks caught in the middle of a bitter war. Recently a journalist said that the essay in the book, text by friends John and Lenore Cooney, was the most accurate depiction” of “The Troubles” he’d ever seen.

 Just two years ago, I had an appointment with a doctor who had emigrated from Bosnia. When I told her of my time there, she was effusive in thanking me. She said that it was the journalists who covered that terrible war, influencing the US and NATO to come in and enforce a Peace. It made me realize how important the work we do is, helping end a war with the highest mass killings of civilians in Europe since WW2 .

TW:  You have spent a significant amount of your time working with the DART Society and the effects of war and its aftermath. How has seeing so much death and destruction impacted your life and well being?

LS: One of the most severe problems facing any journalist covering current events; from a war zone or a local car crash is Post Traumatic Stress. Estimates range from 15 to 30 percent of photographers who face horrific situations will have to deal with these issues. If not treated, the photographer may experience a lifetime of problems.

I suffered from a severe attack years after covering the irregular war, known as “The Troubles,” in Northern Ireland. Fortunately, I’d also attended a workshop on Post Traumatic Stress given by the Dart Center and found treatment.

I’ve volunteered with this and other groups to raise funds for groups helping journalists both to understand PTSD or receive counseling.

TW: What advice can you offer the young photojournalist who has the compassion to document tragedy?

LS: I would advise any young photojournalist always to be prepared to offer compassion or help when covering traumatic events. Often, just letting a subject you know the pain they may be suffering will help. And never be afraid to ask for help yourself.

TW: If you were to start your career over again, what would you do differently if anything?

LS: If I was starting my career over, what fun would that be! I’d wish for the opportunity for an excellent liberal arts education and add another language and some decent art courses. Drawing is a fast way to learn about two-dimensional work, and that’s what a photograph is all about.

TW:  Now that you are retired from the grind of day to day photojournalism, what is a typical day like for you since you had the recent health challenge?

LS: Unfortunately, I’ve suffered some health challenges, not to mention the infuriating limitations of advancing age. But I try to spend as much time going over my archive in anticipation of placing it with the University of Texas. I love finding a beautiful photo I’d overlooked in the past, something that surprises me. I also realize that my work covers history and I’m proud to have worked during the “golden age of journalism.”

TW:  Who is your favorite photographer and why?

LS: Too many, I fear. Among them, Cartier-Bresson for his “Decisive Moment,” Gene Smith for his passion, and Jacques Henri Lartigue for his sense of humor. Ed van der Elsken also influenced me, perhaps with the romanticism of his book “Love on the Left Bank.” I still have the first edition of that work from 1954.

TW:  How would you like to be remembered?

As one of the hardest working photojournalists!

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Portrait of Leif Skoogfors with Special Warfare unit.

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About The Photographer: Leif Skoogfors (born 1940 in Wilmington, Delaware) is a documentary photographer and educator. He was born in Wilmington, Delaware, one month after his family, including brothers Olaf and Eric, fled Sweden as World War II broke out. His family crossed the North Atlantic in December 1939 on a neutral Norwegian ship.

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Editor’s Note: Licensing of photographs available through Getty Images. Leif Skoogfors, Copyright 2020.

 

Repost: Charles Gatewood Interview

 

Interview and Text by Tony Ward, Copyright 2020

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Unfortunately, I never got a chance to meet Charles Gatewood in person. I was familiar with his subcultural work from his books, magazine assignments, and exhibitions. I admired his anthropologic curiosity and his  significant contributions to the medium of photography and its history. We got to know each other on social media and began corresponding via email until his untimely death on April 29, 2016,  a result of a fall from his third floor apartment in San Francisco. He left several suicide notes.  This is a repost of an interview I conducted with Mr. Gatewood in 2011. His legend continues to live on.

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TW: What do you find most compelling about the medium of Photography?

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CG: I’m a card-carrying voyeur, and my exotic subjects excite me. My camera is a passport to adventure and creative fun. I am my own boss. I have never had a “job.” I travel the world, do whatever I please, photograph famous people, and have kinky sex with beautiful punkettes. ‘Nuff said!

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TW: You have covered a variety of  subject areas in your involvement in Photography.  Which of these subject areas to you find the most compelling and  worthy of further exploration?

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CG: I’ve been photographing almost fifty years, and I’ve covered lots of subjects. Most of my work is about people and behavior, and I’ve spent many years documenting alternative culture in all its ragged glory. My extended photo essays include 60s counterculture, rock and roll (I shot for Rolling Stone and Crawdaddy), the radical sex community, and tattooing, piercing and body art (I helped launch the “new tribalism” movement by sparking the RE/Search book Modern Primitives). I also did lots of traditional photojournalism in the 60s and 70s.

One of my favorite extended photo essays is Wall Street, shot between 1972-1976. This work is more formal, and more about social conditioning, societal control, corporate excess, and fascist architecture. Which subjects do I find most compelling today? Barely-legal girls, ha ha.

TW: How do you think the medium of photography has impacted popular culture at large?

Are you serious?

CG: What was it like to encounter William  S. Burroughs as a subject in your work?

In January, 1972, Rolling Stone sent me and writer Bob Palmer to London to do a feature article on William Burroughs. Talk about a dream assignment. We spent a week with Burroughs, smoked hash, stared into the Dream Machine, played with the E-meter, and dug all Burroughs’ best rants and stories. Rolling Stone liked the story so much they asked me to be their New York photographer.

I shot Burroughs again in NYC, 1975, for Crawdaddy. He and musician Jimmy Page met for tea and chat before a Led Zeppelin concert. I got great shots from that shoot too.

TW: Are you equally compelled to photograph men and women.  If not,  which gender do you prefer to photograph and why?

CG: For most of my career, I’ve photographed everyone. Today, I mostly photograph gorgeous women. Wouldn’t you?

TW: How has photography broadened or defined your view of today’s world?

Like totally!

TW: If you could turn back the hands of time, would you have chosen another profession?

No, no, no. I do enjoy creative writing, but at heart I’m a picture guy.

TW: Describe the feeling of taking a great picture?  What happens at that moment?

CG: Well, for me the creative act is a wonderful high, especially if the subject is exotic or sexy. I go into what I call “magic space.” Psychologists call it “flow.” Athletes call it “being in the zone.” It’s an exhilarating feeling. Time stands still, there is total communion with the subject, and the creative process (right framing, angle, moment) is like a beautiful zen dance. I work it, work it, work it—and suddenly there it is, my shot!

TW: How do you define Photography as Art?

CG: Andy Warhol said, “Art is anything you can get away with.” I agree!