Category Assignments

Showcase: Dove Tail Bats

Dove Tail Bats by Fitzgerald Photo

During the past two months I’ve been busy with ongoing projects, especially with video production of work I started before the stay-at-home orders shut things down.

I love the impact of the still image and it’s my primary way of telling stories visually. Often, a crafted campaign built on remarkable still imagery is the most effective and impactful way to tell a story. Other times, a single still image alone isn’t sufficient and that’s when I turn, increasingly, to video storytelling.

I’m excited to release a new video showing Dove Tail Bats founder Paul Lancisi in his manufacturing facility in Shirley Mills, ME. This was part of a photo assignment for Down East Magazine. While I love the portraits I produced for the magazine, I decided to incorporate video as well because it better conveyed the processes that make Dove Tail Bats so special.

I love how Lancisi pivoted from a woodworking business to one that embraces his lifelong passion for baseball. What he and his wife Theresa have created is amazing: a Maine company that crafts beautiful, one-of-a-kind baseball bats sought after by major league hitters and top college athletes. The bats might look great hung on a wall above the fireplace, but—just like Dove Tail Bats—are destined for greater things.

It’s inspiring to be able to show Maine companies doing such remarkable work and and achieving great success far outside of our state.


                                                                                                              –30–

Ready to level up your storytelling content with photography, videography and multimedia? Contact Fitzgerald Photo to see if we’re a good fit for your brand or project.

This is a Time for Heroes

Deputy Sheriff
York County Sheriff’s Deputy Steven Thistlewood.

These are extraordinary times. Extraordinary for many reasons, yet perhaps the most striking is that most of us are being asked to do our best by…doing nothing at all.

At least, it feels that way.

Staying at home. Keeping our physical distance from others. Helping our kids, our loved ones and trying to stay sane ourselves.

Life is not normal for us. We may be staying in one place, but we aren’t exactly doing nothing. We are willing ourselves to not take action so that we can protect others, often at great personal and financial cost.


But what about those who don’t have the choice—whether by necessity or by mandate—to stay home?


I’m referring of course to many of the people who I’ve spent a career photographing:  the police, the firefighters, the paramedics, and the medical professionals.  But this group also includes the sanitation workers, the grocery store workers, the pharmacists, the pizza guy and the mail carrier. All are front-line workers in this time of fear and contraction.


So take a moment and reflect on the sacrifice so many are making while many of us stay home.  We all must do our part.

emergency drill
Maine Medical Center staff during a biohazard drill–part of the extensive preparations they’ve undertaken to prepare for the current Covid-19 pandemic.

On Giving More

A little initiative and a lot of hustle turned a project to photograph firefighters for a fund raiser into a project depicting firefighters as always on duty and (over) committed to their work, called “Everyday Heroes”.

I grew up Catholic, which might explain why I have a deep-seated belief that anything good in my life must be accompanied by a healthy amount of suffering.

That’s not the healthiest story to tell oneself,  but I’ve come to replace it with  another, more powerful story:  if you want good value or results—a great shoot, great assignments, great clients—then you have to first give great value.

What does ‘value’ mean? It means that you should do your best to be remarkable in your work, your attitude, your professionalism. It means that you ask first how you can help before you ask for help. It means that you give more value than your client expects. It means that when you are on a shoot, you go that extra mile: look for an extra angle, take a creative risk and push yourself to take something different once you’ve satisfied your client’s needs. Sometimes you’ll end up with something that surprises you and delights your client.

If you consistently do this and have the attitude of giving more than you are getting, you’ll find—like I have—that you get an amazing amount of value in return.

It starts with you.



Client Work: ReEnergy Holdings

Renewable Energy

With the latest boom in commercial and residential construction, have you ever wondered what happens to all of the tons of used (or unused), broken or left-over materials used in the building industry?  Some of it ends up in landfills, but much of it—wiring, piping, metals, wood—can be recycled, resold and reused.

I recently finished a project for ReEnergy Holdings, photographing their recycling operations throughout Maine, New Hampshire and Massachusetts. These facilities process tons of construction material and repurpose what they can.  It’s often a dirty, dusty, mucky job but one I’m glad they are there to do.

Location work like this is challenging because it requires creating great images no matter the situational challenges that arise.   At busy industrial facilities like these, the machinery can’t just stop while I set up lights and get everything just right. It’s more of a run-and-gun situation, photographing people and processes as they happen and making lemonade out of lemons (I’m into recycling, too). The primary challenge is to take advantage of the visual opportunities that are there—even when they don’t easily present themselves—and stay on the move….all while dodging moving trucks, loaders, and spinning machinery.

The shoots were done indoors and outdoors, in dry, extremly dusty conditions and on days that it was pouring rain and the mud was several inches thick. I’ve found that extreme situations such as these, though unforgiving on cameras and lenses, offer plenty of visual gold.  Enjoy!

 

 



Dartmouth-Hitchcock Image Library

The best thing about my job as a photographer—aside from the interesting and creative people I get to work with on a daily basis—has to be the cool locations I get to photograph in.

A few months ago, I photographed a project for a large medical advocacy group that involved the Dartmouth-Hitchcock Medical Center in Lebanon, NH. I’ve photographed hospitals on both coasts but I’ve never seen a medical lab setup like they have at the Laboratory for Clinical Genomics and Advanced Technologies (CGAT)—two wings full of technicians, scientists and analysis equipment.

I finally can show some of the work from that quick—but very intense—shoot, all done while the busy lab remained in full operation:

 

dartmouth medical center

 

 

 

 

Annual Report Imagery: Maine Technology Institute

Annual reports are a comprehensive report on a company’s activities over the past year. As such, they can be dry and tedious to read. The right imagery and a talented team of graphic designers, therefore, are critical to making an annual report something special: at once a showcase and a way to powerfully communicate the company’s core mission and impact.

I’m excited to be able to share the results of a collaboration with Portland-based branding firm Visible Logic last year: annual report images for the Maine Technology Institute (MTI).

MTI offers funding (primarily loans and grants, but also investments) to innovative Maine companies for research and innovation projects. To date, they have funded more than 2,000 projects across the state and invested close to $230 million.

Showcase: SMCC Marine Sciences

SMCC
Brian Tarbox, Marine Science instructor at SMCC.

Most of the work I do involves telling the story of people at work, usually in changing and varied environments. I can think of few environments nicer than being out on Casco Bay on a hazy, sunny spring morning.

Recently I spent a morning on a boat operated by the Southern Maine Community College Marine Science program. Instructor Brian Tarbox led a group of students as they performed a routine survey of Casco Bay, sampling water temperatures and collecting other data.

Many people might be surprised to know what a great, and affordable, educational resource SMCC is. Situated on a beautiful stretch of waterfront in South Portland (formerly the site of Fort Preble) it offers coastal views that any college–community college or university–would envy.

Here are some more images of SMCC.

 

Students aboard the SeaWolf pass by Spring Point Ledge Lighthouse.

 

 

 

 

 

Crystal Williams, Boston University

Boston University

I had the pleasure of photographing poet Crystal Williams, just recently named as Boston University’s first associate provost for diversity and inclusion.  Williams, previously a professor at Bates College in Lewiston, is a talented poet (here she is reading one of her powerful works).

 

The assignment was to photograph Williams with just a simple, plain background, relying purely on expression and pose to convey her personality.   I love getting to know and work with people in this way.   Here are a few of the images I liked most from our session, below.

 

 

 

Boston University

 

Boston University

 

Boston University

Arrested: Stories Behind the Badge

Maine Cops
Pete Herring, District Game Warden with the Maine Department of Inland Fisheries & Wildlife, photographed at Lake Arrowhead in Southern Maine.  Herring retrieved the drowned body of 15-year-old Jaden Dremsa in the lake after a nine-day search.  “It takes you out of the uniform of a game warden and into the clothes of a parent,” he said of the case. “The search united the community. It touched the whole community. Being able to watch the family process it, it helped me to process things too.”  Herring spent 18 years in the Maine Department of Corrections as a prison guard and an investigator before becoming a game warden in 2009.

I didn’t initially set out to photograph Maine cops.

As a newspaper photojournalist I spent years covering fatal car accidents, fires and the occasional armed standoff. My interactions with police were polite, professional and purely transactional. It’s fair to say that we viewed each other with a healthy wariness that at times seemed adversarial. My job as I saw it, on the behalf of the public’s right to know, was to make the images that would best tell the story. As far as I could tell at the time, a cop’s job was to thwart my ability to easily do so. To be fair, I imagine that to them I was a pain in the ass at best, an annoying gnat with a press pass. A problem that sometimes made their jobs a lot harder.

We coexisted, at times uneasily. I certainly encountered many officers who treated me fairly. They taught me a lot about professionalism and coolness under pressure. I realized: It takes a certain kind of person to put on a badge, strap a gun to their hip and patrol dark streets. Cops are like you and me, but they aren’t. They belong to a unique tribe of men and women that is often closed to outsiders. Whether seen as heros or opressors the reality is that a badge carries more weight than the metal it’s made of.

Maine Cops
“I had two goals at that point: I wanted to try to help this woman get out of this life and I wanted to find the guy that did this to her. I just thought to myself, this is supposed to be a peaceful place and it’s so isolated, dark, and pitch-black down here. She must have been scared to death.”
Detective Sgt. Steve Webster (ret.), a 30-year veteran of the South Portland police department, discussing an incident where a female prostitute was beaten by her john and left for dead among the gravestones at South Portland’s Forest City Cemetery.

Back in 2004, I was embedded with Army Reserve’s 737th Transportation Company in the Middle East. I found the soliders, wary of my presence at first, relaxed once they got to know me. The stories I wrote were less about what they did and why they did it—why they had made the choice to serve thousands of miles from home, to say goodbye to their families for months or years at a time. I enjoyed getting to know the people they were and no matter my personal thoughts on the war it changed my perspective on soliders—and by extension, cops—forever.

Years later, living in Maine, I met and photographed South Portland Detective Sgt. Steve Webster (now retired) for a book he’d written about a case involving a little girl who he’d promised to find justice for (he did). He handed me a signed copy of his book and I read it. Somewhere in the back of my mind, the idea of making portraits of officers at the exact locations where they had experienced life-changing, career-changing incidents was born.

I met with Webster and the idea gelled further. He encouraged me to expand the idea—to photograph officers from various types of agencies across the geographic span of the state.

“The biggest problem you’ll have,” he said, “is that cops don’t like to talk.” That was an understatement. He agreed to introduce me to Pete Herring, a Maine Warden. Pete introduced me to York County Deputy Steven Thistlewood. And one opened the door for another, as slowly I met and photographed officers from Acton to Ashland.

It remains an incomplete project. There are 146 law enforcement agencies in Maine, employing more than 2500 police officers, according to the US Bureau of Justice Statistics’ 2008 Census of State and Local Law Enforcement Agencies.

I’ve photographed less than a dozen.

I’ve had conversations with them about events that happened months or in many cases years before, but it might have been yesterday. The trauma is still fresh, the wound still raw: moments where time is measured in milliseconds and layered with sound, color and smell. Winslow Chief Shawn O’Leary recalls the moment he fired at a man threatening him with a knife, the slide of his weapon ejecting spent casings and smoke as if in super slow motion; the billowing puffs of the man’s shirt as the rounds impacted. One. Two. Three.

Maine Cops
Shawn O’Leary, Chief of Police for Winslow, Maine. O’Leary started his career as a patrol officer in Brunswick, Maine and eventually retired as a lieutenant. He later worked as a captain for the Cumberland County Sheriff’s Department before becoming Winslow’s police chief in 2014.
In 1997, O’Leary shot and killed a man who attacked him with a knife. Later he was sued by the man’s family.
“I felt that the experience made me grow even though it was really hard. I think the toughest things that you go through in life make you stronger, and I’m a fighter. I hit some deep low places for some years with my career and with my wife and my kids. But I (wasn’t) going to let the bastard win. I think I also owed it to everybody that was still [in the police department] because in the event that it happened again, I’d be there.”
I chose to photograph them in the same locations where the painful or meaningful events happened to them—either the same spot or as close to them as possible. Forest Ranger Bill Greaves stands on the gravelly outline where the trailer once stood that housed the man who shot him and a deputy in 1989. Marine Patrol Corrie Roberts sways on the deck of her bobbing patrol boat, the Protector, yards from the spot where she leapt onto the deck of a runway lobster boat whose owner had died of a heart attack at the helm.

Sgt. Steven Thistlewood wipes tears from his eyes on the spot where 12 years earlier—almost to the day—he and his partner shot and killed a man who was trying his best to end their lives. It’s the first time he’s revisited the site.

Maine Warden Pete Herring braces himself in a blowing snowstorm on the shores of Lake Arrowhead, where months earlier he had recovered the body of a drowned teenager.

All of these men and women have incredible stories, each tied indelibly to the places in Maine where they happened. Each story, and each officer is as unique and varied as the geography of this state.

It’s my hope that seeing the stories and viewing the images will give a better connection to, and understanding of, the men and women who put their bodies and lives on the line for the public good.

Cops are people, which means there are good ones and bad ones. Lucky and unlucky ones. But read the stories and look at the portraits and ask yourself: if you wore that badge and were in their shoes, what would you have done?

To see the images, please click here.

Maine Cops
“That’s the thing about law enforcement officers. We file things. I have seen, smelled and touched so many things that people could never imagine. We just file it. We deal with it. At some point it starts to eat at you.” ⠀ ⠀ Sgt. Steven Thistlewood has spent 18 years with the York County Sheriff’s Department. He found himself reflecting on an incident in 2003 when he was forced to use deadly force on a mentally-ill man attacking him with a gun. “I grew up wanting to be a flight paramedic. That was what I was going to do. You know—save lives—and here I (was) taking a life.” ⠀ ⠀ Part of a photo project on Maine law officers and the hazards they encounter on duty.

Why Story Matters More Than Ever

brand stories
Alex Bessler, a young Mason at the Triangle Lodge No. 1 in Portland, Maine. These portraits of Maine Masons help tell the story of an evolving and dynamic fraternal organization with a deep sense of tradition and history.

What makes a good image a great image?

Conventional wisdom is that great images should be perfectly formed, flawless, masterpieces of technical expertise combined with a singular artistic sensibility.

If that were true, Robert Capa’s blurry, darkroom-damaged images taken during the Allied landing on Omaha Beach on D-Day would have never seen the light of day.

Instead, they are considered among the most iconic images of the 20th century. Once seen, the haunting images are never forgotten.

Capa’s images are compelling not because they are perfect, but because they tell a story of the hardships, danger and drama of war.

Brands looking to create connection with fans should keep in mind that when it comes to great imagery, ‘story’ is Job One.

Visual content—whether still images or video—should reflect a unique brand story.

All the rest of it—technical aspects like framing, layering, rule of thirds—are just icing on the cake. For some brands, where refinement and elegance is part of their ‘story’, such precise technicality becomes a critical part of their story. For other brands, images that are too highly polished and contrived would be out of place.

So when you think about your brand and the images you’d choose to represent it, think first about what your brand story is and approach your content creation with that story in mind.

brand stories