Posts tagged editorial portraits

Transforming Global Health with Data and AI with Dr. Joan LaRovere

October 29, 2024 0 Comments read Blog, On Assignment, On Location, Portraits

Last month, I had the chance to photograph Dr. Joan LaRovere, Associate Chief Medical Officer for Transformation at Boston Children’s Hospital, for The Financial Times of London.

LaRovere is co-founder of the Virtue Foundation, which harnesses AI and data science to improve healthcare access worldwide, particularly in underserved areas. Inspired by her work at MIT Sloan and Boston Children’s, she’s launching a data-driven platform in 2025 to map healthcare needs in 72 low- and middle-income countries, helping clinicians allocate resources and address “medical deserts.”

We met at MIT Sloan, where LaRovere earned her Executive MBA and began to scale up her foundation’s impact. My goal was to capture several distinct portrait looks, balanced with elements of MIT (and Boston, if possible). Navigating crowded halls, armed with gear and pressed for time—common constraints for an editorial photographer—we worked together to create portraits that I hoped would give a sense of LaRovere and her work.

It’s inspiring to meet and photograph people like LaRovere, whose work impacts health outcomes for so many around the world even as she saves individual lives back in Boston.

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Joan LaRovere, photographed at MIT’s Sloan School of Management. *© Brian Fitzgerald*

A Year of Portraits with Maine’s Wildlife Commissioner

October 23, 2024 0 Comments read architecture, Blog, Editorial, Mainers, Mainers at Work

Over the past year, I photographed Commissioner Judy Camuso of the Maine Department of Inland Fisheries & Wildlife (MDIFW) as she experienced Maine’s natural landscapes through different seasons. These portraits reflect her deep connection to the outdoors and her commitment to conserving the places she loves.

Since being appointed by Governor Janet Mills in 2019, Judy’s leadership has gained national attention. Now serving as President of the Association of Fish and Wildlife Agencies, she represents conservation efforts across North America, focusing on wildlife policy, funding, and collaboration between agencies.

Judy’s roots as a wildlife biologist run deep. From her early days at Maine Audubon to becoming the first Maine commissioner on the North American Wetlands Conservation Act council, her career is built on a passion for protecting nature. Whether she’s in the field or at the table with policymakers, her connection with and dedication to Maine’s wildlife is clear.

Being able to capture these images of Judy in her element—hot, freezing cold and in-between—was such a pleasure. I love environmental portraits like these because the locations themselves tell such an important story about the subject. As such, it’s important to take the time to find the right spots well

before shoot day, and then be prepared with options in case of last minute schedule changes, late-season snowstorms and other unplanned events. My hope is that these portraits capture just a bit of Judy’s love of the outdoors and her deep sense of responsibility for Maine’s wilderness.

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Coal Miners, Coding and Coffee in the Age of AI

August 29, 2024 0 Comments read Blog, Industrial, On Location

Blue Collar Worker — *Hardhat and ladybug © Brian Fitzgerald*

I met with the marketing director of a non-profit for coffee this week to discuss a pending project. Face-to-face meetings like this rarer now, even more than a year after the WHO pronounced the Covid-19 Pandemic officially over. He mentioned he’s noticed that the way people interact has changed—not always for the better.

Aspects of his job, like mine, can’t be done remotely and must be done in person. Eventually we talked about AI tools. When he started—in the mid 2010s—he was told how critical Excel skills were, yet much of that can be easily done with AI. “Remember when they talked about retraining coal miners to code? Now ChatGPT 4.0 can code better than most coders,” he said.

That gave me pause. In my photography and video world, AI has made retouching and editing easier. For planning and pre-production, it’s an indispensable tool. But I don’t worry about it replacing what I do. While AI can create credible portraits of non-existent humans, it can’t replace the process of connecting with a person on a human level. With AI there’s no exchanging of stories. AI is all about results, not the journey.

Storytelling and moment-driven portraits are the outcome of an in-person process. Visual storytelling is about the dance between the camera, photographer, and subject. An AI prompt requires you to know exactly what you want, but a good portrait or documentary requires sensitivity, a willingness to listen, and the ability to ask questions you don’t yet know the answers to.

AI is a tool, not the main event. Connecting over coffee, walking in nature, or capturing a true moment—that’s the good stuff. I’m not willing to trade that experience for expediency. The antidote to AI efficiency is to do what it can’t—be more real, more authentic, more connected, and more human.

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The Messy Art of Connection

August 20, 2024 0 Comments read Blog, Creative, Inspirational, Personal, Storytelling

Photo studio — *Before the storm © Brian Fitzgerald*

Yesterday afternoon, I found myself randomly picking up photographic gear—a power cord here, a light meter there, a reflector, stowing a canvas backdrop—and I realized I was way too tired to finish.

I’d spent the last three hours photographing and interviewing a man I barely knew, diving into one of the most traumatic events of his life: his diagnosis and treatment for kidney cancer. It left him with a body carved by deep scars and other, less visible wounds. Every detail of his experience so firmly etched into his mind that he’ll never forget them—down to the type and order of food he had each time he was in the hospital. “It kind of feels like PTSD,” he said, with what could have been a smile—or maybe a wince. “That’s exactly what it is,” I replied.

Later as I packed up my gear, my studio looked like a camera shop after a direct hit by a tornado. I reflected on how fortunate I am each time I’m allowed, with my microphone and lens, into someone’s most private inner world. It’s a trust that’s both shocking and deeply humbling. Once you hear someone’s story, you become the keeper of a sacred trust. It’s now part of your story, and what you choose to do with it matters. When you connect with someone in this way, you’re left a bit raw and exposed. It’s messy, just like the chaos of my studio, filled with reminders of the session that just was. When you connect in this way—exchanging stories of truth—you’re both fully involved in creating a new story, a new understanding. I’m grateful to be connected in this way, both through the camera and in spite of it. What emerges, whatever else, is a truth.

This discipline, this art, this field is unlike any other. That’s why I still do it, day after day, decades after buying my first camera–a Pentax K1000, at K-Mart. The tools change, but the parts that matter still matter.

Understanding Photographer and Videographer Rates

July 31, 2024 0 Comments read Blog, Business, Client Work, Industrial, Shop Talk, Tips

Industrial workers — *© Brian Fitzgerald*

When hiring a photographer or videographer, rates can be confusing. Some photographers don’t provide day rates, while videographers often do. Sometimes you might encounter work-for-hire contracts; other times, you hire someone to create a defined product, such as a 1-2 minute video business profile, priced by the deliverable rather than the time it takes.

To clear up the confusion, here’s a breakdown of some key terms that can help you navigate the hiring process more effectively next time you have a visual project.

Work For Hire (Paying To Own)

What It Is: In a Work For Hire (WFH) arrangement, the client owns the full rights to the visuals from the moment they are created. This is typical when the work is performed by an employee of the company but can apply to independent contractors.

Why It’s Important: The creator relinquishes all ownership and cannot use the work for their portfolio or other purposes without permission. This is crucial for clients who need complete control and ownership of the content, particularly when proprietary or trademarked processes and products are shown. Note that specific legal definitions determine what constitutes WFH, and a contract specifying WFH may not be legally binding if those conditions aren’t met.

Project Rates (Paying For Value)

What It Is: Project rates are a fixed fee agreed upon for the entire scope of work, typically covering pre-production, production, and post-production phases. This is often my preferred pricing method because the focus is on results, not time.

Why It’s Important: This approach ensures a well-defined project scope and clear expectations for both parties. It often leads to more thorough planning and better final results, as the photographer or videographer can focus on specific deliverables. Project rates focus the creative professional on creating the best outcome rather than counting minutes or hours. An experienced photographer may produce the same amount of work as a less-experienced one but in less time. Using a project rate, pricing is based on the end product and rewards the experienced photographer for their efficiency. For my clients, efficiency and minimal disruption to their operations is invaluable.

Product Pricing (Paying For Specific Deliverables)

What It Is: Product pricing refers to a model where the cost is based on the final deliverables rather than the time spent creating them. Examples include a formal business headshot or a 90-second explainer video for a local business.

Why It’s Important: This pricing structure is straightforward and focuses on the value of the end product. Clients pay for the specific images or videos they receive, making it easier to budget and justify.

Day Rates (Paying For Time)

What It Is: Day rates are fees charged by the day (typically 8, 10, or 12 hours), covering the professional’s time on a daily basis regardless of the setups, sessions, or work performed.

Why It’s Important: Day rates might make sense if you value flexibility and budget predictablity, but they encourage scope creep, which can lead to quantity over quality and time over efficiency.

There’s no single “right” way to structure rates. Each type has its advantages and disadvantages. Knowing the difference between them will help you budget and ensure a smooth, successful project. Your visual professional should also be able to explain these terms and why they recommend a particular rate structure so you can make the best possible decision for you and your project.

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Want to discuss an upcoming visual project or want help telling your visual story? Let us know!

Weaving Art and Function at Heide Martin Studio

June 12, 2024 0 Comments read Assignments, Creating Spaces, Creative, Creativity, Editorial, Mainers, Mainers at Work, On Assignment, On Location, Video

As part of my ongoing Creating Spaces series featuring Maine artists in their working environments, I had the opportunity to work last fall with Heide Martin and her husband, co-founder Patrick Coughlin. The couple operate Rockland, Maine-based Heide Martin Design Studio, creating unique and functional furniture and housewares.

I was drawn to the studio because of the strong sense of style that permeates their work. Working with natural, simple materials available here in Maine, the two produce exquisite pieces of art that happens to double as functional furniture.

In particular, I love how Heide incorporates the art of weaving into many of her pieces, drawing for inspiration from an out-of-print book on traditional weaving patterns, among other sources.

I’m happy to be able to show the video we produced that day, along with a few stills from my visit with Heide and Patrick in their spacious and well-ordered studio.

*Heide Martin and Patrick Coughlin at the Martin Design Studio. © Brian Fitzgerald*

On the Campaign Trail with Senator Angus King

June 6, 2024 0 Comments read Assignments, Blog, Client Work, Editorial, Mainers, Mainers at Work, On Assignment

Maine Senator Angus King

It’s election year, which last month led to the opportunity to photograph Independent Maine Senator Angus King for his reelection campaign.

I’m used to hauling gear to handle any lighting situation. This time, though, I was just carrying a couple of cameras and a small off-camera flash. It felt like being a newspaper photojournalist again.

King, an avid photographer himself, wanted candid shots. No assistants, no extra gear. Just natural moments as he met with constituents in Brunswick and Skowhegan. The mission was to travel fast and light, capturing real life as he made multiple stops along the way.

At one point, King left for an emergency dental appointment—reappearing 45 minutes later, ready to go. Soon he was throwing a football with Bowdoin College students at a local park (King was a high school football quarterback). In my book, toughness is scheduling a dental appointment and a photo shoot on the same day.

Eight hours and five locations later, King was still going strong at an event in Skowhegan. It was fun and an honor to spend the day with him and his campaign.

Maine Senator Angus King — © Brian Fitzgerald

Photographing AI leader Amanda Stent at Colby

January 16, 2024 0 Comments read Assignments, Blog, Client Work, Editorial, Education, Mainers, On Assignment, On Location, Showcase

Female Scientist — *Amanda Stent, inaugural Director of the Colby College Davis Institute for Artificial Intelligence. ©Brian Fitzgerald*

I’m excited to share one of the assignments I did for Colby College recently. This was to photograph Amanda Stent, the inaugural Director of the Davis Institute for Artificial Intelligence at Colby—the first such cross-disciplinary institute at a liberal arts college.

Professor and student discussion — ©Brian Fitzgerald

Stent, a renowned expert in Natural Language Processing (NLP), transitioned from her role as NLP architect at Bloomberg L.P., where she led their AI team. She has authored or co-authored more than 100 papers and is co-inventor on more than 30 patents in NLP. In short, Stent is a big deal in the world of AI, and her leadership of the Davis Institute will allow Colby to fulfill its goal of integrating AI and machine learning into a liberal arts framework.

Luckily, the Colby Campus provided a number of interesting environments for portraits and for interactions with students. It was important to try to give a sense of the academic environment as well as the innovative work being done there at Colby.

2023: A Year On My Feet

January 9, 2024 0 Comments read Inspirational, Personal

Lone Hiker on rocky cliff — *Quoddy Head State Park, Maine. Photo by Max Fitzgerald*

Last year, I set a personal goal to walk or hike 2023 miles. It was a last-minute decision, sparked by a desire to shape up before a five-day backpacking trip in Iceland. I didn’t want to be the guy holding everyone back. Despite the cold and snow, I was consistently clocking 5-6 miles daily by mid-February. My routine involved pitch-dark stumbles through our nearby woods, causing my wife concern for my sanity but keeping me on track even as many other goals slipped away.

The journey taught me several lessons. First, success often hinges on factors being within our control. Unlike some of my other goals last year, choosing to go hiking was entirely up to me. Second, embracing an identity rather than just a goal makes success more likely. I wasn’t just trying to hike; I was a hiker.

Flexibility was my third lesson. Breaking up walks into smaller segments allowed me to meet daily targets without being rigid. It didn’t have to be perfect, just done. The fourth lesson hit home as I saw others around me battle health issues. Staying healthy became a powerful motivator, pushing me forward even on tough days.

By year’s end, I logged 2356 miles – equivalent to 90 marathons or the distance from Portland, Maine, to Reykjavik, Iceland – underscoring my final lesson: the cumulative power of small, consistent actions. Not every day felt significant, but every step counted.

As 2024 rolls in, I’m ready for new challenges. Iceland, here I come.

Down East Maine forest

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Dylan Metrano: Crafting Tiny Marvels in a Cozy Space

December 6, 2023 0 Comments read Blog, Creating Spaces, Creativity, Editorial, Mainers, Mainers at Work, On Assignment

Dylan Metrano perches atop an adjustable office chair that—along with his drafting table—dominates his top-floor home studio. Glow-in-the-dark stars cling to the ceiling, remnants of a bygone nursery. A bookcase and artwork adorn the walls of its 8×10-foot interior.

“I’m in the space that I need, because I don’t work particularly big. My cutting mat is only 12′ x 12′ so I don’t really go much bigger than that,” says Metrano, a paper cutting artist based in Bath, Maine. “I wish I had more wall space to hang more art up in, but in general I’ve got everything I need in here, he says. “I can’t imagine working without it.”

In this cramped space, Metrano meticulously crafts paper designs, melding shapes and colors for cards, logos, T-shirts, posters, album covers, calendars and more. “My tools for paper cutting are basically an X-Acto knife, a glue stick and a ruler,” he explains. His sole extravagance, the rolling chair, came from an advance for illustrating a children’s book years ago. “I have to have a nice surface and a nice seat,” he explains.

Bending over his table, knife in hand, Metrano swiftly carves a black piece of paper with a stenciled design. The paper measures perhaps six inches square. It’s an animal—a bird.

“Birds are definitely one of my favorites. There’s so many varieties and they’re so colorful and interesting. The feathers are really fun to create,” he says.

Metrano grew up in Massachusetts but frequented the coast of Maine as a child. He later worked on Monhegan Island, where he met his future wife, Mandy. They eventually married, settling down and starting a chocolate-making business called La Nef Chocolate. Throughout it all, Metrano continued crafting paper art, even when lacking a dedicated space. “When I first moved to Monhegan (Island) I was doing paper cutting in the cafe there, but it’s distracting with people coming and going.”

Metrano pauses, glancing up at his MacBook. The screen reveals a reference image of the subject that is gradually taking shape, cut by cut, on his board. It’s a Killdeer, a small shorebird. Metrano adds bits of colored paper—red for the eyes, brown for the head and feathers, white for the breast. Almost done.

Birds are easier to create with than people, Metrano observes. “You don’t have to be so specific with birds or animals because they’re not recognizable as an individual. If I try to do a Prince portrait and the nose is not quite right, it’s not going to look like him. That’s where it gets more difficult. Those are harder to do ultimately, but they’re really gratifying when they come out well,” he says.

When creating purely for personal enjoyment, Metrano—a lifelong musician as well as an artist–prefers to create musician portraits. “That’s what I do just for myself,” he remarks, displaying a few past creations: Deep Purple. Prince, of course. The Beatles, and others—both famous and obscure.

Beatles Portraits — *© Brian Fitzgerald*

Despite its limited size, Metrano’s studio is a sanctuary. When he enters, he disengages from the world outside. “It’s more like switching off,” Metrano chuckles. “It’s a meditative exercise for me. Once I’ve got my pencil marks down on paper and I start cutting, I don’t really think about it. A couple of hours goes by and I’ve got a piece done.”

With the Killdeer finished, intricate cuts highlighting texture and color, Metrano rises from the table. His workspace is illuminated by a solitary desk lamp in the now-darkened room. It’s late, and his work is done.

“I do it because I enjoy it. If I ever find that I’m not enjoying it, I just won’t do it,” Metrano says, glancing around his close confines. “I’ll just go make more chocolates.”

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Creating Spaces is a project that explores the connection between Maine artists and craftsmen and their physical workspaces-—places that are often hallowed grounds of creativity and solitude, far from the public eye or the gallery.