Posts tagged maine editorial photographer

Triumph Over Trauma: Isaac’s Journey

 

Male Cancer Survivor
Isaac, testicular cancer survivor. © Brian Fitzgerald

 

A recurring theme in my work has been narrating the stories of those who battle adversity, survive and even thrive despite the trauma or disease they’ve encountered. This piece is part of an ongoing series featuring men who bear the physical scars of their trauma.

Isaac, a native of Auburn, Maine, recalls experiencing a persistent dull ache in his lower abdomen during his teenage years and early twenties. As he attempted, yet failed, to complete a thru-hike of the Appalachian Trail at 20, the discomfort continued. But he kept his pain hidden. “In my childhood, if you weren’t seen, you weren’t getting beaten,” he said. “So you never voiced any concerns.”

At 22, Isaac received a diagnosis of testicular cancer, a disease often affecting younger and middle-aged men. The prospects for recovery can be favorable if the cancer is detected early.

The following years were a blur of chemotherapy sessions, numerous surgeries, including a retroperitoneal lymph node dissection in Boston requiring an incision along his entire abdomen. His weight plummeted from 180 to 110 pounds, his body branded with two feet of surgical scars. Faced with an uncertain future, the 23-year-old grappled with the harsh reality of potential permanent disability.

But for Isaac, resigning to such a fate wasn’t an option. “I could have been milking the system like some people, but what kind of life is that? There are people who legitimately can’t care for themselves, but I’m too stubborn,” he said. Instead he returned to school to became a certified nursing assistant, a role he maintained for the next eight years.

A decade after his initial attempt, Isaac made his way back to the Appalachian Trail. This time, he embarked on his journey from Maine, and after eight months of backtracking, pausing, and restarting, he finally completed the hike.

“Things have happened to me that I didn’t choose,” he reflected, “but I tried to find my own way.”

First, Give Value

Dairy farmer with cow and son
© Brian Fitzgerald

 

I was raised by Irish Catholics, which might explain why I have a deep-seated belief that anything good in my life must be accompanied by an equal-or-greater amount of suffering.

Not a great belief, as beliefs go.  But here’s one that I’ve found is completely true: if you want to receive  good value or get good results—satisfying assignments, great clients, a good paycheck—then you have to first give great value.

What does ‘value’ mean?  It means doing your best to be remarkable in your work, your attitude, your professionalism. It means that before you offer help, you ask how you can help.  It often means giving more value than others expect.  For photographers, it means going that extra mile on a shoot: looking for an extra angle, taking creative risks and pushing for something different once you’ve satisfied your client’s stated needs.  Sometimes you’ll end up with images that surprise you and delight 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.

The Business of Life with R.M. Davis

Home-buying couple

In 2022 I had the opportunity to shoot and produce video footage for a fun campaign for a longtime client, R.M. Davis.  RMD is a financial advisory firm based in Portland with deep roots.  With a 45-year track record of working with wealthy individuals, estates and businesses, they worked with Burgess Advertising & Marketing to create a concept called ‘The Business of Life’.   My job was to create images that illustrated the concept; basically a series of vignettes showing transitional moments like college graduation or building a new home as well as individuals and business owners meeting with financial advisors.  

Here are a few of the final images as used in the campaign.  As is more often the case with my advertising clients, we built the shoots so we could take video footage as well as stills.  This was later incorporated into a Business of Life video.

I think the campaign is a powerful example of people- and client-focused marketing that really works.  

College Graduate

 

Industrial business owner

 

Couple in coastal home

 

Dirty Jobs, Good Pay: Photographing Blue Collar Workers

Female Welder
© Brian Fitzgerald

It’s hard to miss the rising star of blue-collar work in this world reshaped by a pandemic and advancements in artificial intelligence (A.I.). Anyone struggling to hire a plumber, a carpenter or other tradesman since 2020 has seen the effects of this first-hand. Previously overlooked as somehow ‘less than’ white-collar jobs, blue-collar work has become a beacon of resilience and growth, sustaining the economy amidst major layoffs in the tech industry, as reported by Business Insider.

The reason for this is clear: blue-collar roles, which are often hands-on, technical, and require plenty of problem-solving skills, resist replacement by automation or outsourcing. They are firmly rooted in the physical world, characterized by their tangibility and practicality.

This sense of authenticity and grit is what continually draws me to photograph people who work with their hands. There’s a strong sense of narrative within these images, both of resilience and tenacity. I am inspired by their skill, focus, and commitment to doing the job right.

My goal is not merely to capture an image, but to pay tribute to the meticulous nature of blue collar work and its practical impact on our daily lives. Whether it’s the skilled hands of a carpenter shaping a piece of furniture, or the attentive gaze of a mechanic resurrecting an old car, each image tells a story of profound usefulness and necessity.

In our post-pandemic world, tradespeople are more than just workers. They are keepers of a time-honored tradition of skilled American labor. Their work stands as a testament to our collective ability to adapt, persevere, and endure.

Welder
© Brian Fitzgerald

 

Automotive Technicians
© Brian Fitzgerald

 

Industrial Worker
© Brian Fitzgerald

Five Tips For Better Outdoor Portraits

 

well-dressed motorcycle rider © Brian Fitzgerald

Outdoor environmental portraits offer a blend of human emotion and natural beauty and can elevate a simple portrait into a compelling visual story. Whether you’re a pro photographer looking to refine your craft—or you’re in a position to hire one—understanding the dynamics of outdoor portrait photography is key. Here are five things I try to keep in mind:

 

1. Don’t Fight the Sun (Unless You Know You Can Win)

There’s no way around it: photographing outside in full sun is a big challenge, especially for natural-light photographers. Harsh direct sunlight can cause unflattering shadows, squinting, and overexposure. A classic solution is shooting during the ‘golden hour’ – the time just after sunrise or just before sunset when the light is softer and warmer, which can help to create a magical mood.

Choosing the time of day isn’t always an option, so if you’re planning on doing battle under the blazing noon sun, you’ll have to bring plenty of backup in the form of off-camera flash and reflectors. For example, you might position your subject with their back to the sun, using it as a hair light, and fill in their face with a reflector or flash. You’ll need a firm grasp on balancing ambient and artificial light, but if done correctly, you can create dramatic portraits with impact. 

 

2. Show The Environment

The outdoors provides background options that can complement your subject and tell a deeper story. Storytelling details might also help tell the story of your subject. 

Watch out for distracting elements in the frame that may draw attention away from your subject. Use depth of field to your advantage, blurring out the background to keep focus on your subject when necessary.

 

3. Use Motivated Lighting

Just like in filmmaking, motivated lighting plays a crucial role in photography. The concept refers to lighting that appears to come from a natural source within the scene, like the sun, a lamp, or a fire. This kind of lighting not only looks more natural, but it also helps to tell a story and create a certain mood or atmosphere.

 

4. Create Rapport

Creating a genuine connection with your subject is vital in any kind of portrait photography, but it’s even more crucial outdoors where there are more variables at play. It’s easy to get caught up in your gear, or dealing with changing light and variables like wind, and to forget about connecting with your subject. Good rapport can help your subject feel comfortable and relaxed, leading to more authentic expressions and poses.

 

5. Mix It Up

Finally, add variety to your outdoor portraits by mixing up poses, locations, angles, and focal lengths. You might start with wide, non-portrait lens and then work up to a tight headshot with a portrait-length lens. Have your subject look away from the camera as well as towards it. You’re not just after a well-composed portrait; you’re looking to create a mood.

The key to a successful outdoor portrait shoot is adaptability. The natural environment is ever-changing, and so should your approach. The sun might not always cooperate, and your environment will present unexpected challenges or distractions. But with these five tips in mind you’ll be better prepared to capture stunning outdoor portraits that truly tell a story. 

The Art of Location Portraits: Conquering Constraints

Female Portrait
© Brian Fitzgerald

Throughout my career as a photographer, from my earliest days as a newspaper stringer to the present, one thing has always been necessary:   the capacity to create impactful, engaging portraits on location, quickly (if not sooner). 

Epic and breathtaking locations lead to epic, breathtaking portraits that incorporate background elements to tell a compelling story.   Typically, I’m faced with a problem:  how to minimize a busy background and transform it into something less distracting and more aesthetically pleasing.  It’s the ability to make cinematic, impactful portraits—often strapped for time and without the ability to see or choose the location—that has served me and my clients best year after year.

The adage goes that if you want more interesting images, shoot more interesting things or places.  That’s true. What’s also true is that being a professional photographer means delivering consistent results despite constraints imposed by less-than-interesting locations.

When there is no background, or when it’s too busy or distracting, I try to create more cinematic, shallow-focus images that pop from the background and put the focus where it belongs: on the subject. Knowing how to light creatively and on the go is key, but also so is how to use the advantages of any environment (and there are always some) to the subject’s benefit. 

 

Male College instructor
© Brian Fitzgerald

 

Male attorney
© Brian Fitzgerald

Capturing Reality with Scientist and Innovator Sarah Martinez Roth

 
Sarah Martinez Roth, at Vertex Pharmaceuticals in Boston, MA ©Brian Fitzgerald

A few months ago, Colby College commissioned me to photograph one of their distinguished alumni, Sarah Martinez Roth. A 2011 Biology graduate, Martinez Roth went on to earn her master’s degree and Ph.D. in tumor biology at Georgetown University.

As a senior scientist at Vertex Pharmaceuticals in Boston, Martinez Roth develops treatments for sickle cell disease and has received the Ainslie Alumni Achievement Award from the Posse Foundation for her work.

My challenge was to capture Martinez Roth immersed in her work within a bustling laboratory. I aimed to reveal that even when working at the forefront of technology, being a scientist still involves hands-on tasks in small labs filled with well-used equipment. I appreciate that the labs she works in are clearly spaces where work happens – far from the pristine, symmetrically gleaming, and unrealistic labs depicted in TV and film. My goal was to integrate as much of that authenticity as possible into her environmental portraits.

Scientist Sarah Martinez Roth
Sarah Martinez Roth, at Vertex Pharmaceuticals in Boston, MA ©Brian Fitzgerald

Hiring a Drone Photographer? Consider This First

Casco Bay Tugboat
The tug Peggy Winslow passes Spring Point Ledge Light near Southern Maine Community College. © Brian Fitzgerald

In the ever-changing world of drone photography, regulations and requirements are constantly updated. The FAA’s remote ID rule, set to take effect in September 2023, mandates that most drones in US airspace possess remote identification capabilities for safety and compliance. Drone pilots can meet these requirements by operating a drone with built-in broadcast capability, using an add-on remote ID broadcast module, or flying non-compliant aircraft exclusively at FAA-recognized identification areas (FRIAs)

As drone operators adapt to these changes, it’s crucial to ensure your chosen drone pilot can legally operate commercial flights. But that’s just the beginning. Here are five essential points to consider when hiring a drone photographer:

FAA Part 107 Certification: Ensure the drone pilot holds a current FAA Part 107 Certification, proving their knowledge of airspace regulations and safety procedures.
Insurance Coverage: Accidents happen. Make sure the photographer is insured to protect both parties.
Experience and Portfolio: Assess the photographer’s experience in your project type and review their portfolio to evaluate their style and proficiency.
Equipment and Capabilities: Inquire about the drone, camera, and stabilization systems used to determine their ability to deliver the desired quality.
Safety and Compliance Procedures: A responsible photographer will obtain necessary waivers, follow local regulations, and prioritize safe operation, including having a safety plan and visual observers when needed.

Address these five points to minimize risks and find a drone photographer who expertly navigates both the skies and the rules that govern them.

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Inside Northeast Air’s Hangar: Mechanics at Work

Aircraft Mechanics
© Brian Fitzgerald

I’m happy to share images made during a recent shoot with Northeast Air, a company operating out of the Portland Jetport. They specialize in providing ground handling, aircraft maintenance, fueling, and concierge services to travelers from around the globe.

The objective of this shoot was to capture images of Northeast Air’s skilled mechanics performing routine work on a Pilatus turboprop aircraft, located in the company’s maintenance hangar at the Jetport.

As an experienced editorial and commercial photographer, I’ve spent my career documenting technical and skilled labor like this. The inherent challenge is to focus on the individuals involved in the work, rather than solely on the impressive machinery they operate and maintain.

I love that my clients recognize that, at the core, they’re in the people business. They’re eager to celebrate their employees and give you a glimpse of what goes on behind the curtain—or, more correctly, what’s happening in the hangar.

Aircraft Mechanic
© Brian Fitzgerald

 

Aircraft Mechanic
© Brian Fitzgerald

 

Aircraft Mechanic
© Brian Fitzgerald

 

© Brian Fitzgerald

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Capturing Spontaneity: Photographing First Lady Jill Biden’s Visit

 

Jill Biden
© Brian Fitzgerald

 

As a longtime newspaper photojournalist, I’ve covered my fair share of visiting dignitaries, from President George Bush (’44) to U.S. Senators and others. But, as I learned the hard way on assignment for the Arizona State University school paper, the State Press, showing up late means the Secret Service won’t let you in, even if you ask really nicely.

So, when I was recently assigned to cover First Lady Jill Biden’s brief visit to Southern Maine Community College for the Maine Community College System, I made sure to arrive early. These events are highly scripted, with an advance team marking out where the media will stand, cordoned off well away from the First Lady. Each photo opportunity has been planned, with impactful visuals virtually guaranteed — as long as you show up on time — from the positions of the people to the carefully-placed American flags.

But, just because the stage is set doesn’t mean there isn’t room for spontaneity. As a photographer, my job was to capture the story and mood of the event, even within the constraints in place. I positioned myself strategically, changed compositions, and varied my lens choice to anticipate and capture those unscripted moments.

The result was a set of images that told a genuine story, full of spontaneous moments that spoke to the human emotions and connections present at the event. As a former newspaper photographer, I’m grateful for the laboratory that experience provided me that still allows me to capture moments even in highly-controlled settings.

© Brian Fitzgerald
© Brian Fitzgerald
© Brian Fitzgerald
© Brian Fitzgerald