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When I started photographing 30 years ago, all the photojournalists in the world, we all had almost the same tools: one Nikon camera. When you went to cover African or Asian countries, they had the same camera. The writers and journalists had only a pen and a notebook. Everyone had the same things. But in the last 30 years, we went through an information revolution. We in the west are the first ones who have access to these new tools. We are the ones getting the best laptops, cameras, and video cameras. In the meantime, considering how expensive it is not only to buy this equipment but to be trained on it, we are leaving the whole other part of the world — non-western countries — behind.

Their journalists and artists and poets don’t even have money to buy a pen and a notebook while we have access to the top technological materials. So how can they connect to us, or their own nation, if they don’t have tools? So I thought, each country needs just a few hundred people to be trained and to get those tools. If we can help them, train them, and give them access to tools, we have connected the whole humanity of the world together again.

My other observation was that one of our main tasks is to say that democracy is the best way of having a government. We are trying to spread democracy. The only way to achieve that is to let the people themselves make democracy. You cannot force people to be democratic. And the best tool for democracy is freedom of speech, which needs free media. If there is no free media, there is no democracy.

With those three observations in my head, and running from one conflict to another, I started thinking, “What will be the 21st century’s new organization that could bring all these elements together and effectively help solve those problems?”

I had started training local photographers when I was going on assignments, in ’86 in the Philippines, and then the former Soviet Union. Then I went to Bangladesh to help Shahidul [Alam] start his own school, and I was the first teacher in that school. Afterwards I went to Beijing for three years to teach in the university and train professional photographers. This was how I began to realize the answer to my question: Create an independent media and culture center in each country, where a couple hundred local journalists and talented young people would be trained to have access to new technology. We would train local people, not as a school, but as a job training center. The idea was to start media projects immediately, like independent magazines, children’s magazines, women’s magazines, a radio station for women. Then in the meantime you have people who are trained launching their projects.

When I wrote all those ideas down, I was looking for one country that would be the pilot country, which I would use as a laboratory for the whole thing. It was 2000 and the obvious place for me was Afghanistan. First, because it was the darkest place of humanity: the Taliban were there, Russians had been there, there was civil war, and Al Qaeda fighting them. Plus, the world had totally forgotten them for 10 years. So I thought Afghanistan would be best place for a pilot project. And this was the whole start of AINA.

The official launch was in July 2001 in the north part of Afghanistan, in a rebel region, when the whole country was under Taliban. Then suddenly 9/11 happened. Everything changed. The Taliban fled and we entered Kabul and started a center there immediately. We were the first NGO that started a project there after the fall of the Taliban.

In Afghanistan during the pilot project, I realized that the people who would have an especially big impact would be the women journalist. During the conflict, my hatred of the war made me think that if women could take more control of the media and government, we could grow toward a more peaceful world in a century or two. So this was how we started saying, let’s start having much more women in the training, especially in Afghanistan.

That’s how we launched Voice of Afghan Women, which is a radio station. By doing this, I realized how important this tool is, and how it reaches millions of Afghan women in their remote homes. They cannot read. They cannot even go out. They cannot have access to magazines or books, but radio can be brought to them in their homes. So we launched this women’s station and started distributing small transistor radios to remote places, 5,000 of them. Now from just one radio, information is going to the whole village.

Covenant House headquarters in Manhattan during a candlelight vigil for homeless teens. ©Nina Berman/Do1Thing.org

Miki Johnson: Tell me how you’re working with other non-profit organizations.

Najlah Hicks: We’re working with two major non-profits. The first and the biggest is the Covenant House International. Covenant House is the largest provider of services to homeless teens. Our second partner is StandUp For Kids, which is an all-volunteer group that helps teenagers on the ground. We believe that in order to produce good work, we have to partner with a non-profit that is on the ground every day and has a long history of working with this population.

Again, we’re not experts on homelessness. For us, it’s very important to figure out who the expert on homelessness is and then partner with them. Working with those organizations gave us access to kids that we would never have access to otherwise. We ended up partnering with over a dozen non-profits. But the biggest is Covenant House, and we drove all donations to them.

All of the photographers or editors we work with, even Pim Van Hemmen and I, the co-founders, we’re all volunteers. We raised –- we’re still calculating what’s coming in –- but we know so far about $30,000 in cash donations, and tens of thousands of items were donated nationwide. And we didn’t charge Covenant House a penny.

Our idea for long-term is to pick a cause each year. It could be AIDS, it could be cancer, it could be famine, but always something that affects youth and children. Then we find who’s doing the best work in the non-profit world and we partner with them.

MJ: I was blown away to see the big names on your list. Why were photographers and editors so eager to collaborate with you?

NH: A lot of people thought we would have to give them a hard sell. I didn’t have to give them any sell at all. We asked somebody and boom, they’re already on top of it. That’s how we ended up with 32 Pulitzer Prize winners and 75 editors, photographers, and designers.

Leandra Hollaway and Michael Cunningham check out their new room at a friend of a friend's. ©Judy DeHaas/Do1Thing

We started off with photographers we had worked with at the Heart Gallery. Nina Berman, Mark Peterson, Ron Haviv, many of the VII photographers, Martin Schoeller, Bob Sacha. Those guys knew first-hand the power of what they’re doing. The kids that they photographed at the gallery are getting adopted. So when I told them, look, this is what we want to do, it was an immediate yes. Then they contacted their friends, who contact their friends, who contacted their friends. It took literally less than two weeks to get a phenomenal team to come together and do it all for free. If you were to quantify what this would cost, it would be a million-dollar project.

And now these photographers want to go back. They want to do more. They want to follow these kids. Want to know if they can stay long-term. This photographer Mark Peterson was shooting for three months, documenting this one teenager, and will continue to document her. He’s looking to do a two- or three-year project on her. Again, all for free.

I think what happens is, when you get to the point when you’re in your 30s, 40s, and 50s, you realize you’ve covered everything that you can cover: famine, wars, floods, fires. You get to the point where you ask, When I leave this life, what do I want to be able to say about my work? Yes, I documented history. That’s great. But how much greater is it to be able to say that I changed the history of a life?

©Edmonson Photographers

The reason I started in photography is that my father is a photographer and my grandfather, who did sales for photographic equipment, also did photography as a hobby. By 1983 my dad opened his own business, and at that point his father and him started these stock photography trips. My dad submitted my grandfather’s photos for a book that ended up becoming the number one best-selling book in the 1980’s. That got my grandfather pretty excited. So they spent the rest of the time until his death running the photography company together. And that’s kind of what I grew up with, with both of them shooting together.

Originally I had no desire to grow up and be a photographer. But when I got to college, I suddenly realized that this is the lifestyle I’m used to. Being a photographer is unique because you have permission to go places you’ve never been. Every day is different and you work with all these different creative people. So one night, I said to my father, I’ve never expressed an interest in this, and I’m still not sure, but would you support me while I explore photography? And he said, absolutely. It’s a great gift he gave me.

I ended up getting a degree in film, so I could still be different from my father. My pictures can move, while his are still. But that was just out of my youthful need to be different. By the time I was 28, I had gotten to the point where I could work with my father, rather than for my father. Plus, I’ve always been a little envious that my grandfather and him worked together. So when I moved back to Dallas from San Francisco, I ended up saying to my father, let’s do photography together.

What we found works best for us is to divide up our roles and responsibilities. My father, for instance, handles all of our Photoshop retouching and all of our printing. That’s one of his talents. I try to handle our new business relationships, our marketing, our websites, our blog, and those kinds of things. That helps us keep enough energy in our own personal batteries to do a good job for our clients.

©Edmonson Photographers

As far as family-run photography businesses go, working with my father is different from a husband and wife working together, simply because we’re not the same age. Here I have my father, who’s been in business for 30-plus years; he has wisdom from longevity. He’s seen a lot of different things. At the same time, I have a youthfulness and the ability to relate to clients on a different level. For example, when my dad flirts with the bridesmaids, it’s more of a fatherly kind of thing than if I do.

One of the things that I appreciate about my dad is the fact that some people kind of get stuck in doing the same thing. Once they figure out that something that works, that’s becomes their signature and they don’t do anything else. My dad has been really good at reinventing himself, almost like Madonna, throughout the years. Sometimes we play a games with the bride and say, “Guess who took what photos.” Sometimes the wildest ones, the most energetic ones, are ones that my dad took, but the brides would have guessed it’s me. It’s fun because he still has that youthful spirit.

I think in any relationship, the biggest question is, are you still growing as a person? Whether you’re husband and wife, whether you’re brother and sister, whether you’re father and son. We can all learn from each other. You just have to have that open heart and open spirit. Not only do my dad and I work together, we live together, too. It’s just him and me. We are literally around each other 24/7. We’re very blessed by our photography business; it gives us a lot of opportunities to do things together.

Geese at sunrise at Bosque, New Mexico. ©Arthur Morris/BIRDS AS ART

Going back into the mid ’80s when I first started to sell photographs, I knew it wasn’t going to be easy. No one was calling me up.  One of the big misconceptions now is that people are calling us up all the time to buy photographs. That’s not how it works in general. And one thing I wrote in my first book, The Art of Bird Photography, is that if you made a list of important things for selling photographs, the quality of your images might be about seventh or eighth. And I can prove it. Go to the newsstand and pick up a magazine that has your subject matter in it and every person is going to say, “I have better pictures than that.” But I’m the only person who would say that, and then follow it up with, “Yeah, and that guy must be working a thousand times harder than me because his pictures are in the magazine and mine are not.”

A Chestnut-breasted Coronet. ©Arthur Morris/BIRDS AS ART

I’ve seen dozens of great photographers who could not sell a picture. And some folks with mediocre work are famous. The hard-work aspect is super important, as is determination. One of the things that happened early on was when my wife and I were considering leaving teaching and selling bird photographs, people said, you’ll never make enough money, how can you think of that, you have such a great health plan with both of you teaching. Being told that I couldn’t do it, that was one of the best things that ever that happened to me. I am a very determined person; when you tell me that I cannot do something, I am gonna bust a gut to do just that.

I mentioned Bird Watcher’s Digest — I’ll be forever indebted to Mary Beacom Bauers, she was the editor there. I sent her an article and she wrote back saying that the article had been accepted for publication.  The magazine came out six times a year and for two years I would get it and look at the table of contents and my article was not in there. So I wrote a second article and sent that to her. That was accepted for publication and came out in the next issue. And then the original article came out in the issue after that. The first time I met Mary at Cape May, New Jersey, a big birding hotspot, she said “Boy Artie, after I held your article for two years and you sent me a second article, I knew that you were really determined.”

A Great Blue Heron silhouetted against the sun. ©Arthur Morris

One of the things that helped me establish myself was realizing that it’s a lot more efficient to write an article, get paid for the article, and get paid for five or six photographs than it is to beat your head against a wall trying to sell one photograph that might get in someone else’s article. Early on I did a lot of writing for Birder’s World and especially Bird Watcher’s Digest. There was probably a five year period where I only missed one or two issues of BWD. That helped me get my name known.

When I first started, I didn’t know what I was doing. But after a couple years my goal became simply to make pictures that pleased me. I never shot for the market, to give advertisers room to put type in the frame, I just wanted the picture to be pretty and people to go, “Ooh ,that’s pretty good.” When I first started, my only goal was to get the cover of one national magazine. And then I thought I’d go on to another hobby, as I’d done before.  Somehow, within three years, while I was still a fledgling bird photographer, I had the cover of what used to be called The Living Bird Quarterly (now Living Bird).  Instead of that quenching my desire, I said, “That’s pretty cool, let’s do it again.”