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Duane Michals, photographed by Paul Waldman for the Living American Masters Photography Project. Courtesy LAMPP

Miki Johnson: Tell me about how this project started.

Paul Waldman: After I left my position as managing editor of Zone Magazine, I wanted to do something that hadn’t been done, and that had both global and intimate scope. The Living American Master Photographers Project (LAMPP) grew out of this. At the time, far more emphasis was placed on photographic content as opposed to the individual artist. Nobody was studying the personal content of individual photographers. Portraits of these men and women, whose images were shaping society at a basic level, were not available.

I was appalled that as a society we weren’t in touch with what I considered a living national treasure: our photographic community. I began doing portraits, interviews, and occasionally both, with photographers starting in 1991. Back then, the idea of committing to an ongoing “living study” was somewhat foreign. At times, it is still difficult to convince people of LAMPP’s value as a social tool and document.

Many of the photographers resisted initially. Some had been “hunted” by fans who wanted a shot of them. But after the first ten or so portraits, a body of work began to emerge that was well received. Although my hopes for editorial assignments and assistant jobs from these encounters never materialized, what I ended up with had a greater value: some of the most rewarding personal relationships of my life.

MJ: What does a typical interview and portrait session look like?

PW: An interview is now a prerequisite for participation but in the beginning, it was an either-or proposition. I opted for the portraits, thinking I could always go back for a phone interview. There was never a template I followed; I think this enhanced the experience for both myself and the participant. Whenever possible, I tried to sit down and talk, not as an interview, but as two people sharing a beginning. Participants saw I wasn’t trying to coerce something out of them other than their love, experiences, and accumulated wisdom garnered from an eye within the craft.

Andreas Feininger by Paul Waldman. Courtesy LAMPP

I became close with Andreas Feininger and his wife Wysse. I’d often go up to their flat on 22nd and Broadway in Manhattan for tea. Jacques Lowe and I would talk about his time with JFK, his love of jazz, and his experiences photographing its legends. I did a portrait and interview on the road to and from Seligman, Arizona, with Allen Dutton and we remain close to this day.

When I photographed Sally Mann, Patrick Demarchelier was doing a street shoot as we were approaching our portrait location. I asked Sally if she wanted to meet Patrick and introduced them for the first time. There were other strange moments, like finally photographing Duane Michals in his basement laundry room after trying to meet with him for three years.

The first session I scheduled with Gordon Parks, a big Nor-Easter hit Manhattan. I realized there was no way it could happen as planned. When we finally met, there was a blizzard tearing through Manhattan. Snow appeared to fall parallel to the ground, as if it were orbiting the city.

MJ: Do you have a favorite image or story from a portrait session?

PW: That’s a challenge. Working with Bob McNeely at the White House under President Clinton was a privilege. After we’d met and he’d taken me down to the photo office, he needed to go and pick up his daughter from school. I told him not to worry, I’d be happy to hang out. Later, Bob snapped an image of the president and I as we talked about Bob’s daughter, who was quite young at the time. He had President Clinton sign the photo for me. Since then our friendship has blossomed. I recently spent a night out at his farm upstate from Manhattan, re-photographing him with his daughter — she was graduating high school!

Jill Enfield by Paul Waldman. Courtesy LAMPP

Most recently I photographed Barbara Bordnick at home. She was so moved by the experience, she asked if I’d record an extra track at the end of our interview. To my surprise she shared some moving words about my presence as a portraitist and her love for the LAMPP body of work. Barbara’s an amazing editorial portraitist; her unsolicited kindness was especially inspiring.

Jill Enfield was incredibly generous. She and husband Richard Rabinowitz let me stay in their home in Manhattan for an LAMPP trip. I was a stranger, having only spoken with her and Richard by phone. I arrived at 6am! Her two teenage daughters were sleeping as I quietly settled in. That kind of love and appreciation for the project’s mission has been particularly touching.

MJ: What about a good story about recording an interview with a photographer?

PW: A favorite audio recording is of AP legend Marty Lederhandler. His “Pigeon Story” from WWII’s D-Day is well known among many of the AP people, but few know it outside that circle.

Marty Lederhandler – “The Pigeon Story”

One of my favorite moments involved Sylvia Pericon, a student who volunteered to interview Steve McCurry for LAMPP. After the interview, we sat at a cafe in New York’s West Village and did a post-interview about her experience. She was so moved and energized. When Sylvia told her teachers about her LAMPP interview, they were amazed she had such an opportunity.

MJ: Where does all the content live? Where would you ideally like to see it?

PW: I am committed to the idea that this content should “live.” Because the project has been almost entirely my creation, the negatives, prints, audio, media kits, FAQs, quote selections, contributed letters, kudos, and rejections remain with me. One of my highest hopes is that LAMPP escapes my personal gravity, that other people get involved. In retrospect, I feel LAMPP has suffered in part from its perception as “my” project. I’d like to see it expand, for others to experience what I’ve been blessed with.

There’s so much undiscovered country, so many older masters and emerging masters who haven’t been tapped yet. For the past few years I’ve been trying to establish foreign satellites that would explore global perspectives through the LAMPP paradigm, the LMPP: International. As our planet becomes smaller through faster, richer, deeper communication and media distribution, methods of common experience will be instrumental in forging more meaningful international, intercultural relationships.

Gordon Parks by Paul Waldman. Courtesy LAMPP

I’d like to see LAMPP integrated into a higher education institution or museum with robust photographic programs if it does not attain its own self-sustaining presence as a foundation. The project needs space to expand, and the opportunity for participants and luminaries to visit for “micro residencies.” I’d like to see an interactive textbook created that students can collect and have signed by masters featured for that year.

MJ: What is the biggest challenge you face moving forward?

PW: Recently I’ve approached the Annenberg Space for Photography, The Smithsonian, and the Duke Center For Documentary Studies without so much as a commitment to an open dialogue. I find it ironic and disturbing that these institutions will feature an individual artist, but neglect the impact of the photographic community as a whole. It’s like trying to understand an orchestral piece by listening to one or two musicians individually.

The deaths of many 20th century masters was a wake up call to the community. Creating an active interest in LAMPP before participants pass has also been particularly daunting. Getting contact information for possible candidates is fraught with obstacles. With each master’s passing we loose the collected wisdom of a life and the synergy of that information within the context of an individual, gifted and trained in the art of seeing, perceiving, touching. My hope is that this will become an additional source of income for photographers, as well as a boon for our emotional, social, cultural, and political evolution.

MJ: How can photographers help?

PW: The best way to help is to get involved. Become an LAMPP evangelist. I’d love to build a proactive board that embraces fundraising initiatives. It doesn’t have to be just photographers. LAMPP was designed for the American public trust. I’ve been in a photo lab so many times when the people working there didn’t know the seminal living or past master photographers.

We’re changing. The photographic image is omnipresent. I tell people there’s probably a photograph ten feet from them; they’re probably sitting or staring at one as we speak. That’s powerful stuff.

It’s nothing to be intimidated about; not knowing photographers by name or face. There’s so much out there to get excited about, to enjoy, to participate in. But in practical terms we need grant writers, legacy donors,  a LAMPP home, services, co-opt friends, associates, business partners, professional organizations, industry support, and interest from the government. That’s a wish list! Let everyone know we’re sharing vision; we’re growing sight through every man and woman’s contributed light.

Ted Barron at the Boogie Woogie Flu blog posted two very cool MP3 tracks of Weegee and Henri Cartier-Bresson speaking about photography. The Online Photographer also pointed us to some other audio clips of radio interviews with Weegee from 1945, including an explanation of how he got his name.

Kodak announced on Monday that they will retire the 74-year old Kodachrome film because, quite simply, it’s not selling. Is it ironic or perfect timing that National Geographic Museum’s new exhibition, which runs through September 7, is “Kodachrome Culture: the American tourist in Europe“?

The best-remembered Charlie’s Angel Farrah Fawcett died of cancer on Thursday at the age of 62. The New York Times had a nice tribute, and Bruce McBroom, the photographer behind the actress’ iconic poster, shared the story of the serendipitous shoot.

With the recent Iran media ban, there is a growing concern for the lack of professional conflict coverage. Paul Melcher had a great piece on why war photographers are rarer than ever. A timely wake up call for anyone who really cares about photojournalism.

Ed Kashi – Ed has integrated video with his documentary photography for years, but recently shot his first video-only project.

1. How much do you shoot video compared with stills?

I have been working on a film in the Niger Delta, and although I’ve been shooting video for the past nine years, this is the first time I’ve shot a complete film without any stills.

2. What tools do you use to shoot video?

When I contemplated shooting this film in the Niger Delta, one of the toughest places I’ve worked, where most people don’t want to have any kind of camera pointed at them unless you explain yourself or you pay them, I was initially considering using the Canon 5D Mark II in video mode, thinking it would make me less conspicuous. That was a silly thought. In the end, I decided to work with a great standard definition video camera for excellent sound and none of the unresolved issues in video with the 5D.

3. What is the biggest difference for you between shooting video and stills?

Whereas still photography resides in the fractional moments, video lives in whole moments and complete segments. Keeping the editor’s needs in mind, you must provide sustained coverage with video, instead of pecking away at the fractional moments with your still camera. This can be a killer on your back, neck and/or wrist. The physical strain shooting video is definitely increased, at least for me since I work quite light, with one camera and one lens, when I shoot stills. With stills I am also slavishly dealing with the light, beholden to it’s patterns, moods and dictates. Light is important with video too, but I can still make a compelling video in almost any light. Then of course there is audio. I often ponder situations in terms of the audio it will render, what it will say and how it helps shape the narrative.

4. How do your still and video work influence each other?

Shooting stills is more torturous mentally but ultimately more deeply satisfying. I am a photographer at heart. Video is interesting, vital, challenging, relevant and captivating, but photographs are sacred to me in a way that video is not. It has something to do with my long relationship to photography, but more metaphysically, it relates to the stillness, the quiet and meditative quality of still images. No matter how enveloping and captivating video can be, there is an essential truth in still images for me. And I am finding that I miss working with my images — looking, editing, thinking about them, sending them to friends and family. They are much easier to move around, share and work with.

Bill Frakes – Bill has always mixed it up, but has been stepping it up lately with lots of great videos for Sports Illustrated and his many clients.

1. How much do you shoot video compared with stills?

It totally depends on what I’m working on. I’m just finishing a short documentary now that is entirely video. I’ve directed music videos and television spots for years. Usually I let the subject matter make the decision for me about the amount of video vs. stills that I’ll shoot.

2. What tools do you use to shoot video?

I shoot primarily with the Nikon D90, which allows me to switch between video and stills very easily. I have several professional-level video cameras, but the optics I can use with the D90 makes it a superior choice. I gather audio separately and I have had the D90s modified so they can accept outboard microphones.

3. What is the biggest difference for you between shooting video and stills?

From a physical standpoint, shooting video requires a tripod — otherwise it’s just not going to look good. From a photographic standpoint, composition still rules, but what works for each is totally different.

4. How do your still and video work influence each other?

My video and still work is totally in sync. Each is meant to enhance the other.

Guy Rhodes – Steeped in lighting and film techniques, Guy shoots a lot of independent films plus still images to keep his eyes fresh.

1. How much do you shoot video compared with stills?

The majority of my work over the past five years has been video-related, much of it in the independent film market. I shoot stills in my downtime to supplement my income and to keep my creative eye fresh. Over the past month, I’ve been out on three independent short film shoots, two as the director of photography and one as a Steadicam operator. I also had a handful of still shoots. Shooting video and stills at the same time is not generally required by my clients. Most hire me for one or the other, as they understand that trying to do video and stills at the same time often results in both suffering to some degree. The two mediums require different thought processes, and it’s very challenging to go between the two and do it well, especially in a deadline situation.

2. What tools do you use to shoot video?

I shoot on a Panasonic SDX900 for much of my independent film work. I’ve also shot several indie films on the Panasonic DVX100, which records in 24p, but on the more affordable MiniDV format. The short film I ran Steadicam on last month shot with Canon’s new 5D Mark II cameras. It was pretty exciting shooting HD video on a full-frame SLR, being able to use very wide aperture lenses to emulate the shallow depth of field of the 35mm motion picture format. For the rare instances that 24p is not required, I shoot on my Sony VX2000 MiniDV.

3. What is the biggest difference for you between shooting video and stills?

One large difference between shooting video and stills for me is lighting. Still images are pretty easy to manipulate after the fact, but you really can’t dodge and burn video. That’s why I try to nail my video lighting setups so I can hand the client a DVD of my camera raw video without color correction and not be embarrassed by it. I studied lighting in college so it’s not uncommon for me to spend an hour or two lighting a scene for film shoot, with only the last five minutes of that time devoted to setting up the camera and framing the shot. I think a lot of new video shooters and photographers get so wrapped up in the camera technology that they forget how important lighting really is.

4. How do your still and video work influence each other?

My video and still disciplines keep each other in check. I find that after shooting stills for a few weeks, the next time I pick up a video camera, the shots come easier. Sometimes I’ll try things with the video camera that I tried earlier with a still image, such as radically underexposing for a dramatic highlight or colorful costume. I have an equal love-hate relationship with each medium. Video editing is more tedious than editing a still photo shoot, but I do like the camaraderie of video shoots. First and foremost, though, I consider myself a lighting designer. Even when I’m shooting video all day, the majority of my time is spent lighting the scenes. The same goes for setting up a portrait shoot. When shooting on location with available light, lighting is still at the forefront of my mind.

Robert Caplin – Robert has been experimenting with the video capabilities of his Canon 5D, figuring out how to translate it into paying gigs.

1. How much do you shoot video compared with stills?

I shoot about 80% stills. Often I’ll capture video on interesting assignments, but more for memory’s sake. I’ve started working on video projects with my family and friends, but I have yet to capitalize on actually making a living with video. The transition is underway, but I don’t expect to ever give up still photography.

2. What tools do you use to shoot video?

I’ve exclusively used the Canon 5D Mark II for capturing video. For general audio I have a hot-shoe-mount mic made by Sennheiser (MKE 400). For music videos we record the music in a studio and lay it as the main audio track. For my latest project I used a separate sound crew who used professional booms, shotguns, and LAV mics.

3. What is the biggest difference for you between shooting video and stills?

The biggest difference during the shooting process is motion. Moving the camera while recording makes all the difference whether it’s a pan, dolly, crane, or steady-cam shot. I’ve found that keeping the camera motionless makes video more stagnant and less appealing. On the editing end, it’s a much more laborious process due to the file-sizes of the videos. It’s also more difficult to tone and edit 30 pictures per second.

4. How do your still and video work influence each other?

I feel that I’m a photographer at heart. Since I’ve started toying with video, I consider myself more and more a filmmaker as well. I think I have a lot to learn, but the ease of the 5D II makes it enjoyable to teach myself.

Martin Sundberg – Fielding frequent questions from clients about video, Martin recently produced a video shoot to test the waters.

1. How much do you shoot video compared with stills?

I’m still shooting nearly 100% stills for my professional and personal work, but nearly all of my clients are no inquiring if I can also produce video in addition to stills. On my last large shoot I started out thinking I would shoot a little video to show my clients how the activities might translate when we began our video productions. Yet, over 10 shoots at 10 locations, I only shot stills. Right now my mind set is, one or the other — video OR still. I think there have to be two different shoots or I have to have a video camera operator on set who I could direct while I shoot the stills.

2. What tools do you use to shoot video?

I am exclusively using the Canon 5D Mark II. We are capturing audio separately using a Marantz digital recorder.

3. What is the biggest difference for you between shooting video and stills?

When shooting photos I am really focused on perfecting the single moment. One perfect image. Video is about the flow through the frame and linking moments. Not all the moments in a sequence are perfect, but you only spend a fleeting moment looking at any one frame.

4. How do your still and video work influence each other?

I’m a photographer who is exploring video. I definitely think like a photographer… but I LOVE applying that to my new work in video!

With a clear goal and strong business plan, you can get paid to shoot what you love -- like this dream campaign Menuez shot in Dubai for Emirates Airlines. He was commissioned to document the culture and people of Dubai for a month and the creative team pulled the ads from the edit. Dubai for Emirates Airlines, ©2009 Doug Menuez/StocklandMartel

When most photographers set up shop, they focus on becoming better photographers, naturally. Few photographers, however, develop even the most basic skills they need to run their own business. They hope to hang on long enough to be discovered before they sink under their own lack of knowledge. That’s like building an intricate jeweled house atop quicksand. (Look in the mirror, repeat after me: “You want fries with that?”)

The “get discovered” strategy implies that someone else will take responsibility for your own financial well-being. Ideally, we’d all be born independently wealthy, have our spouse deal with the money, or find the perfect business manager or agent who can do this for us. I’m here to tell you — snap out of that lovely fantasy! Not. Gonna. Happen. And even if, by the grace of the angels, it did, you would still need to learn the basics in order to participate in the decisions being made about your money. Even the best business managers need your help to help you succeed. You really don’t want to be one of those poor schmucks who got super successful but are now penniless because you trusted someone else to handle all your business decisions.

In my new column for RESOLVE, “Seeing Money,” I’ll be sharing what I learned the hard way about the business side of photography during nearly 30 years in the industry. I started as a fine-art student, moved into photojournalism, built a multimillion-dollar advertising studio with a staff of 15, then closed that monster and reconfigured with a minimal crew and low overhead. Along the way I made and lost fortunes.

I never understood money; money was not my goal. I was — and am — all about making great images. But I learned to respect and understand that money has the power to support my most important work. I hope to help you realize the same thing by explaining what works, what mistakes to avoid, and how to recognize the ways our creative brains sometimes sabotage our own success — especially whenever it comes to managing money.

I am constantly trying to answer the difficult question, “How do you reconcile the conflict between art and commerce?” I give the long answer in my workshops. The short answer is, “Get paid to shoot what you love to shoot.” To achieve that, you have to build a solid foundation, step by step, to financial security.

Many photographers have a lot of fear around money; they think it will dilute their talent and corrupt their values, or they just can’t handle the math. I’ll provide pain-free financial management tips you can apply right away. OK, that statement was a lie — there is no such thing as pain-free financial management. But rest assured that my lessons will be less painful than if you did not learn these skills at all. Plus, you are benefiting from all the pain I’ve already gone through to get where I am today. Best of all, as you begin to learn and apply fundamental business lessons, you will find that you gain confidence and actually begin to enjoy the business part of your photography business.

In this “Seeing Money” column, I will discuss the steps you need to take right now to start (or save) your business. Check back soon if you wish you knew more (or didn’t realize you needed to know more) about:

• basic bookkeeping
• writing a business plan
• getting an SBA loan and line of credit
• working with an accountant
• managing cash flow through accounts receivable/payable reports
• insurance
• legal issues
• important business tools