The Military Photojournalism Connection

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MPJ Connection: Who has influenced your photography the most?
There are too many to list them all. Some are “names” in the PJ world, but many are just quiet PJs who I have had the pleasure to meet, but that I highly respect. Among those who have influenced me most are:

Former Marine Corps Staff Sgt. Rene Reyna -- Early in my career it was Rene who mentored me daily and showed me how to use my PJ kit which consisted of a Nikon FM2 body and a Vivitar 285 flash. He always had time for us and was truly inspiring. I always tried my best to gain his respect by giving my all to picture making. He taught me how to shoot TMax and Fuji chrome film with my Nikon gear; I still use this combo today as my primary.

Former Marine Corps Sgt Eddie Adams – I was fortunate to be introduced to Eddie in 1993 at a USMC Combat Correspondents Association conference in Hartford. Eddie told me that the job of the military PJ was very important. The MPJs are often the only ones to visually record the history of their respective service and tell the story of the “regular Joes” on the front line who sacrifice and serve often without notice from the world. He also shared with me that when all is said and done that “It is the picture that matters most.” I took his teachings to heart.

Simon Norfolk – Simon came to Syracuse to show his work and experiences covering genocides during WW II and then again in Rwanda, Africa in 1994. More than just the quality of his photographs, Simon’s life as a PJ struck me as extraordinary because of the personal impact the subject matter took on him. Covering the Rwanda story, he was one of many PJs who were emotionally shaken by the Rwanda experience; a story that was well-covered by journalists, but failed to move Western leaders enough to take serious action.

Koyichi Sawada – A former U.S. Air Force photo lab civilian assistant turned war photographer for UPI, Sawada’s most famous images of the war in Vietnam were, in my opinion, ugly and horrible. But I think his work is fantastic, powerful, and to me, very influential. Looking at his Vietnam work causes immediate introspection along the lines of, “Can it be possible that humans can do these things to their fellow humans?” And the question that naturally follows is: “Can there be another solution other than war?” I think most who see his work, at least his well-known shots of the war, will most often arrive at these two questions. That’s powerful image making. I never met Sawada; I was still in diapers when he was killed covering combat action in Cambodia in 1970.

Andy Rain – I met Andy several times in Tokyo at photo-related professional education events and he struck me as an extraordinary PJ; not just for the quality of his images, but also for his personal code of conduct while on assignment. At a lecture and presentation in Tokyo of his work from the African conflicts, he told the audience that while working such stories – where his subjects are often starving to death before his very eyes – he often will go days without eating while photographing his suffering subjects. That is inspirational to me.

Kobashigawa – This man has one clearly defined message in his images: “Do not harm the sea.” He has dedicated his photography to the never-ending battle against all who seek personal gain by harming the sea. I really respect his vision and sense of purpose in his work. It is very powerful image-making because it is so focused in its message to all who may see it.
 

MPJ Connection:  What advise would you pass on to young photographers just starting out?
Take your time. Don’t try to force your eye overnight. Let your skill develop naturally. Don’t try to be a world-class PJ overnight; that’s virtually impossible. Work hard to learn your craft, but let your eye develop over time. Never turn down a good assignment or course (military, civilian or other) that will increase your education and knowledge. And most of all, reach out to an experienced photographer – military or civilian – and ask them to serve as your mentor. You will find that all the good ones will say “yes.”

MPJ Connection: Are you shooting all digital, all film or a combination of both?
I shoot 90 percent film, ten percent digital. I shoot Tmax and Fuji Chrome films most often.

MPJ Connection: What are you doing to advance the craft of photojournalism in your shop?
First - Conducting regular professional lectures and slideshows from local PJs who have volunteered their time to teach and mentor our young military PJs. Second - Participating in as many lectures, workshops and professional development events as possible in the civilian PJ community and returning that knowledge to the military community. Third-Enforcing and demanding high standards from military photographers and their image making. Finally, Working to exterminate the attitude, “It’s good enough for government” photography.