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Steve McCurry has been one of the most iconic voices in contemporary photography for more than thirty years, with scores of magazine and book covers, over a dozen books, and countless exhibitions around the world to his name. Born in a suburb of Philadelphia, Pennsylvania; McCurry studied film at Pennsylvania State University, before going on to work for a local newspaper. After several years of freelance work, McCurry made his first of what would become many trips to India. Traveling with little more than a bag of clothes and another of film, he made his way across the subcontinent, exploring the country with his camera. It was after several months of travel that he found himself crossing the border into Pakistan. There, he met a group of refugees from Afghanistan, who smuggled him across the border into their country, just as the Russian Invasion was closing the country to all western journalists. Emerging in traditional dress, with full beard and weather-worn features after weeks embedded with the Mujahideen, McCurry brought the world the first images of the conflict in Afghanistan, putting a human face to the issue on every masthead. Since then, McCurry has gone on to create stunning images over six continents and countless countries. His work spans conflicts, vanishing cultures, ancient traditions and contemporary culture alike - yet always retains the human element that made his celebrated image of the Afghan Girl such a powerful image. McCurry has been recognized with some of the most prestigious awards in the industry, including the Robert Capa Gold Medal, National Press Photographers Award, and an unprecedented four first prize awards from the World Press Photo contest, to name a few.

What do you think are the core elements of a “strong” image? What makes a powerful image is the confluence of several key elements, such as composition, design and emotion, in a pristine moment that reveals a deeper truth. So how do you feel when encountering one? I seldom have a plan, and I feel that the times that have been the most fun and productive have been those where I literally just get up and wander around, looking for situations and subjects to shoot. It’s amazing how things just magically happen and pictures ‘reveal themselves’. To elaborate on the previous question, I’d love to discuss the importance of the “story” in the image, especially in your portraits. Do the type of stories or emotions you want to convey affect your work in the field (color choice, composition, background, time of day to shoot etc.)? We connect with one another via eye contact, and there is a real power in that shared moment of attention, in which you can occasionally catch a glimpse of what it must be like to be in another’s shoes. I think this is one of the most powerful things about a photograph. A picture of a guy in the street in New Guinea, with a bone through his nose is interesting to look at. But for it to be a really good photograph; it has to communicate

something about what it is like to live with a bone through your nose. It is a question of the moment to reveal something interesting and profound about the human condition. So do you think there is a difference in creating a “story” in a solo image, compared to a series, as part of photographic assignment for a magazine, for example? What is important to my work is the individual picture. I photograph stories on assignment, and of course they have to be put together coherently. But what matters most is that each picture stands on its own, with its own place and feeling. Of course every portrait is a “new story” and a whole new challenge, but can you share some kind of a workflow you’ve mastered over the years in your people photography? For example, how do you choose between a close-up shot and an environmental portrait, when you encounter interesting face? You need to find a technique that you enjoy. There needs to be an element of pleasure, and you have to be photographing in a way that allows you to find your comfort zone. I usually work in a fairly classical way, trying to avoid drawing too much attention to my technique while allowing the story in the picture to speak for itself. With photographing, and assessing different situations, I think it’s just a question of experience.

Judging, and evaluating the situation moment to moment, and just trying to make a picture that’s representative, that’s true, and that’s ethically honest. You once said that you gained yourself the nickname “Prince of Darkness”, because of your preference to shoot at the light of sunrise. Catching the light of the “Golden Hours” is definitely dominant in your outstanding portfolio. But how do you manage to work during the rest of the day, dealing with the harsh, mid-day light? I always get out early, not particularly because I am looking for early morning light or late afternoon light. I just like to get out and walk around the day from start to finish. But I do think my work often leans to the dark side of lighting. When I’m working on a project, I like to be out and shooting at first light, when there is that rich, warm light. When walking down a street, I will always be on the shady side of the road. I’ll usually take a break, or go inside, during the brightest part of midday, then go back out to work more until I lose the last of the daylight. On bright and sunny days, I tend to work indoors. Today, when every corner of the globe has been photographed, can one still create an original image, especially when photographing at your own local town or city? How do you keep your eyes and mind sharp to help you look for that unique image?

In time, you start to develop your own way of seeing and then it’s your own personality coming through the camera. We are all unique individuals; we all have our personalities. We all have our own voice, and our own style. If you look at the photographers whose work we admire, they’ve found a particular place or a subject, dug deep into it, and carved out something that’ll become special. These days, you are a successful lecturer and lead photography expeditions worldwide. Can you tell us a bit about your photography workshops and how can people sign up? I really enjoy running expeditions with photography enthusiasts of all types. The participants vary from upcoming professionals to advanced amateurs who take their work very seriously. Sometimes they are people trying to get into the field professionally, or just someone who finds photography as a compliment to what they do in the rest of their lives. So, Do you remember what you wanted to be when you grew up? I wanted to be a filmmaker. If you had to choose a different field other than your own, what would it be? I would probably go into film, which I studied in college.

What would you consider a successful day for you? Any day that I am out, observing something new, and exploring the world is a success. If I manage to make a good picture, it’s even better. What kind of equipment do you use today (camera and most useful lenses)? These days I shoot primarily with a Nikon DSLR and a 24-70mm zoom lens. For certain jobs, I will shoot with my medium format digital Hasselblad. It’s not easy to summarize your entire career in once sentence but can you share one core piece advice with me, something that helped you to become the photographer you are today? Be prepared to work really hard. Unless you are absolutely obsessed with it and have a true passion for your work, it’s not going to happen for you.

“What is important to my work is the individual picture. I photograph stories on assignment, and of course they have to be put together coherently. But what matters most is that each picture stands on its own, with its own place and feeling.�


Brief d'étude