Leslie Spurlock Introducing.......

Tell us a little aboout yourself and how you treansitioned between wedding photography and the role of, photo Journalism?

I actually started out doing photojournalism. Wedding photography only came about because I got a divorce, and photojournalism doesn’t pay as well. As soon as I got remarried, and I was able to quit weddings, I immediately went back to that type of work.

In terms of how I got into that type of work, I actually just decided I wasn’t getting any younger, and I had to just make the leap and do my passion. That is when I took off for Haiti. I ended up going to Haiti 6 times and covering things like the uprising (when I lived with the rebels), to voodoo, to a flood that killed 3000 and a variety of other things.

The range of emotions and drama that you capture in your images is amazing, from an intimate portrait to a dramatic scene in the thick of the action. Can you walk us through your process for capturing candid shots that capture the truth, beauty, and heart of humanity?

Sure, first, I try to make people feel comfortable with me, whether it’s portraits, or covering a natural disaster or anything of that nature. I try to capture emotions no matter what I’m photographing. It’s an important part of telling the story, even in wedding photography. When I’m covering disasters, the people actually want you to show the world what is happening because they need people to care about them. I try to be their voice. Even in protests, it’s the raw emotions that draw the viewer in. I’m constantly looking around me to find that emotion or drama and to predict where I think it might happen. - - -

Which of the “events” that you have documented is the one that has had the biggest impact on you personally and why?

While there are several, I would have to say it’s the time I covered the flood that killed 3000 people in Haiti. It was also during this time that I almost died. It was such a hard event to cover. People were buried alive in a mudslide, there were bodies everywhere, I walked in water with dead bodies, and people were begging me to get the word out about what was happening in order to get more help. It was at that moment I really realized how important the job that I do is to the people in these situations. It was also the time I realized my mortality.

A guy was actually shooting and trying to kill my friend and I back in the capitol. I always thought I would die for a Pulitzer, but as he was coming closer, I didn’t even try to get more shots. All I could think about was how bad this was going to hurt and whether or not I should be shot in my head or my stomach.

In your opinion how has the rise of social media and citizen journalism affected the role of professional photojournalists in today's world?

I believe it has in good and bad ways. It has definitely gotten even more difficult to make a living in this profession. A lot of the time, citizens are there first and can capture immediately what is happening.

Photojournalism is a time sensitive profession, and being first to get the images out is of utmost importance. While this is true, sometimes, it’s the things that happen after everyone leaves that are the moments that are most impactful.

As far as social media, it has definitely helped to spread the word of situations happening. For me, I use social media not only to get my work seen more, but I also use it as a new source. A lot of the time, when things happen, we first see them come across social media rather than news on tv. Even new outlets post first on social media a lot of the time, especially Reuters and AP and others like that. Sadly, social media can also spread propaganda which hurts our business. So, we just strive to continue to tell the truth and show the world what is happening and try to make the world care. - - -

How do you approach covering sensitive or controversial topics, such as those related to politics or social justice?

Oh, that’s such a tricky one. I do my best to cover both sides. You have to, but you can’t help but feel for one side or the other. It’s really difficult but you just do the best you can to remain as neutral as possible.

- - -

What drew you to storm chasing and how do you capture the heart of the storms in your photographs?

Actually, storm chasing was my release for the wedding photography world. It was a time to be with my friends and enjoy Mother Nature and its fury. I have a team that I started, Tornado Sirens, and I try to have a driver, a navigator and myself (I choose what storms to cover and where to position ourselves).

It’s always a long day. We drive for hours, often to other states just for the day, and spend many hours just waiting for things to happen. When they do, that’s when I’m in my element. There’s nothing like being out there and witnessing the beautiful, yet sometimes, sadly, destructive, forces of nature. I try to get in the best position to stay safe, yet capture the beauty of the storm. If you are too close, you miss the structure of the storm. I will say, if there is damage and people injured, I always stop the chase and try to help. - - -

How has your experience covering events like Hurricane Katrina and other natural disasters influenced your perspective on climate change and environmental issues?

As the years go on, I’ve noticed these events that I’m covering have been getting worse and worse. Katrina was bad due to the levees breaking. It was actually only a category 3 storm at landfall. Years later, covering Hurricane Harvey, some areas got up to 50 inches of rain. It was devastating. I’ve seen that the amount of category 3 storms or greater has seemed to increase a lot over the years. - - -

Can you tell us about your experience living with the rebels in Haiti and how it impacted your approach to photojournalism?

Sure, that was a crazy time. I had never been in a situation like that before, where there was gunfire and all. I arrived in Port-au-Prince, and set out the next day for Gonaïves, which was rebel territory. The rebels had the only road into the area blocked off with large containers. I managed to get around the containers, where I was met with rebels, but they let me pass through. At one point, I noticed some of the leaders of the rebels drive by in an SUV. I flagged them down and asked if I could tell their story. They had a meeting with me that night, in the slums of the area. I had no idea what would happen, but they decided to allow me to live with them. I lived with them for 3 weeks. Most of the time, there was no electricity and the airport had been shut down.

They eventually ousted President Aristide, and I was the only photographer allowed in to photograph all the rebels doing a champagne toast to Guy Philippe for his birthday and for the celebration of the removal of the President.

I eventually went back home to my family. The experience was a huge influence in my photojournalism career. It made me believe in myself, and I realized I could indeed do this type of work. It taught me that life was short, and it could be over before you even know it. It also made me realize how lucky we have it in the US. - - -

How do you balance capturing the events you are witnessing with your own safety and well-being during protests and other volatile situations?

It’s a hard balance. I am always watching all around me for any impending danger. I’m watching people’s reactions to see if they are about to turn on me.

In the protests, not only do I have to make sure the protesters are ok with me being there, but I have to watch for the police/federal troops. I’ve been tear gassed a lot and shot with a paint ball by police. I do have a bullet proof vest, helmet and gas mask.

For hurricanes, since we are usually in the biggest danger zone, we just do the best we can to survive the storm. The places we stay in often get damaged quite a bit, so we’ve been pretty lucky. After the storm ends, we have to make sure we have quite a bit of extra fuel, since there is usually no access to gas. We have to bring food, water, portable battery chargers, etc, since there is no electricity and often no water. - - -

Can you tell us about a particularly challenging project you've had as a photographer and how you overcame them?

Hmm, I think the most challenging was when I was covering the flood that killed 3000 people in Haiti. Not only was it emotionally hard, it was logistically hard. There was one road into the area that was hardest hit, and it was basically a lake. Many vehicles, including UN vehicles, didn’t make it and were stranded in the flood waters. I went in with a smaller vehicle, but somehow, my driver and I made it through. When we got in, it was nightfall. The city was still underwater, and people were living on top of their roofs. I was on assignment, and the agency I was working for wanted me to get the images (that night, in the dark, with no electricity) and transmit them back. We had no internet at all. It was impossible for me to get safely back to the capitol with the images that night. I ended up getting fired, but that’s ok. I wasn’t going to risk my life, and I was picked up by a better agency.

The emotional toll has had a lot of effect on me. There were bloated bodies everywhere, people buried alive in a mudslide that also occurred, and I was walking in water, risking staph infection, with bodies to try and get some of the shots. I will never forget the scene when I looked into a large, open window, and sticking out of the mud that engulfed the house, was a hand, as if they were trying their best to escape. It was one of the saddest things I’ve seen. The images still haunt me to this day. - - -

Are there any projects you are currently working on that you can tell us about?

Right now, I am not currently working on a project, but I have a few that I plan to do. I want to continue my series on tribal cultures that are dying out, and I want to go to Ukraine and cover the war from a family’s view.

- - -

What advice would you give to aspiring photojournalists who are interested in covering social and political issues?

The best advice would be to start small, with a smaller protest, and get your feet wet. Try your best to stay neutral and make sure you know the environment you are heading into. You always need an escape route, if at all possible. Anyone interested in photojournalism at all, should first start with something in your own area, where you can spend time with the people you are photographing, build up a name. I don’t suggest what I did and just go straight into a war zone. You need to really know what you are doing, typically, to go into that type of atmosphere. - - -

What equipment do you suggest a new photographer carry with them?

I would suggest keeping it simple and light. You might need to run at any point, so you don’t want to have to carry a bunch of equipment. Make sure you have equipment that can handle low light since not everything happens during the day or outside, and a lot of people find flash distracting. I carry just two cameras and two bodies. Also, make sure you have water with you. You might be there for hours with no access to water or food.