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January 7, 2009 |
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Created and Maintained by: The Photoimaging Information Council |
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Interview by Mary McGrath |
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TakeGreatPictures.com (TGP): Why did you decide to add weddings to your photographic repertoire? Natalie Fobes (NF): A few years ago, my husband and I adopted a baby. I didn’t want to travel anymore. I wanted to stay home with her. Besides, camping out in Siberia in the winter had lost its appeal. But it would only work if I could find a way to replace that lost magazine assignment income. I remembered how much I had enjoyed photographing colleagues’ weddings. I asked a few of my friends for referrals and my career as a wedding photographer was born. It is an awesome honor and responsibility to be commissioned to photograph a wedding. You don’t get a second chance for great wedding photographs. But at the same time, I think my creativity has been stimulated because of them. I photograph every wedding as an opportunity to grow photographically. My goal is to create fine art for the bride and groom….the art of their wedding.  Natalie in a changing hut at a hot spring in Russia © 2007 Natalie Fobes
TGP: Tell me a bit about your background as a photographer. NF: I didn’t plan on becoming a photographer. I was studying architectural engineering at Iowa State University when I took a photo course to fill out my requirements. It was fun but the instructor assigned us to photograph rocks and trees. Fortunately the second class I took was taught by a photojournalist. Professor Bill Gillette insisted that I stop photographing concrete columns and start photographing people. Once I did my first real person portrait I was hooked. I realized the incredible opportunity to learn that carrying a camera gives.  Ironworkers at Safeco Field from Natalie's third book © 2007 Natalie Fobes
TGP: Did your family have any influence in this career selection? NF: As far as whether my family influenced my decision to be a photographer, well, I became a photographer in spite of my father’s interest in it. When I was around seven, my father took up photography. I still remember the long, hot, vacation driving through Colorado. Dad pulled off the road every 100 yards or so to take photos of wildflowers. He’d crouch over his camera, tripod and light meter and set up for the shot. After a few minutes he’d take a shot. Then he’d sit back on his haunches and look at the flower again. Then maybe another one. In the meantime I was scrunched between my brothers in the back seat. They loved to torment me and because Dad and Mom were out of the car they took advantage of the chance of poking and tickling me. Once when I’d had enough I got out of the car and sat on a little knoll. The breeze was hot but not as hot as the fire ants that had crawled up my legs. It was awful.  Natalie and her brothers © 2007 Natalie Fobes
Poor Dad, he was so proud of his work. Unfortunately the subtleties of his vision put us to sleep during the slide shows. That is a lesson I remember. Whenever I put together a presentation I remind myself that few photos are worth more than 2-4 seconds on the screen! TGP: Did you have any formal instruction in photography? If so, where? NF: I have a Bachelor of Sciences in Journalism with an emphasis in photojournalism from Ohio University. I have a lot of minors thanks to a creative professor who found ways to incorporate three years of science classes into a liberal arts program. I’ve taken a number of workshops in different areas of photography. And I’ve given quite a few myself. TGP: Who are some of your photographic influences? NF: Arnold Newman, Bob Modersohn, Alan Berner. All break the rules. My dad, who told me there were always at least two sides to every issue. My mom, who said I could do anything I wanted to do…and that I would be happy to have such broad shoulders when I grew up because they are good for carrying cameras!  Natalie after shooting in a Russian snow storm © 2007 Natalie Fobes
TGP: Do you ever work with assistants? If so, in what capacity? NF: I usually work with assistants when I’m shooting weddings. For my editorial assignments I usually work alone. I have a part time office person. TGP: You excel in many types of photography. Are there different skills involved with each photographic discipline? Do you have a preference for any particular subject? NF: I have worked in many different areas of photography over the years. Long term documentary stories, fashion, sports, environmental portraiture, breaking news, weddings, fine art, books. I love challenging my creativity. It keeps me interested and passionate about my art. And each area compliments the others. For example, my photojournalist’s ability to capture moments and tell photo stories is invaluable in my wedding photography. My fine art eye for composition and light permeates through all of my photography. My genuine interest in my subjects helps set the stage for honest, insightful photos. While photojournalism is different than fine art is different than fashion is different than weddings is different than portraits, the skills I hone for each transfer to the others. My goal is to educate, move, and entertain the viewer, to capture life as it happens. To show people what they may not be able to see for themselves. And to create lasting and amazing portraits that give insight into the subjects of my camera.  Fun at a wedding © 2007 Natalie Fobes
TGP: Tell me a bit about being a Pulitzer Prize finalist. NF: I was a finalist for the Pulitzer Prize in the specialized writing category about salmon and the salmon cultures. (I think it was 1986) A team from the Wall Street Journal won that year. I received the lesser known but almost as prestigious Scripps Howard Meeman Award for Environmental Writing that year. And a few photo contests. Some of the reporters at the newspaper had their noses out of joint that a mere photographer could win so much recognition for her writing.  Natalie's first book, a ten year project © 2007 Natalie Fobes
TGP: What makes you decide when to trip the shutter? Is it an intellectual process, an instinctual endeavor? NF: My best photos are instinctual but that doesn’t mean I don’t anticipate a moment, get in position and watch for when that moment happens. It’s all about educating yourself, and then having the patience to wait for the moment. But the trick is to remain open when life hands you the incredible little surprises that make great pictures. One of my favorites is when the groom’s childhood minister got up and danced with the belly dancers. The most incredible moments I have photographing are when I’m totally one with the subject, when we communicate without speaking, when it feels like we are one. Those moments are rare. I remember and am thankful for every single one.  Minister dances with the Bellydancer © 2007 Natalie Fobes
TGP: Where do you see your work headed in the future? NF: I know I have many more good stories in me like the one I am working on about adoption. I was a finalist for the Alicia Patterson Fellowship a couple of years ago. I’m still looking for funding. The Patterson Fellowship was the grant that started me on the Salmon Project in 1986. And I plan to teach more workshops and college courses. (I taught graduate level courses at Ohio University one quarter and really enjoyed it.) But in the meantime I like where I am now, making photos, meeting interesting people and enjoying the time I have with my husband and kids. Equipment: Camera Memory Card Lenses Tripod Filter Software Camera Bag Scanner Color Management Monitor Cases Lighting Computer Storage Meters
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