During our interview with photojournalist Maggie Steber, she observed that the photography business is now so challenging that you have to be a “never-say-die person” to succeed. But it was no easier for Steber when she was starting out than it is for any fledgling photographer. She explains in this excerpt from the interview how she learned to persevere through failure, and prepare for her big break.
PDN: You mentioned you had to come up with ways to think about the business so it doesn’t crush you. What were your strategies for that?
Maggie Steber: If I had a bad interview, or somebody didn’t like my work, I would go home, and I would cry, then I would look at my work and realize that I had to be better. I had to be really honest with myself. In some roundabout way, those people were trying to help me. I turned whatever negative thing I could around. You have to do whatever it takes to stay positive in this business, because it can be discouraging–and more so now because it’s so much harder.
PDN: Was there a particular incident where you got kicked in the teeth, that taught you how to handle setbacks?
MS: I was very young, I just graduated. I had saved money, and went to Paris for three months, and I was street shooting, thinking I would be the next Cartier-Bresson, which everybody thinks! Somebody decided to [revive] Look magazine [in 1979]. Eliane Laffont, who used to be in charge of Sygma, had been hired to be director of photography. They were having a portfolio review day. I was there with my silly little portfolio. I waited and waited and waited, and finally got to go in and see her, and she went through it very quickly and said, “I don’t know why you are wasting my time with this. You’re just a dilettante. What is this? There’s no story. Who do you think you are? Cartier-Bresson?” And every time I tried to say something, she wouldn’t let me finish. She just said, “You’re wasting my time, you’re wasting your own time. This is silly, thank you, goodbye.” I went home, and I cried, then I looked at my work and I thought, “This woman is exactly right. She’s absolutely right. I have these pictures, and what do they say? They didn’t really say anything about France. They don’t even say anything about me.”
PDN: And so what did you do?
MS: I thought: Why do I want to take pictures? Why am I in photography? I decided what I really wanted to do was to tell stories, so that’s what I started to do. I started really small. I found a magic shop that had a cat that did card tricks. I found a doll hospital, [owned] by this eccentric man who repaired dolls, and he had this whole relationship with these dolls. Little bitty stories. Then I started going to Cuba on my own time and my own dime, and I did a lot of work and I was terrible. I was learning how to tell stories, how to do a long-term project.
Now, Eliane and I are dear, dear friends, and she did me one of the biggest favors anybody ever did for me.
PDN: How long did it take you to get your chops?
MS: I had a real ally in [veteran photo editor] Jimmy Colton, who gave me enormous opportunities throughout my career. He had my back. Every time I would come back [from Cuba], I would make a tray of slides, and I would go show Jimmy at Newsweek. He would give me ideas and feedback. I couldn’t get my foot in the door at TIME, at all, or if I did, I had a very bad experience. Which told me right away: Don’t go there, that’s not the place for you. That was a good lesson to know: Where do you fit in? Who’s welcoming you with open arms? It wasn’t like Newsweek was publishing my work at the time, but they were open to looking.
And then [in 1984] for the 25th anniversary of the Cuban revolution [Newsweek] sent me to Cuba with a writer—their UN bureau chief, a woman—to get an interview with Castro at the 25th anniversary [of the Cuban Revolution]. I had about 20 minutes to photograph Castro. [Newsweek] ran [the interview and pictures], and every Miami Cuban cancelled their subscription after it came out. [Castro loved it.] The next morning, a convoy of Jeeps came down the road, and who’s driving the first jeep, but Castro.
All these big journalists had ignored us, these two little girls. We got into [Castro’s] Jeep, to the great surprise of all the famous journalists. We went to a little private farm, and we walked in, there was a barbecue. Gabriel Garcia Marquez was there. Castro held court. We ate, and drank. I was taking pictures like a nut. It was remarkable. I really wish I had been a better photographer. At one point, Castro laid down in a hammock, and pretended to be asleep, even though he was smoking a cigar. He was playing with us, because he loved, loved the interview.
So I got lucky. It had nothing to do with me, it was that Jimmy Colton sent me, and we had this great opportunity presented to us. So developing relationships matter. Find at least one person who says, “I can’t use this but I see something in you.” [And then] you have to prove yourself on your own time, and your own dime.
PDN’s 30 Photographers on Building Support for Their Work (For subscribers; log in required.)
How to Make the Most of a Portfolio Review (For subscribers; log in required.)
Advice on Funding Your Photo Project
Photojournalist Natalie Keyssar discusses how women (and photographers of color) are denied the same opportunities as white men in the photo industry, and why that needs to change. “It robs everyone, including white men, of the ability to understand other perspectives. In such a terribly polarized country as we’re in today, lack of empathy... More ›
Photographer Minzayar Oo, who was reporting on the Rohingya crisis in Bangladesh on assignment for GEO magazine, was detained with his assistant Hkun Lat on September 7, according to Oo’s agency, Panos Pictures. The two men have been accused of espionage. Police say the journalists entered the country on tourist visas rather than journalist visas, and... More ›
After five months of planning, Diversify Photo today launched a database of 340 photographers of color from around the U.S. Brent Lewis, senior photo editor at ESPN’s The Undefeated, told PDN in May that he and independent photo editor Andrea Wise had begun compiling the database to show photo editors, art buyers and other creatives... More ›