Makers Series — Michael Fiedler
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Time to read 4 min
Written by: Sadie Giacomelli
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Published on
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Last updated on
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Time to read 4 min
My journey in photography began when I was 19 and became a US Navy photographer aboard the USS Eisenhower. That really started everything for me. I’ve been photographing people ever since. I've been highly influenced stylistically by the photographers August Sander, Henri Cartier Bresson, Sebastio Salgado, and particularly Richard Avedon.
But the thing that has probably shaped me most is that I’ve also kept a journal every single day since 1986. I’ve never missed a day. Over the years, photography and writing have become pretty inseparable for me. My current project, Who We Are, brings those two things together. I make a black-and-white portrait of someone and then ask them to write something in their own handwriting about what’s really going on in their life. I’m interested in ordinary people and the things we usually don’t get to see. In my current project, the act of physically writing is just as important as the photograph.
As far as my creative process goes, I think what really gets me going is the moment when someone stands in front of my camera, and I don’t know what they’re going to say or how the portrait is going to turn out. I like that uncertainty. I’m always looking for that little moment when someone lets their guard down. That little bit of tension that's required to make a portrait interesting and memorable. As I'm photographing each individual, I'm talking with them, trying to understand them in this small moment and doing what I can to prepare them for sharing something revealing about themselves in the handwriting. I'm always thinking about the writing that will follow the portrait.
This is obviously Who We Are.
Who We Are is probably the most meaningful project I’ve ever worked on. It's the crystallization of everything I've done before. It's as if all the photographs I've made and all the handwriting I've done and collected over four decades have led to this.
I want to know what ordinary people are going through, what they are thinking, what's important to them, and what they might be experiencing in their life at that moment. It's deeply personal. I am giving them a space to be heard and permission to write what ordinarily would remain only in their thoughts.
What makes it special to me is that I’m not just making a picture of somebody. I’m trying to preserve a little piece of who they are at that particular moment in their life. The photograph is my voice, and the handwriting is theirs. I’ve been doing this all over the country, and the books are becoming this growing analog archive of people and their stories.
I really have no idea where it’s going to end up, which is part of what I like about it.
I actually discovered Blackwing through the Reporter’s Notebook. I’m a lifelong journal keeper, and I always carry a small notebook with me when I’m photographing. The Blackwing notebook ended up becoming a constant companion during Who We Are—it’s tucked into the chest pocket of my Safari jacket while I’m working. I use it to jot down names, ideas, observations, and small occurrences during the day. That's how my connection to Blackwing really began. I immediately liked the thoughtfulness and simplicity of it. It felt like something made for people who actually write things down. It's perfect for what I do, and I have one with me wherever I travel.
Other tools I use are my camera, obviously. But probably more important than any piece of equipment is a tripod and a cable release. The cable release allows me to step away from behind the camera, so I can talk to and interact with each subject while making their portrait. This slows everything down and allows me to concentrate on the person instead of the mechanics of making the photograph.
And then there’s my journal. I’ve carried one for 40 years, so writing is just as much a part of my process as photography. My Blackwing reporter's book is always in the pocket of my safari jacket. I use it not only to write down names and locations but as a reference for how I want to communicate to each subject the importance and gravity of what they are about to write.
Slowing down the process- Nowadays, photography has become very transactional. You meet somebody, make a picture, and move on to the next person. Digital photography naturally operates this way.
With Who We Are, I try to give people enough time to actually think about what they want to say. We are already communicating about what they might share, while I am making their portrait. Sometimes the best part of the process is sitting there quietly while somebody writes. You don’t know what they’re going to put on the page. You just have to wait. And when the process is over and the pen is put down, I feel as if I am receiving an absolutely unique, tangible artifact from each person, because I am.
As far as advice I'd give to fellow photographers starting their journeys, what I would say would be particularly applicable to those who, like myself, are primarily interested in photographing people. I sometimes see younger photographers get consumed by the technical side of photography- megapixels, focal lengths, resolution- but honestly, you really don't need to know much about a camera to make meaningful pictures. Photography is a social skill. What you need is a deep curiosity about people, and the empathy to truly "see" another human being.
Instagram:
https://www.instagram.com/theworkingjournal
Websites:
https://www.michaeljfiedler.com/
https://www.working-journal.com/
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