Recently named one of the top 20 emerging artists to watch by PDN and Rangefinder magazine, we got a chance to catch up with New York based video journalist Mae Ryan to ask her about her blossoming career and how she sees the world through her lens.
Q: In your bio, you state that your career started in your high-school darkroom. What prompted the transition from photography to video?
A: I love photography and it still inspires a lot of my video work,but when Itried to tell more complex stories in stills I found that it was difficult to build a narrative that an audience could follow. Video allows me to construct narrative arcs and give more context to my subjects than I could with photography, but I still really do love both.
Q: Since you were working with film, what are your thoughts on the film vs digital debate? Do you have a preference for how you work?
A: I did start with film in during high school and I still own a fair amount of film cameras, but sadly they are starting to collect dust on my shelves. When working for clients, I don’t have as much time to meticulously scan and take the dust off of negatives. On the rare occasion that I do take out a film camera there is something liberating about not being able to see the photo right away. It makes me think twice about my framing.
Q: How did studying Architectural Design at Stanford affect your work?
A: Studying architecture actually led me to journalism. After I graduated from college I got an internship at Architectural Record and that’s where I started making my very first videos. It was an easy way to learn how to use the camera since the buildings weren’t moving anywhere fast and I got a feel for editing short pieces. Beyond that, I haven’t found a way to make all those physics classes pay off yet.
Q: You’ve got a pretty impressive client base – who was your first big client? What was the gig and were you nervous about taking it on?
A: One of my first assignments was for The Wall Street Journal. I was supposed to shoot a concert at Lincoln Center and when I got out of the subway I couldn’t find the show where the editor told me to go and freaked out a little bit. Eventually I found a show, shot it and sent in the photos. Right away I got a call from the editor who said the photos were great, but he accidentally sent me on the wrong day. I still got to see a great show.
Q: How did you market yourself early in your career? Has your marketing changed as your client base has grown?
A: I first started as a freelancer in New York and mostly shot photography and edited videos for clients. Since then, I’ve had full-time jobs at KPCC, a local NPR station in LA, and now I’m at The Guardian. Since I work full-time, I don’t think too much about marketing myself. Right now, I like to build relationships with people in both the photography and video world instead of sending out postcards or making newsletters.
Q: It seems like the majority of your work is photojournalism or documentary – are these your favorite things to shoot? If so, why? If not, what is?
A: I love getting glimpses into other people’s worlds and I’m always surprised at how many subjects will let me hang out with them just because I have a camera. With photojournalism anddocumentaryphotography, it’s beautifulwhen you can get to a point with subjects where they almost forget you’re there. Of course, you are sticking a camera in their face so it’s hard to forget, but some of the best photos that I take are when I can fade into the background of a scene and let things play out.
Q: How’s it feel to be named one of the 20 emerging artists to watch by PDN and Rangefinder?
A: It’s an honor to be on that list with so many other talented filmmakers and friends in the community.
Q: Where do you see your career going next?
A: Right now, I’m making videos full-time for The Guardian and traveling throughout the U.S. One day, I’d love to get some more international assignments.
Q: What advice can you share with other aspiring photographers and filmmakers as they pursue their growth as artists?
A: Keep making work and share it with as many people as you can. I had to make a lot of bad videos and take a lot of pretty terrible photos to get any better.
Q: What gear do you never leave home without?
A: On video shoots I always have my C100 and 70-105mm.
Q: Through your lens you see…
A: Through my lens I get access to people and places that keep expanding my world view.
For more information on Mae Ryan and her work, visit her site at maeryan.com
