Q&A: Lauri Lyons, First black female Getty Photog

As traditional and new media become more and more intertwined it is always interesting to speak to people who are involved with the more traditional medias about their methods, to see how they differ from those that are purely new media based and how they see the intersection of traditional and new media. We were lucky enough to be able to steal some time with Lauri Lyons , the first African-American female photographer to be signed to Getty images, to ask her a few questions.

If you are unfamiliar with Lauri’s work, there is a great short documentary about her on Current.tv entitled In the Frame, and a very nice portfolio on her website. She is also working the social networking on MySpace and flickr.

What were your first thoughts when you found out you would be signed to Getty Images?

I was incredibly happy to be signed to Getty Images. I always wanted a syndication contract to gain exposure for my work, so it was a great milestone.

Did you know that you were the first black female to be signed?

During my initial meeting with Getty’s Director of Photography, I was offered a contributor’s contract. A Getty employee informed me that I was the first Black woman to receive a contract. Getty is the largest stock agency in the world, so it never occured to me I could be the first Black woman signed to the company. When you’re focused on your goals you just think about getting the work done, so I was very surprised to learn that I broke a barrier.

As so much traditional media is being supplemented and replaced with online content, and large archives of stock imagery such as Getty and iStockphoto are available online, we were wondering if this has influence photography at all. Do you feel that so much photography being available online has changed the photography world?

Over the last ten years the number of photographic images for viewing has exploded. It is very difficult to go anywhere without seeing photography in your environment and even harder to not be photographed. There are cameras everywhere! Although I am a photographer, I do feel that we are on the brink of oversaturation in terms of quantity vs. quality. Because there are now so many more images available for usage, price is now a major deciding factor in regards to which images are circulated in the media. Most publications go for the cheapest images for usage (ie: $1), which are not necessarily the most beautiful or creative image. Generally speaking, the more conceptual or more well known the photographer is, the more expensive the image costs. The upside to the proliferation of images is: more people access to archives and collections which were basically inaccessible to the general public.

Does the way the photos will come across and be presented in digital media influence the type of photography you take?

My visual aesthetic has not changed due to the use of digital media. However, through teaching I do find that a lot of aspiring photographers are heavily reliant on post production tools, such as Photoshop, to compensate for their lack of photographic knowledge and technique. Instead of taking the time to learn the photographic craft, they are more interested in ‘fixing’ things with the computer. The more capable you are with your camera and lighting, the less post production you will have to do. Unfortunately people no longer respect the differences between being a photographer and a graphic designer. Both are creative fields, but they are different.

We know that photography as a tool to archive history is something that is important to you. How do you feel about the trend of more and more photography being archived and accessible online such as the hosted LIFE photos?

Archives are important because it allows people from all walks of life to be able to access a wide array of images and documents, which were previously inaccessable or unorganized. As a photographer, archives can provide a platform for you to build a legacy of your work and career beyond your lifetime.

As your work focus on the global experience of black people of the diaspora, what things have you seen globally that you try to capture with your work?

I love to capture the pride, dignity and diversity of people throughout the diaspora. I’m not interested in shooting war, crime, and poverty, which are basically the three topics covered when people of color are featured. The global experience of black people in the diaspora is as wide and varied as the world itself. I hope my photography is a reflection of our joy, truth and brilliance.

Is there something you are looking for when you go to places or do you just let what is happening find you?

My intuition and curiosity usually leads me to my next destination. However, once I think I know where I am going, I begin to do a lot of cultural, historical, and statistical research about the people and location. Research helps me to focus on a specific story and to have an idea of what to expect or look for. The research also is a big part of the logistical pre-production. Once you know where you want to go, you have to know how to get there! After I research and prep, I let the adventure begin.

If you could give a message to any young and up and coming black photographers, what would it be?

Learn your craft, shoot what you really care about, and don’t give up.

What projects are you currently working on?

Since 1998 I have been documenting the transformation of contemporary African culture in the Americas. I have just completed a project in South America.