I have been involved in photographing the horrific aftermath of September 11, 2001 since that mind numbing day. I was in New York that morning, having breakfast with my friend David Harvey when the first plane struck. We were in Chelsea, less than two miles from the attack but the overwhelming chaos prevented us from getting close to the site. We were able, however to get close enough to shoot a few frames with a long lens. A few months later I was assigned by the National Geographic to do a small story on the cleanup-up and rebuilding of the area near ground zero. That story was published in September 2002, on the first anniversary.
In 2009 the magazine assigned me to photograph some of the artifacts that were found among the debris at the site. These objects were donated to the National September 11 Memorial and Museum. I also did some photography at Hangar 17 at JFK International Airport where the large steel beams from the demolished Trade Towers and the partially destroyed, first responder vehicles were being housed. The magazine ran a collage of some of these images in September , 2010. The Washington Post has many of those photos on its website here.
As a National Geographic Photographer I have developed a specialty in lighting objects, whether from a museum, a tomb, or even underwater treasure. I was not prepared, however for the emotional impact that taking pictures of the personal effects left by the victims would have on me. The eyeglasses, shoes, and billfold were too recent and too personal for me to feel removed. Last year, the National Geographic again asked me to be involved in another 9-11 story. Susan Welchman, a friend and photo editor at the magazine and I wanted to create some kind of positive look for the 10th anniversary. We decided that portraits of the people who escaped the devastation, along with their personal stories of survival and how they have now moved on with their lives would honor the resilience of the human spirit. It wasn’t very easy to find people, but with the help of our writer Luna Shyr we were able to get together a representative group. If I didn’t believe in luck and serendipity before I met these incredible people, I do now. The difference between life and death that day was measured in split second decisions.
The portraits were all shot in a studio using a medium format, Mamyia Camera and 33 megapixel back. I spent a lot of time creating the appropriate lighting style. My friend Cliff Hausner from the MAC GROUP showed me how to best use a sports reflector to obtain the type of catch light I desired in their eyes. It was very important to me to capture the finest detail and feeling from the faces of these survivors.
The photos can be viewed on the National Geographic website here. This was a collaborative effort amongst a lot of people at the National Geographic, friends, and the survivors that took the time to spend with me. It was not a usual assignment and I feel privileged to be a part of it.