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Master Photographers Tell You How

Vincent Laforet Balancing Creativity with Objectivity Article by Erica Wright Photojournalist Vincent Laforet has documented a wide range of historic events.  Find out what advice this top-notch pro has for aspiring photojournalists. Article rating: 4.56

The good news is that there's an opening at The Times; the bad news is that it requires filling Vincent Laforet's vacant shoes. Laforet began working as a photojournalist for The New York Times in 1999. His tenure included covering sporting events, the Gulf War, post-September 11th Manhattan (for which he won a shared Pulitzer Prize), and most recently Hurricane Katrina. Yet Laforet admits that he's no adrenaline junkie; he just wants to tell stories.

At an early age, Laforet was interested in fine art, but frustrated by how slowly paint dries. Photography was the inevitable alternative. And he had it in his genes—Laforet's father was a photographer who worked at Gamma for many years. However, it is not an aversion to oil and canvas that fuels his zeal for photography; at least in part, Laforet is driven by the ability of photographs to promote change. He speaks passionately of his experience covering Hurricane Katrina, of his responsibility to get those horrific images out and, consequently, increase the nation's awareness of the situation.

Although the effectiveness of his images make the label "conflict photographer" seem apt, Laforet's range of photographic talents are much larger. He began as a sports photographer, covering local events while a journalism student at Northwestern University in Chicago. And there was much to cover in the area—the Northwestern Wildcats (Rose Bowl bound in 1996), the Bulls (led by Michael Jordan), the Bears, and even with a little effort the Green Bay Packers. Laforet's enthusiasm for sports photography had to be redirected when he began work at The Times two-and-a-half years after graduating with his Bachelor's degree in print journalism. His six-year career with this well-respected publication allowed him to produce many memorable photographs. Those photographs— whether an aerial shot of ice-skaters in Central Park or an eye-level shot of a F-14 Tomcat aboard the USS Abraham Lincoln—made Manhattan readers buzz. And now he's moving into the realm of commercial photography.

Yes, Laforet left his staff position at The New York Times to pursue work that allows him more creative input. The fundamental skills he has cultivated—taking chances, seeking quality, and respecting the photographic subjects—can only serve him well in this new arena. And his life is not in total upheaval; he can still be found acting as an adjunct professor at Columbia University and occasionally taking his wife and young son to pick pumpkins before Halloween.   

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