CRITICAL PHOTOJOURNALISM

Michelle Groskopf (they/them) is an editorial and commercial Photographer whose clients include Apple, Wired Magazine, New York Magazine, GQ, California Sunday, Bloomberg Businessweek, Square, MMBPltd, and Shopify.

The interview was lightly edited for clarity and length.

I've shot the Emmys, the Vanity Fair party, the Oscars, I've photographed so many things and, the more important the event, the more red tape will be involved. So, first and foremost just being clear with the editor or the people you're working with to find out what are the key boots-on-the-ground things you need to get inside the building. You have to be very clear about where you're getting dropped off, who your contact is, do they have your info, do you need an ID, do you need to let them know you're bringing an assistant? You also have to figure out if I'm going to need to be editing (and filing) on the spot, do they have proper WIFI at the venue? What do I need to accomplish this task? There's a lot of security issues and logistics things you have to consider. Then usually there is some PR person involved that you are dealing with, it's important to know that. Sometimes you have to expect you won't be able to run freely, you might have someone walking around with you and you have to respect it but also figure out what you can push back on and what you need to do to tell your story correctly. 

I’ve also experienced celebs who, even though it was very much a PR event, they made things hard for me to get photos of them. You have to smile and move on and not take it personally. It's tricky and you have to really understand the political maneuvering or else you won't get called back for those jobs. Those PR people or the celebs will remember you and make things difficult for you. You're also there as a representative for the outlet you're there for. I'm not Michelle, I'm here as the New York Times or New York Magazine or Vanity Fair, whoever I'm working for at the moment. 

If you're photographing something that has a lot of high profile guests, there should be a list going around with names of who you need to photograph. It's important that I know who people are so I make sure to photograph them. So sometimes there's a little handout with little photos and names that you can get hold of before an event or once you get there.  

Bags are really important: keep your camera bag organized and format your cards in advance. Be very organized with your cards because you don't want to confuse them i.e. have two separate containers for used cards and free cards. I always bring two camera bodies, and if I know it's going to be hectic and crazy, I'll bring one lens like a 35 or I'll have a zoom lens. I don't like to change out lenses on the fly, for me it's too stressful. I always have water and energy bars with me. Make sure that you drink water! It's very easy to get dehydrated if you're in the sun. I've photographed Coachella and gotten too excited, running around in the hot sun, forgetting to drink water. I almost got really sick. Sometimes, you don't have a place to charge your batteries, so I have tons of extra batteries I bring. I have extra flashes as a backup in case something falls and breaks.

If you're doing an event that has key moments, be aware of when those moments are happening or make sure someone will tell you when those moments will happen so you're in the right place. Don't miss important things. I'm not in one stationed area, not taking posed photos of people. I try to avoid poses. I'm trying to catch people unawares and get the energy, capture the vibe of things. I keep my eye on what everybody is doing and then tend to go in a different direction. Like if everyone is clumped in one area around a single person, I'll go to a different area or try a different angle. You're a tool, so you get to bring the people there and be experimental and have fun, but also you have to tell the story of the space and the event. 

Doing your best work to tell the story of an event is often connected to having the right tool and information to do so. So, what kinds of gear and logistical prep work will set you up for success in an event situation?