Deanne Fitzmaurice is a multi-award winning photojournalist who strives for honesty and authenticity in her stories. She won the Pulitzer Prize in 2005 for her sensitive photo essay about Saleh, an Iraqi boy who came to America for medical treatment. After working for the San Francisco Chronicle for 18 years, she now works as an independent photographer and has had her photographs published in renowned publications like Time, Newsweek, and Sports Illustrated. Fitzmaurice is also a frequent lecturer on photojournalism and multimedia and has been a guest speaker at PhotoPlus in NY 2009 and Imaging USA in Florida 2008.

What makes you wake up every morning and want to take photographs? What keeps you going?
 I’m a storyteller at heart. I am always learning and always growing as a photographer. These days I am learning how to tell stories with multimedia, adding video and audio to my still photographs. I’m finding I can add richness and depth to my stories with audio and motion. I find it exciting and challenging to tell stories with these new tools available to still photographers.

You have said, “My job is always an education in all aspects of life.” Can you please elaborate some more on that statement?
I find myself on the front lines of current events in news, sports and entertainment. I’m there to observe, understand and capture nuances of some of the most influential, interesting and controversial people of our day such at President Barack Obama, Tiger Woods and Barry Bonds.

More Photos by Deanne | Fotosocial

I understand that you are most fond of doing picture stories. Why so?
I like putting together picture stories, a series of still photographs that tell a story with each one building a layer of information. I’m always trying to create depth and understanding. A theme of my work has been how the human spirit can overcome insurmountable obstacles.

I think sensitivity and compassion helps in understanding and showing what another individual is experiencing.

How important is it in your field to get to know your subjects better?
I think trust and honesty are central to my work. My subject has to trust that I will depict the truth. It sometimes takes time to build that trust.

How does one walk the fine line between sensationalism and accurately depicting a story?
I think it is important not to go into a story with a preconceived notion of what the story is. It is a process of discovery as the story reveals itself. As a photojournalist I try to capture the story with honesty and true authenticity.

More Photos by Deanne | Fotosocial

Is it better for a photojournalist to be sensitive when covering a news story or should he/she leave it up to the editor to filter the content later?
I have had the opportunity to work with some photo editors who have the same sensibility as me and that is the best case scenario. Photo editors usually hire photographers whose vision they share. I think sensitivity and compassion helps in understanding and showing what another individual is experiencing.

More Photos by Deanne | Fotosocial

Do you need to have a thick skin to become a successful photojournalist?
It helps to be able to handle some rejection because it can be a hard field to break into. Print media outlets are shrinking, however new doors are opening with web and multimedia. So I think you have to have drive and passion and not let anything stop you from doing what you want to do. Do one little thing everyday toward your goal.

I believe in the power of photojournalism to affect positive change.

Have you ever highlighted an aspect of a subject in your photographs that is unflattering but true?
In the story of Saleh, the injured Iraqi boy, there is a photograph of Saleh crying on the ground at his father’s feet. It was a difficult picture to shoot, but it is a very important picture in the arc of the narrative to show the depths of emotion that he experienced.

How do you deal with criticism of your work?
I ignore it.

How has being a woman affected your life as a photojournalist?
I think there may be situations where my presence has put people at ease but generally I think it is more about who you are as an individual. For example, growing up, my mother was a librarian and my father was a fighter pilot. I think I got a soft-spoken side from my mother that helps get me into places, then once I get there, I sometimes have to be a dare devil which I got from my father.

More Photos by Deanne | Fotosocial

How do you feel about teaching photography?
I believe in the power of photojournalism to affect positive change. So I think it is important to educate and encourage the next generation of photographers.

What led you to form Think Tank Photo?
The camera bags we needed did not exist. We were looking for high quality bags that solved the problems of working and travelling while carrying a lot of photo equipment. So we went about creating Think Tank Photo and designing bags unlike anything else on the market.

How much of your work goes on in the darkroom?
As much as I loved working in the darkroom, I haven’t been in the darkroom in years. My work is now all digital and is done on a computer.

What are your thoughts on printing?
Printing is the end result of your artistic expression and should replicate the way you saw the scene.

	Quick 5: Your Favourite Shoot: Anytime great moments are happening. Your Preferred Location: Anywhere great moments are happening in beautiful light. Favourite Photographer: Eugene Richards Most memorable story: Saleh, an injured Iraqi boy who came to America for medical treatment. I have been photographing Saleh and his family since 2003. Current photographers you like: Eugene Richards, Sebastiao Salgado, James Nachtway, Elliott Erwitt Toughest day at work: I like to think positive thoughts.

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