Home > Culture > Mentor Showcase > The 2007 Best-of Series: Sabina Louise Pierce
The 2007 'Best Of' Series
We have now produced an annual Best Of issue of the ASMP Bulletin for the third year in a row. As before, we selected twenty projects for our issue — but this year, we had nearly 200 excellent submissions! It was a tough decision, and we thank all those who submitted their work. We hope you will enjoy reading about these projects.
Sabina Louise Pierce, Philadelphia, PA
Web site: www.sabinalouisepierce.com
Project: Post-surgery documentation of Kentucky Derby winner Barbaro
Sabina Pierce’s dual passions of photography and horses achieved a rare level of convergence when the University of Pennsylvania Veterinary School assigned her to document their efforts to rehabilitate the illustrious racehorse Barbaro. A bond with her subject turned into her saving grace when, in the midst of her assignment, Pierce was faced with a life-altering injury of her own.
All images © Sabina Louise Pierce
ASMP: How long have you been in business?
Over 12 years as a photojournalist, 11 years as a freelancer.
ASMP: How long have you been an ASMP member?
5 years.
ASMP: What are your photographic specialties?
I’m a photojournalist by nature. So anytime I can employ my love for capturing the moment — whether it be editorial, corporate, PR, advertising or marketing — if I can apply documenting and reacting to anyone of them, it’s a nice fresh take.
ASMP: Please describe the processes and techniques central to the making of this work.
I think Cartier-Bresson summed it up best as “seeing and reacting” to the “decisive moment.” You must also put yourself in a position mentally and physically to be able to be in the best position to attain these things. Of course as I get older and more experienced it get easier to sense how to make those moments happen too.
ASMP: What do you consider your most valuable piece of equipment?
My eye. Without it, I’m nothing.
ASMP: What is unique about your style/approach or what sets you and your work apart from other photographers?
I think it’s the unadulterated freshness of my look. I really do love what I do. Its not about the dollars. Of course its great to make money, but the experience is just as important. I’m richer from all the experiences.
ASMP: Please describe your background and past work as a photojournalist.
I went to school to be a documentary filmmaker and took a photo class by lark. It changed my life. After taking a photograph of a soccer game and seeing everything that was stopped in time for eternity, I could never look at moving frame again, I felt that there was so much that was missed as moments whirled by so fast that they were lost. After graduating through the back door of photojournalism, I worked for two years at a small paper learning my street skills, but photography was becoming a job instead of remaining my passion. So I struck out on my own, freelancing for the Associated Press and several other news outlets and magazines; honing my skills. My eye kept growing and now I have several great clients including the NY Daily News, the New York Times, Campbell’s Soup and Verizon Wireless. I enjoy doing a range of different things as it keeps my eye fresh.
ASMP: Have you always been interested in horses? When did your personal interest begin and how did it manifest itself then and now?
I got my first horse at age 6 and grew up on the back of a horse. I have always loved them, along with all animals, they were my best friends. One of the first photographs I ever took was when I was 8 and it was of my pony. I took it up close and off kilter. When I got it back from the developer it did not look like any photo I had ever seen, so I assumed it was not something I was very good at, and I didn’t pick up a camera again till I was 21. Eight years ago I went undercover on a story for Philadelphia Magazine about baby horses that go to slaughter in Canada. I was given a foal, TOBY, as a thank-you and have had her ever since. So it was only natural when Barbaro was injured and sent to New Bolton hospital for treatment that I would be his exclusive photographer to feed the media outlets. I was able to combine two things I love.
ASMP: Please describe your strategy and approach in applying your interest in horses to your professional career.
I have not had a strategy. I think when you love something as much as I love photography and animals, it’s only natural for the two to converge.
ASMP: How much work had you done with the Penn Veterinary school before the Barbaro assignment? Were you the only photographer they approached for this project?
I had been working for them for a year before Barbaro was injured. When they approached me first, I had prior commitments and was told that if I could not do it, they would have to find someone else. So I made it happen. I knew it was something I would not be able to live with if I didn’t.
ASMP: What kind of negotiations were involved between you and the client regarding these images and licensing rights?
I own the images and copyrights. Originally I was hired to feed the media outlets with images of Barbaro, as he was in a working hospital which could not have media disturbing their day-to-day operations, let alone the other sick horses. But after a certain amount of time elapsed, I retained the rights to the images, and anyone that wishes to use them outside of Penn must negotiate with my agent.
ASMP: How was syndication of these images handled? Do you handle this or your client?
I burned a disk of several select images after each visit and distributed them to my client for their website and for several news outlets that put them out on the wire.
ASMP: Do you work with a distributor for stock or do you do this yourself? If you do work with a distributor, for how long have you had this relationship and how did it begin?
I retained a horse photo agent, Horsephotos.com, that just sells certain images of mine. I retained him after Barbaro died and I realized what I had. Exclusive images of a horse that will live in infamy.
ASMP: Have you received any new clients or offers due to your work on this project? Has this had any impact on your visibility or profile within the equestrian marketplace? Within photojournalism circles?
Yes, and yes. My one photograph of Barbaro rising above the pool after his injury was picked by Time magazine as one of the best photos of 2006. It was seen on every major newspaper and TV news outlet the next day. I am more visible in the equestrian field, but I really have not pressed to do more work in that area.
ASMP: In your opinion, what made Barbaro different from other horses? Did you learn anything new about photographing horses through this project?
Barbaro was a rock star and the Dalai Lama wrapped up in one; he was one of the most amazing souls I had ever met.
ASMP: During the course of this assignment, you were injured in a separate incident. Please describe what happened and the challenges you faced in coming back to work.
I had an unfortunate accident while competing on my horse last October in a paperchase, which is a race of sorts. My horse spooked, jumping 2 feet sideways, and I went over. I landed on my back and fractured my T12 vertebra, compressing it 50 percent into my spinal cord and tearing a disc at L-5.
The doctors said I was a miracle to have not severed the cord, let alone to be able to use my legs. They said I should have been a quad. I was med-evaced to The University of Pennsylvania Trauma center and, like Barbaro, my joint (his was in his leg, mine was in my spine) was fused with bone from my hip. Two rods and four screws were placed in my spine (though he had many more screw in his legs!).
I was back walking a day later and back to working a week later, with the aid of a narcotic patch and a body brace. I was limited to one or two hours at a time and only 6 hours of work a week, and I could not lift more than 5 pounds for 3 months. It was quite challenging. I had to spend the rest of my waking hours in bed, or in my house. Anyone would have gone stir-crazy, but having gotten close to Barbaro helped me heal. I felt that if he could endure the pain and the setbacks, then I could too.
It was hard, as being a freelancer doesn’t afford me with the option of taking it easy. My clients were wonderful. A few sent me flowers and gift baskets with food, and others picked me up since I wasn’t allowed to drive. Most of the ones I had to turn down came back to me.
It’s been an uphill battle with chronic pain, and it makes work a challenge at times, but I have learned to work with as much as I can, and it has renewed my vigor and love for photography. I travel as light as I can. I bought new photo equipment that lightens my load and I wear a brace that helps support my back. As a photojournalist I prefer working alone, but now I sometimes need to use an assistant for jobs that I would have done alone before.
ASMP: Given this experience, do you have any specific advice for other freelance photographers faced with an accident or health concerns of their own?
Keep your chin up, stay positive, and make sure you have health insurance. If I had not had health insurance, I would I have lost my house by now. The whole bill for the accident was more than a quarter million dollars. It’s probably good to get disability insurance. I didn’t and was lucky to have reserves in the bank.
ASMP: What is the current status of the book that you wrote about this experience? If you do not find a publisher through an agent, will you self-publish?
I have finished the book and am currently looking for an agent and publisher. I have a few interested. I had an agent but was unhappy with him, as he didn’t get the human-animal bond, and I felt that for someone to represent my book they must have a love for animals.
If I don’t get a publisher, I will self publish.
