IF YOU WEREN’T A PHOTOGRAPHER, WHAT OTHER PROFESSION WOULD YOU PICK?

If I weren’t a photographer, I’d still like to create or build something that’s tangible. My father was a contractor and I always enjoyed watching his progress from starting a job either from scratch or renovating a space and seeing where it ended up when he was finished. I’m not sure if I would want the contractor/construction life, but maybe something like woodworking? I don’t know, I don’t put much thought into it since I’m still very immersed in being a photographer.

May 2022 ©Scott mcintyre

Sep 2020 ©Scott mcintyre

WHAT HAS BEEN THE MOST CRUCIAL DECISION YOU HAVE MADE IN YOUR CAREER’s DEVELOPMENT?

I’d say that letting go of any preconceived notions of what kind of photographer that I SHOULD be and let myself be the photographer I want to be. When I was starting out, I saw what sort of work won awards and received widespread notoriety, and thought “Well, I guess I should strive for that kind of work,” but It still didn’t feel like my heart was fully in it. I tried to start projects that I thought people would want to see, and while I felt what I was doing was important, it still felt more like a job than a passion. Personal projects are supposed to be something that fills your tank, so to speak, and when I started finding stories that made me more curious, I felt that I was starting to find my vision.

HOW IMPORTANT IS RESEARCH IN YOUR WORK?

It’s very important, but I don’t consider it to be the most important part of my process. I gain a lot more knowledge and perspective when I’m out in the world I’m trying to document, talking to people, and getting a first person perspective on a town, community, etc. I don’t feel like I have a good handle on a story or assignment until I’ve been in the space for a decent period of time.

IS THERE A PHOTOGRAPHER/ARTIST WHO IS A CONSTANT REFERENCE FOR YOU?

Absolutely. It’s the photographer Alex Webb. While my tastes for photography and documentary work have evolved over the years, his work remains my absolute favorite and continues to inspire me. If I’m ever feeling stuck or in a rut, visually, I pull out some of his books and just pour over them. I love how long I can stare at his work. That is one of my constant goals when I’m working. Build something within a photograph so people want to take their time with it.

WHAT WOULD YOU NOT WANT TO PHOTOGRAPH?

I’m not a fan of photographing assignments or stories where there are a lot of other photographers around. Being in a “scrum” with several photographers who are all trying to make photos of one person or situation just feels awkward and inauthentic to me. It’s the nature of some stories or assignments I work on and I understand why it happens and it’s just part of the territory of news photography, but I try to challenge myself to look around, away from the pack as often as I can.

at what point did you feel you were a photographer, and what made you think that way?

I’d say it was when I was working on my first long term project when I was studying photojournalism at Western Kentucky University. I was following a couple who were roller derby teammates, and photographed their relationship as it evolved over the span of a few years. I don’t know if there was a specific moment, but as I started building the body of work and getting good feedback from mentors and professors, I started to get that “I get it” feeling. Along with getting feedback, I started being drawn to specific moments or body language that tells the story without being so overt. I’m not sure if that makes sense, but I wanted to show feeling, and have it be recognizable to people who didn’t know this couple. Comfort, elation, strife, love, all of it...

WHAT IS THE STARTING POINT OF YOUR CREATIVE PROCESS?

I try my best to go into a story/assignment/project with almost no preconceived attitudes or have work previously done by other photographers as a visual backdrop so to speak. I want to go into something genuinely curious where I can let the scene or people involved inspire how I photograph it. Some stories call for different approaches and I like the ride the wave of uncertainty and build as we go. I’ve learned over the years that going into a story or project with an end product already in mind usually results in disappointment.

HOW DO YOU DEFINE YOUR PHOTOGRAPHY WITH a #tag

#controlledchaos sounds dramatic, but feels somewhat right. I like to do a mix of documentary/photojournalism and portraiture all while letting serendipity play a role.

WHAT EQUIPMENT DO YOU USE, AND WHAT IMPORTANCE DO YOU GIVE TO TECHNIQUE?

I mainly work with Canon cameras because that’s what I learned on. I don’t really focus on gear though. I try to work light with the least distractions as possible. I’ve never been a person who enjoys talking about gear or going all out on getting the newest and latest stuff. I just need to know that it works and I know how to use it.

HOW DO YOU DEAL WITH REJECTION?

I try not to let it bother me, but I’m a human being, so it can be tough. I understand that there is a time and place for every kind of story, so even if an idea or pitch gets rejected, I take it as a learning experience, but still pursue my idea if at all possible. I also try to keep in mind that I may not be the right fit for some stories or my work may not be the project editor/art director/producer’s cup of tea.

HOW DO YOU THINK YOU HAVE ACCOMPLISHED SUCH SUCCESS?

“Success” feels a bit too complete of a word for me. I go into every project or assignment as a personal challenge to get something unique or striking by taking chances. There are times where it works and sometimes it doesn’t and that’s a part of the ride. The ride is where the action is. I also try to have the same attitude I mentioned earlier about projects. I keep my mind as open as can be, have a good attitude and be available for those unexpected moments. Sometimes all of those aspects line up and it works. There are times at the end of the project or assignment that I feel was successful by either hearing kind words from colleagues, editors, or companies that commission me and that’s great. Don’t get me wrong, I also get those feelings about my work too, but it’s fleeting. I’m typically ready to sink my teeth in to something new pretty quick.

HOW DO YOU APPROACH STRANGERS IN YOUR PROJECTS OR TO INCLUDE IN YOUR PROJECTS?

I like to treat these sorts of interactions so it doesn’t feel like an interview, but more like a first date where you’re trying to get to know each other. I share some things about myself while I’m getting to know them. I also try to be as honest as possible about my intentions. It’s a big question, asking someone if you can be a part of their lives with a camera for a period of time, so I try and see it from their end. If people aren’t into it, that’s completely fine and we move on.

IS IT COMMON FOR YOU TO QUESTION YOURSELF OR YOUR PHOTOGRAPHY?

I question myself and my work nearly every day. I’m constantly trying to improve and evolve. I assume it’s a pretty common feeling when it comes to creative work.

WHAT How is your approach to the art world/photo-book world?

Coming from a photojournalism background, this is something I’m trying to get a better understanding of as I grow/evolve. I love looking at photo books and given that most photography is viewed these days on screens, I want to put more of my work in a tangible form. I made my first zine during the early parts of the pandemic and got a lot of it. I’m in the middle of making one now with a project I haven’t shared anywhere else yet. It’s a whole different muscle, building an essay like this, but I’ve been enjoying it.

WHAT WOULD YOU SAY TO A NEW PHOTOGRAPHER WHO IS JUST STARTING OUT?

If you want to do this work, you have to be fully committed, almost obsessive. It’s a craft that takes so much time just learning the ins and outs of using a camera, but even more time finding your vision. I’ve been doing this nearly 20 years and I still feel like I need to grow and improve. Also, this kind of work necessitates you being out and about, making pictures. It’s not the kind of work where you wait around for the call to come in for you to start your photography journey. The more you practice, the more mistakes, the more learning, the more talking to strangers and asking to photograph them; it all leads to growth.

PHOTO CONFESSIONAL: Scott McIntyre

ROBERTO MATA SCHOOL OF PHOTOGRAPHY

PHOTO CONFESSIONAL: Scott McIntyre

305: Lilly Grella

ROBERTO MATA SCHOOL OF PHOTOGRAPHY