In The Room Where it Happened: A Survey Of Presidential Photographers
January 12 – March 31, 2024
Our understanding of the U.S. presidency is largely shaped by images. Photographs of political campaigns, international engagements, historic legislation, and national tragedy, accompany more intimate family scenes and humanizing portraits, each contributing to the global perception of the American presidency for generations to come.
Featuring the work of the official White House photographers Shealah Craighead, Eric Draper, Michael Evans, Sharon Farmer, David Hume Kennerly, Bob McNeely, Yoichi Okamoto, Adam Schultz, Pete Souza, David Valdez and staff photographer Joyce Boghosian, this group has shaped our vision of the presidency for the last 6 decades.
Presidential photography highlights the complex nature of creativity, documentation and portraiture. Each photographers’ perspective and stories provide context for framing important moments, giving viewers a deeper understanding of the challenges and rewards of documenting the presidency, offering a comprehensive and insightful visual narrative of the U.S. presidency through the lens of these dedicated and talented photographers.
About David Valdez –
After graduating from high school in Albuquerque, New Mexico, David Valdez enlisted in the U.S. Air Force, where he was trained as a photographer. He served with the 836th Combat Support Group for four years, and then earned a BA in journalism from the University of Maryland at College Park. While he was a student there, Valdez was employed by the U.S. Department of Agriculture and the U.S. Department of Housing and Urban Development (HUD) as a photographer. He left the federal government to become chief photographer for the U.S. Chamber of Commerce. In 1983, he became personal photographer to then-Vice President George Bush. In 1988, President Bush appointed Valdez Director of the White House Photo Office. During this administration, he traveled to 75 countries and all 50 states with the President. In 1997, he published George Herbert Walker Bush: A Photographic Profile.
Valdez was appointed General Manager of Photography for Walt Disney Company in 1993. In 2001, he became special assistant to the HUD Assistant Secretary. From 2003 to 2010, Valdez was the Director of Visual and Electronic Information for HUD’s Assistant Secretary for Public Affairs.
Valdez donated his archive to the Briscoe Center for American History at the University of Texas in 2012.
In 2021 Valdez was appointed to the Georgetown Texas Arts and Culture Board where he serves as Chairman. David is also on the Board of the Williamson Museum and is Founder and Host of the Texas Photography Festival.
Interview with David Valdez, Chief Official White House Photographer from 1989 to 1993, during the presidency of George H. W. Bush
How do you approach capturing the essence of a U.S. President through your lens?
David Valdez: I was fortunate to have been Vice President Bush’s photographer for 6 years before becoming the President’s photographer, so I had developed a personal relationship with President George H.W. Bush. He interjected into a “Today Show” interview that I was doing; he said, “He might not like this, but Bar and I consider him a part of our family.” Knowing that, I was free to go anywhere and photograph whatever I wanted.
One of my most famous photographs was of George and Barbara Bush in bed with some of their grandchildren. “Life” magazine ran that photo double truck the first time, then “Life” published the photo several more times, including in “Classic Moments in Life” and “The Best of Life” for the past 75 years.
I was always concerned with missing the moment because President Bush was very active and athletic, so he was moving fast. He didn’t wait, so I had to anticipate what was going on but also concern myself with the existing light and mood of a situation. Sometimes, documenting a situation didn’t necessarily mean that every element in a scene was perfect, but that was part of the deal.
I did not consider myself political, but I did respect President Bush. I saw the behind-the-scenes of how he treated people and was so gracious to others. Even though he was President of the United States, he looked up to the institution of the Presidency and respected that more than anything else. He used to say the most important things to him were his family, faith, and friends. Working with someone with those values made it easy to approach each day with my camera to capture history.
In June of 2024, it will be the 100th anniversary of his birthday. I hope I did him justice with the images I captured during his presidency.
How do you navigate the balance between capturing authentic moments and respecting the president’s privacy?
DV: President George H.W. Bush was a family man first, but he brought me into the family so many times. As an example, when his mother was on her deathbed, he asked me to come in and take one last photo with his mother. When his daughter had her first son, we went to the hospital to see his new grandson. The nurse would not let him in to hold his new grandson, so while he talked to the nurse, the Secret Service held the door open so I could get a photo of the new baby.
In the Soviet Union, we went to President Gorbachev’s home in the suburbs of Moscow. When we got there, he noticed that Gorbachev’s photographer was not there. Apparently, the photographer had never been there. President Bush said he couldn’t start the meeting until Gorbachev’s photographer was there, so we waited till he showed up. In Jordan, we met with King Abdullah. The King was curious about me. President Bush said not to worry because I was a friend and it was okay for me to take photos. I knew when I needed to leave a situation. I didn’t need to be there for an entire meeting, but I could stay as long as I wanted, but I just knew when to leave. I think he respected that effort on my part, and that gave me maybe more access.
During the beginning of the first Gulf War, I was asked to come into the Oval Office. When I got there, I realized the Gulf War was about to start. He realized the importance of having photos of the moment, but it was so classified I was locked in the Oval Office and not allowed to leave for 12 hours. I think by then, we had developed a relationship that went beyond the President and photographer, but a trust in the role I was playing in his Presidency.
I’ll never forget when the Berlin Wall came down and the Soviet Union collapsed, several of his political appointees wanted him to go to Berlin, stand on the wall, wave the flag, and say we won the Cold War. He said no, “It’s not our victory; it’s their victory, and if I go, some rough Russian General will launch missiles.” 30 some years later, I am at a meeting with a Ukrainian missionary who had been in the Soviet Army. He said he was so proud that President Bush did not go to Berlin that he carried a picture of President Bush in his wallet all these years. The photo he showed the audience was my photo.
Are there specific rituals or routines you follow when preparing for a presidential photoshoot?
DV: I used to receive three Presidential schedules. The first was a block schedule that showed the whole month, with maybe a two or three-day trip somewhere in the United States. The second schedule was a weekly schedule that would show a CIA briefing, a Cabinet meeting, a night at the Kennedy Center, and so forth. The third schedule was a daily, minute-by-minute schedule of everything the President would do on that day.
I would start the day by making sure batteries were fresh for my camera and flash. The key was just to be there and be ready for anything. You could go to work one morning at the White House and end up anywhere in the world by the end of the day. A regular day was 15 hours, but it was like this 7 days a week.
Can you discuss the importance of visual storytelling in conveying the president’s narrative through your photographs?
DV: Every day brought a new story. As long as I was there, I felt confident in capturing the essence of the day, whether it related to something that happened earlier or anticipated future events. The goal was always to capture history in the making, and despite having a daily schedule, the unpredictability of each day meant you never truly knew what you might encounter. There were off-the-record moments that arose spontaneously—like dropping by a football team practice or the President going into a store to buy a Valentine’s Day card for the First Lady.
One significant event I recall vividly is President George H.W. Bush signing the Americans with Disabilities Act into law. I remember that day on the South Lawn of the White House. Now, 30 years later, whenever I see handicap parking spots, curb cuts for wheelchairs, or handicap-accessible entrances to buildings, I’m reminded that these exist because President Bush had the vision to make it law so many years ago.
What role does collaboration play between you and other members of the presidential communication team?
DV: The most crucial individuals to me, aside from the President, were the Advance Team. This team was responsible for setting up events and creating photo opportunities for the media, such as positioning a USA flag on the wall, arranging a step-and-repeat background with a particular message, or deciding who would be on stage with the President.
Whenever I disembarked from Air Force One, a member of the Advance Team would approach me and discreetly inform me of what they considered the “shot of the day” for that event. Having spent days preparing, they were well-versed in the lighting and the best angles. I prioritized those shots first, as I was new to the location, and then I would capture an over-the-shoulder shot to showcase the audience. The Advance Team played a crucial role in simplifying my tasks.
The White House Press Office was also pivotal. They would brief me on the significance of a meeting or event, enabling me to grasp the context better and understand the importance of certain moments.
Is there a specific image or moment that most encapsulates your vision, or that you are most proud of? Among the millions of images taken during an administration, is there one that meets your measure of success in securing the history of that moment, whether it be significant or minor?
DV: I previously mentioned the photo of President Bush and Barbara Bush in bed with some of their grandchildren, which I consider to be my favorite. Another photo that stands out to me is what I refer to as the bomber jacket photo, taken on his back porch in Kennebunkport, Maine. I believe that image captures the President’s strength and leadership qualities. Additionally, I took a photo of the President driving his boat, Fidelity. This image was featured on the cover of Newsweek, portraying him as a strong and capable leader of the free world.
Behind the Lens: Curatorial Insights with Crista Dix
Why is a show like this so critical at this moment in time?
It was important to me in this election year to remember what is at stake here in our country. Remembering who we are as a country and that our diversity is our strength is vital to our success as a democracy. In the Room Where it Happened is a look at power and perception. As the most visible person in the world for our democratic state, the President of the United States is a visual reminder of all that America represents. What was important to me in curating this exhibition is how each of these photographers balanced their unique vision, the shared vision of their principal and creating a lasting document for history, all in a split second. Their vision shapes ours, their view of history is our view of history.
What ideas do you hope the show sparks in people’s minds?
This cohort of photographers has all had a ringside seat to our history, our shared experience. What was important for me was to celebrate the visions of these historians and documentarians behind the camera. What I hope for people to see is to be reminded of our shared history, to remember the peaceful transfer of power, of how working together we can solve problems. This exhibition also shows in a subtle way the expectation of how we see our president, how through time our expectation of that vision has changed, evolved and become more human. These photographers use their creative vision to stop time.
Where did the idea of the exhibition come from?
It started with a conversation of one of our board members, Lou Jones. It was meant to be a smaller scale exhibition, and I took it further than planned. As an armchair historian, I couldn’t wait to have these photographers write their own history. Always the silent partner in the room, I was looking forward to seeing them speak with their vision. My conversations with each photographer taught me more about history, theirs and ours, about the craft of photography and about their vision, and I hope that comes through as people walk the exhibition and see all the details captured in each frame.
Crista Dix (She/Her/Hers) is the Executive Director at the Griffin Museum of Photography, assuming that role in January of 2022 after two years as the Associate Director.
Before coming to the Griffin Museum in 2020 she spent fifteen years operating her own photography gallery, wall space creative, closing it in 2020 to make the move to New England and the Griffin. Having a career spanning many paths she has a background rooted in science, business and creative art. This well rounded experience provides a solid background for supporting the Griffin’s mission to encourage a broader understanding and appreciation of the visual, emotional and social impact of photographic art.
Her gallery, wall space, supported emerging and mid-career artists with exhibitions, talks, events and art fairs around the country. As an internationally known gallery, Crista worked with clients all over the world and represented national and international artists. In addition to wall space’s special event and exhibition schedule, it hosted a series of artist lectures, studio and community events.
Ms. Dix, wall space and the artists who were part of its success believed in giving back, creating a charitable giving program called Life Support. In ten years Life Support worked with over 400 artists, donating over $80,000 to charitable foundations Doctors Without Borders, Direct Relief and Habitat for Humanity.
Ms. Dix has written essays about photography, introducing creative artists work to a broader community. She has been a member of numerous panels and discussions on the craft of photography, juried creative competitions and has participated in major portfolio reviews across the country in cities like Houston, Portland, Los Angeles, Santa Fe and New Orleans.
