Griffin News

Today we highlight the work of Susan Rosenberg Jones, a portrait and documentary photographer based in New York City. Her work explores themes of home, family, community, identity, aging, love, and relationships.

Susan’s website: www.susanrosenbergjones.com
Susan’s Instagram: @susanrosenbergjones

Widowed

There is nothing like the grief one experiences after a life partner passes away. When Susan Rosenberg Jones lost her first husband in 2008, she searched for books and articles addressing this loss. She was looking for suggestions on coping techniques from others who’d been widowed. There wasn’t much.

She remarried in 2012. After focusing on her loving relationship with her second husband, Joel in her body of work Second Time Around, she realized that her feelings about her first husband’s passing were still evolving, bubbling up occasionally at random times.

Since March of 2018, she meets with widows and widowers of all ages, gay and straight, having been in legal marriages or in committed partnerships. They have a conversation, recorded for accuracy, and she makes the portrait. A printed statement from the subject accompanies each photograph. This process is emotionally satisfying as she and her sitters examine together how a marriage can shape a person moving through life. Rosenberg Jones hopes that by sharing their stories, those suffering this profound loss – whether recently or not – will take comfort in recognition and shared experience.

What inspired your journey into photography?

I started very young. As a child, I would peruse my parents’ books and magazines that were on low shelves I could reach. There were several Coronet magazines that had photography features: Steichen, Stieglitz, Edward Weston, etc. I would stare at those photographs for hours.

Then a local mom noted my interest in photography – I had been wandering about the neighborhood, using my Brownie camera – and gifted me with a “how to” book of photography. 

I loved that book and used its guidance to set up my first portrait shoot – my little brother and a neighborhood girl. My brother still hates this picture – sorry, Bill! 

Later, when I was a young teen, I was exploring an old graveyard in Boston with a friend, and a kid with a camera around his neck approached us and took us to a place called the Boston Film Center, where a wonderful man taught kids for free to use cameras, and develop, and print. That was it for me! 

What prompted the creation of your project Widowed?

I lost my husband of 32 years in 2008, and after he passed, I tried to find books that would help me process the mix of feelings I was experiencing. I was only 57 and none of my friends were losing their partners at that stage. I felt alone and there was nothing I could find that could speak to me. I wanted to hear what others in my situation would have to say.

Then after I remarried, I began photographing my husband Joel, culminating in Second Time Around. I still felt there was a story I needed to tell, so I started work on Widowed – which was then titled Widow/er.

My objective from the very beginning was to create a book like what I wished I’d had when my husband died. There is no book, but the body of work as it was presented at the Griffin and as appears on my website is in the form that suits my intention.

Tell us more about one of your selected photographs.

This image of Darrell was my first in the Widowed series. It was in March of 2018. We arranged for me to visit Darrell at home. His partner of 25 years, Roger had died a year and a half before our meeting. Darrell set his coffee table with champagne flutes, cheese, and fruit exactly as he and Roger would have it on their Saturday nights before going out for the evening. The lighting that day was difficult as the weather outside was grey and rainy and there was little light inside. Looking at it now, I see the environment’s rich colors and muted tones reflecting Darrell’s mood.

How has your project Widowed evolved since your exhibition at the Griffin?

Since my exhibition at the Griffin, my project has grown to feature 51 participants. A couple of years ago I organized the project on my website and now the statement of the participant appears under each portrait. I also added in a “recommended reading” page, a page of poetry, a “helpful links” page, and a “participate” page inviting potential sitters. 

I also started an Instagram page for Widowed that links from my Instagram page. I’m still interested in making a book, but the right opportunity has not yet come along.

 I haven’t been actively seeking participants at this stage but will gladly welcome anyone interested to contact me. I take pleasure in the process of making these portraits and talking with my sitters.

One gratifying aspect is that several of my widows have contacted me since their portrait sessions, telling me they started to date, met someone, still looking, etc. I love keeping in touch.

What have been the biggest challenges for you as a photographer and how did you overcome them?

I’ve had all sorts of challenges as a photographer:

Being short and looking upward at my subjects – I would love to be taller than them but even eye level would be great. A stepstool or looking at someone sitting down – there’s always a solution.

With certain of my projects, I contact people to sit for me. Many times, they say “no”, and that can be a challenge. I try and stay flexible, as the nature of a series can be shaped by its participants. So, I need to let it flow as it comes with respect for the process, and for the people who do participate.

Keeping things fresh and getting out of my comfort zone is an ongoing challenge. To get out of a real or perceived rut, I either take a break and immerse myself in reading fiction, or take my camera to Coney Island and photograph the people, the colors, the excitement – and that revives my spirit.

What drives your continued passion for creating?

I get a visceral thrill when photographing, editing, and sequencing. People sometimes remark that I’m smiling when taking their picture. And it’s that being “in the zone” that drives me to do it again and again.

At this stage in my life (I’m 72), I’m not climbing a ladder or trying to prove myself out there. Margaret Mead said, “There is no greater power in the world than the zest of a postmenopausal woman.”  She was right! I have the energy for creative activities now just like when I was a teenager.

I love all the arts and find viewing art, reading fiction, seeing plays and films, and dance stimulating. I also love being with friends and in my various community circles. I derive ideas and inspiration from all of it.

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 Eric Draper –

Eric Draper served as President George W Bush!s chief White House photographer for the entire eight years of his presidency. Draper was named Special Assistant to the President, and is the first White House photographer to be named a commissioned officer to a U.S. president. Also during his tenure, Draper directed the photographic and archival conversion of the White House Photo Office from film to digital and took nearly 1 million photos documenting the presidency. Prior to joining the White House, Draper was West Regional Enterprise Photographer for the Associated Press. In eight years with the AP, Draper covered an array of domestic and international news and sports. Draper has also worked as a staff photographer for The Seattle Times, the Pasadena Star-News and the Albuquerque Tribune. He won the Associated Press Managing Editors’ Award for three consecutive years, the 1999 National Headliner Award and was named 1992 Photographer of the Year by Scripps Howard Newspapers. Draper is currently a freelance corporate, and editorial photographer based in Rio Rancho, New Mexico where he lives with his wife and three dogs. He is an obsessive LA Laker fan. 

Interview with Eric Draper, Chief White House photo director and personal photographer for U.S. President George W. Bush

How do you approach capturing the essence of a U.S. President through your lens?

Like any story that I start I try not to have too many preconceived ideas before I start making photos, but I do like to have plenty of background knowledge of the story. I would rather have the story play out in front of me, and then decipher the storyline in real time and in the post editing process. There was always something I didn’t see when I was shooting the photo that I saw later in the editing process. I loved those surprises.

How do you navigate the balance between capturing authentic moments and respecting the president’s privacy?

Respecting the president’s privacy is the most important thing when covering the presidency. I want the present to be as comfortable as possible during my presence in his life. There is a fine line between respecting privacy and being where you need to be in order to get the photo. It was more of a give-and-take every day, but I always tried to gauge the president’s comfort level first before I got any closer both physically or intimately. After spending eight years watching him everyday, I can tell by the tone of the president’s voice if he was having a good day or a bad day or a day.

Are there specific rituals or routines you follow when preparing for a presidential photoshoot?

I always followed the president’s routine which seemed to work the best. When he would eat, I would eat. When he would work out, I would work out. When he would go use the restroom. I would use the restroom. I wouldn’t miss a thing when I followed his routine. President Bush had a very specific daily routine. He was an early riser and he was early to bed. I could actually plan my day or plan my week because he really stuck to his schedule.

Can you discuss the importance of visual storytelling in conveying the president’s narrative through your photographs?

On the Pennsylvania Avenue side of the National Archives Building in Washington, DC reads the inscription “Study the Past”. I hope that’s what scholars and the public will do with my photographs of the presidency of George W. Bush. The importance of the Bush photo archive will gain more importance as time goes by.

What role does collaboration play between you and other members of the presidential communication team?

I had a role on the communication team for President George W. Bush, but I also knew that my role had a higher purpose. I tried to document reality while the communications team tried to promote president Bush’s daily message. The communications team used more of a political lens in filtering images. I tried to see my images in a historical context.

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?

I have many, many images that I’m proud of. There were a handful of images to stand out. For example, all of the images on 9/11 were very intense and told the story. There is one image that stands out in my mind in the over million photos I took in the eight years. This photo captured President George W. Bush’s personality and character. The image was taken on his ranch in Crawford, Texas as the president drove his pickup truck in August of 2001. He is wearing an iconic cowboy hat in the picture. He is in profile. He has a twinkle in his eye, the same twinkle that he has when he connects with people, but the timing of image is more important. That Image was taken a month before 9/11. Every time I see that photo, I see a sense of innocence before the world changed.

What does it mean for you to be in conversation with so many photographers who share similar journeys in this exhibitions? Has it allowed to see your practice under a different light?

I find it fascinating that each White House photographer has such a similar subject, but such a different way of seeing their president in photos.

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.

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 Joyce Boghosian

What began as a three-month internship at the White House Photo Office in 1988 was the start of a career spanning six U.S. presidents. Joyce Naltchayan Boghosian was mentored in her earlier years by her late father, renowned Washington Post photographer for 35 years, Harry Naltchayan. She began working as a photographer at local community newspapers. During the last three months of President Ronald Reagan’s administration, she interned at the White House Photography Office. In 1989, under the direction of President George H. W. Bush’s personal photographer David Valdez, she was hired as a photo assistant for the full term of the administration. In 1994, she joined Agence France-Presse International Wire Service (AFP) as a staff photojournalist at the Washington, DC bureau, mostly assigned to the White House Press Corps covering President Bill Clinton.

Boghosian left AFP wire service in 2004 to once again join the White House photo team under the direction of Chief Photographer Eric Draper. This time she served as an official White House photographer, covering President George W. Bush and Mrs. Laura Bush. She documented their daily schedule, both official and personal, at the White House as well as on domestic and foreign travel. In January 2009, she was held over by the Obama administration. She continued her duties as White House photographer under the direction of Chief Photographer Pete Souza, who mostly assigned her to First Lady Michelle Obama. After the first few months of the Obama administration, she left her position to be with her three young children.

Boghosian returned to the White House Photo Office in 2017 under the direction of Chief Photographer Shealah Craighead as an official photographer during President Donald J. Trump’s administration. During these unprecedented times, she documented the president’s daily meetings as the coronavirus evolved, adding to the daily challenges and intense environment.

Her work has taken her to foreign countries, where she has photographed leaders from all around the world. Highlights in her career were photographing three administration’s transition days in the Oval Office, P.M. Margaret Thatcher, President Mikhail Gorbachev, Queen Elizabeth, Princess Diana, Pope John Paul II, the funeral of Jordan’s King Hussein, and five U.S. Presidents standing together in the Oval Office at the White House. Boghosian is currently a freelance photographer based in the Washington, DC area.

Interview with Joyce Boghosian

How do you approach capturing the essence of a U.S. President through your lens?. 

Over the span of three decades, from 1988 to 2021, I had the privilege of working in various photographic roles in and around the White House. My journey included serving as an official White House photographer during the administrations of George W. Bush, Barack Obama, and Donald J. Trump. Through these experiences, I gained a profound understanding of the weight of the Office of the President and learned how to navigate around the presidents and first ladies.  When given the responsibility to document their daily schedules, it was crucial to be unobtrusive, patient, observant, respectful of the Office, and truthful to my mission. Despite their powerful positions, their human side helped keep me grounded and focused on my task. Capturing these moments not only served as a testament to their place in history but also provided me with invaluable insights into the complexities of their roles.

How do you navigate the balance between capturing authentic moments and respecting the president’s privacy?

Balancing the authenticity of moments with the respect for the president’s privacy has consistently presented one of the most challenging aspects of my experience as an official White House photographer. Each president has the prerogative to decline official photography at times, a reality I encountered firsthand. However, I also had the privilege of capturing numerous personal events, from intimate family gatherings to milestone occasions like a first family’s tour of the White House. While I cherished these opportunities, I remained acutely aware of the boundaries between official and private time, knowing when it was appropriate to discreetly step back from their personal space. Navigating these boundaries was important to my approach.

Are there specific rituals or routines you follow when preparing for a presidential photoshoot?

The Director of the White House Photo Office played a key role in establishing the framework for how their supporting photographers covered the President and First Lady’s daily schedule. Having worked across multiple presidential administrations, I experienced certain similarities and protocols carried over from one administration to the next.  Each president brought their unique preferences and style to the Office. Personally, this meant adapting to their level of comfort while being photographed throughout the day. This flexibility not only challenged my skills but also deepened my understanding of the nuances in capturing presidential moments.

Can you discuss the importance of visual storytelling in conveying the president’s narrative through your photographs?

Each day at the White House I approached my task with the conviction that I was actively recording history. My contribution along with the other staff photographers helped shape the overall picture of historical events that eventually would define the President’s legacy.

What role does collaboration play between you and other members of the presidential communication team?

Maintaining communication with the President’s aides is crucial for capturing behind the scenes photos during both his public and private engagements throughout the day.  The Oval Office is profoundly impacted by major world events, regardless of their proximity, underscoring its pivotal role in global affairs. Staying alert and aligned with the President’s inner circle is vital to successfully document his activities. 

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? 

On January 7, 2009, I had the extraordinary opportunity to photograph a historic gathering in the Oval Office. U.S. President George W. Bush graciously hosted President-elect Barack Obama, along with former Presidents Jimmy Carter, George H.W. Bush, and Bill Clinton for lunch, just two weeks before the Inauguration. This momentous occasion marked the first time since 1981 that all living past, present, and future Presidents met at the White House. The significance of this event was deeply personal for me, as my late father, Washington Post Photographer Harry Naltchayan, had captured a similar historic gathering on October 8, 1981. On that day, U.S. President Reagan met with former Presidents Jimmy Carter, Gerald Ford, and Richard Nixon before their departure to the funeral of Egyptian President Anwar Sadat. Notably, his photograph from their press conference was honored with a first place award in the 1982 World Press Photo Contest. 

What does it mean for you to be in conversation with so many photographers who share similar journeys in this exhibitions? Has it allowed to see your practice under a different light?

I am deeply appreciative to The Griffin Museum for featuring my work among this collection of significant and impactful images. Throughout my time at the White House, I have held great admiration for the photographs created by the President’s Chief Photographers. They have not only set the standard for documenting the presidency but have also paved the way for future generations. It was truly captivating to hear their firsthand accounts and insights during our lunch discussions, offering a unique perspective on the evolution of the White House photo office over time.

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.

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.