Deez Interviews: Timothy Nwachukwu, on being a photographer during a time of ‘rona and protest
Today’s interview is with freelance photographer Timothy Nwachukwu, whose work you’ve definitely recently seen in USA Today in his coverage of the DC protests. We talked about his path into sports photography (and then breaking out of it later), how the pandemic has affected his work, and tips for how to responsibly document the protests in your area. Enjoy!
You’re from Louisville, Kentucky, which is of course a major college sports town, and you’ve credited that as what jump-started your interest in photojournalism. Can you tell me more about that?
Louisville is a mid-sized, mid-southern city with nine similar or larger T.V. markets — St. Louis, Indianapolis, Chicago, Detroit, Cleveland, Columbus, Cincinnati, Nashville and Memphis — all within seven hours of driving. It’s hard to compete, but it be like that sometimes. Though, not many people would expect that two legendary pillars of American culture, Muhammad Ali (my favorite athlete) and the Kentucky Derby, could possibly come from my hometown. It took a LONG time, but Ali is the face of the city. Derby is a tourist’s dream of nostalgic lifestyle Pinterest boards and high stakes sports gambling swirled into a refreshing mint julep.
College sports are our biggest team sports that fans across the Commonwealth can really invest their support, and the rivalry between the University of Louisville and University of Kentucky is a culturally interwoven blanket of glorious pettiness.
I had zero initial intention of pursuing sports photography. I’m a massive sports nerd and got into photography when I was about 17, but I just liked taking pictures and planned on studying computer science. I went to the Xposure high school journalism workshop at Western Kentucky University in 2011 on a whim and was immediately hooked on community journalism.
But then I felt a literal mental shift once our instructors and guest lecturers brought out the long lenses and showed their sports work. It was mesmerizing, and while I had no clue of how to get there, I wanted to figure it out.
My friends and family were encouraging me to pursue sports photography with the wilting equipment I could afford during my senior year of high school. I’m thankful that they did and continue to do so. I couldn’t pass up the chance to cover a big D-I sports program once I started studying at Mizzou, and I was determined to work. It was an opportunity to find the things I love about sports at home and show how they exist elsewhere.
What is your favorite kind of sport to photograph, and why?
Soccer is my favorite sport, but I also love the concept of college sports (though, proper compensation is another kettle of fish to discuss) because they’re so accessible in a variety of places. I love how both are built around representing the traditions and mores of the neighborhoods and towns where they play, as well as providing easier to access wellness, entertainment and reprieve for locals.
Covering NCAA and Mountain West championships made learning about certain college program’s niches sports fun. NWSL and USL here in the States are showing how soccer atmospheres can be raucous even in small markets. The closer proximity creates a deeper level of grassroots loyalty. Major support or media coverage may not stretch too far beyond the city or state lines and that’s okay.
That isn’t to say that the major American sports don’t regularly provide great atmosphere! But the barriers of entry can be higher for the common fan because of the commute or overall cost. The franchise structure still allows bad teams to last even if the fan interest doesn’t. I could go on and there are tons of really interesting case studies but that’s for another Q&A. 😅
Before this year, you worked as staff photographer for local papers and places like Mizzou Athletics and Clarkson Creative. What went into your decision to go independent?
I loved the energy of being in a newsroom, but I would repeatedly get to told to “stick with sports” in portfolio reviews. It was kind of disheartening because most sports photographers were saying to get out while I still could. (I graduated from Mizzou in December 2016, and Sports Illustrated already laid off their photo staff in 2015, a telltale sign that most other jobs were probably going away unless you work for a team, league, or agency). We were only taught about the pipeline where you worked for newspapers or wires (if you’re lucky), and I was nowhere near prepared to work independently directly out of school.
Working at Clarkson Creative was transformative. The staff is small and my deadlines were different. Our primarily focus was sports, but I could take or create other work if it didn’t conflict with contracted assignments. The job required a lot of travel, which was perfect to see the country and understand people through a different perspective. There’s so much institutional knowledge and access in areas I otherwise would’ve never gained. I made so many missteps and was given the room to learn how to healthily move forward. So I was learning a lot, but I also knew I needed to grow outside of sports and give myself a new challenge. It’s important to be well-rounded in anything, and I vehemently dislike being pegged as just a “sports photographer.” I wanted to show that my skills are transferable.
I’ll always appreciate my time in Denver because my homies and being near the Rockies were wonderful. Moreover, they were so crucial for helping me improve my mental health. It’s nice being closer to family, and I have better access to a wider network of gatekeepers, movers, and shakers. I was nervous but not sure of another chance to take the “big leap.” Now that ‘Rona and Co. rolled through, I couldn’t have picked a better time.
Speaking of the ‘rona, you've been photographing daily life in the DC area during the pandemic, and I'm curious about how COVID has affected your usual workflow.
I lost all my potential work, and that was a haaaard pill to swallow. I just got back from Mountain West hoops on March 8, ordered rental equipment for March Madness, and was mid-haircut when news broke that the tournament and all the remaining championships were cancelled. I can’t believe that was only three months ago!
I initially tried to keep to my same daily routine since most of my time was spent getting my foot in the door and building relationships. It wasn’t bad because I had more time to learn about the business end, research projects or try learning new skills. But I was terrified because the leads dwindled fast. Companies and non-profits are conserving as much rainy day guap possible, and I don’t blame them.
Having a few month’s worth of savings was so helpful. I’m also lucky that I live with my older sister and that she can work from home during the pandemic. I didn’t get called for assignments until I covered protests in D.C. for USA Today on June 6. I don’t know if a lot of folks are getting work, and that’s a scary thing to consider for them. I can’t be envious of the staffers because so many are being laid off or taking furloughs to keep newsrooms afloat.
The ‘Rona made me think a lot about universal and industry norms. Little things like not being able to give some dap was hard. Like everyone, you’re scouring the internet for PPE, but you don’t want to stockpile because health workers need it to work. Approaching assignments completely changed because of distancing rules, not to mention swabbing equipment and changing before you come inside your home. There are so many catch-22s in all of this, but it’s been really dope to see the resilience and community willingness to adjust and help each other.
Now, speaking of the recent Black Lives Matter protests: We’ve all been seeing a massive amount of first-person documentation from the ground, with all the pics and videos circulating online from protestors and onlookers.
This feels like a dumb question, but what role do you think professional photojournalists play in covering this kind of event, because it’s not as if there’s a shortage of pictures showing what’s going on?
American photojournalism Twitter threads and Facebook groups are filled to the gills with so many conversations that turn into debates about how to cover these protests. It’s been very… telling to say the least. I say American photojournalism because our press rights and freedoms are way more open than most other countries.
Do we have a right to be out and documenting these events? Yes (everyone does). Are protesters also using their social media (which can be viewed or tracked by law enforcement) to livestream and document the events? Also yes. To me, though, it boils down to doing the job while causing as little harm possible.
We wield a lot of power when on assignment for a media outlet or wire agency because our work can travel much faster and further to global audiences. Even someone independent with a large social media following can do the same. Our work is a public service, and I would rather make fewer pictures because I was extra cautious or empathetic to people — even those who may be racist or some flavor of xenophobe — knowing my work can potentially lead to physical harm.
Sometimes we have to slow down and revise our processes in a public spaces. Times are quickly changing and there are some journalism techniques that simply cannot handle the nuance of a modern, more diverse marketplace of ideas. We have to think past our deadlines and consider the long-term ramifications of our actions. Will I get a tension headache playing mental gymnastics? Yes, but we signed up to ask and answer those tough questions.
Finally, what advice do you have for budding photographers who've never covered anything like a protest before, but who want to help document what's going on?
It’s a general rule of thumb, but in all seriousness, just don’t be an asshole. We’re all stressed and terrified in this space for some reason, and things are always easier if we’re the ones who slow down. If not on assignment, one should be extra careful and courteous because they may not have someone who can vouch if things go sideways.
Be prepared to hear people say “no” and learn to live with it. While we may be in a public space, we as storytellers should respect people’s autonomy and personal space. The reason for these particular protests is a matter of life and death for many involved. Pressuring someone into letting us use a photo of them is morally and ethically harmful. It’s a protest, and there are other pictures to be made. It’s all about respect and consent!
Make time to have genuine, human-to-human conversations with people to understand — not just hear — “why” they’re at the protests. I listened to some amazing stories from people and that often helps to diffuse tension about photos being used. Even if someone doesn’t want their photo to be published, give them a card or swap some contact info and send them a file. That courtesy makes a world of difference for the people involved, the photographer, and the industry as a whole.
Wear comfortable clothes and shoes, travel light if possible, bring a helmet and goggles for just in case and don’t forget a towel!
Don’t forget to follow Timothy on Twitter and IG, and have a good weekend!