Blog

  • The Polygamy Team

    There is so much I need to write about covering polygamy. So many people, stories, experiences, and challenges. It’s been two years now since I started covering the polygamists of Utah and the West with Tribune staff writer Brooke Adams. It’s been a very rewarding partnership, like nothing I’ve ever experienced in my 19 year career.  We make a great team. Aside from her reporting and writing skills, Brooke somehow keeps track of an unending cast of characters. (For example, we met a woman the other day who was related to her grandmother through three separate branches of the family tree.) I bring the cameras and make observations, as well computer and tech skills. As a team, our standards are very high. Brooke is the only full-time polygamy writer in, what, the world? She sets the pace and seems to never stop working. Her sources keep her cel phone ringing constantly. In the field, we start early and end late, working in remote environments where expense accounts go nowhere. And the day’s not over until I’ve finished a cheesecake or hot fudge sundae at the end of a late dinner. I’ve learned so much about reporting in this time, sitting in on interview after interview. Some on the record, some off the record, some to never be mentioned. We’re covering people living an illegal lifestyle, and we also covering a closed, secretive community (the FLDS – Fundamentalist Church of Jesus Christ of Latter Day Saints). It’s been quite the adventure. It would be wrong to not mention my predecessor on the polygamy beat photo-wise. I look at Leah Hogsten’s work, especially her 2001 essay on Tom Green’s family, as my goal for excellence. Consider this the first of a few polygamy posts. I’ll start writing the next one immediately.
  • Second Funeral for Norene Jeffs

    Second Funeral for Norene Jeffs

    Colorado City – A mound of dirt and small placard mark Norene Jeffs’ simple grave, next to that of Rulon Jeffs, her husband. Friends and family members of Norene Jeffs gathered in the Colorado City cemetery to remember this plural wife, who had been buried the previous week in a secret funeral by members of the Fundamentalist Church of Jesus Chris of Latter-Day Saints (FLDS). Jeffs, who had been “sealed” to the previous FLDS prophet Rulon Jeffs (Warren Jeffs’ father), was buried even before family members exiled from the secretive church were notified of her death. 7.09.2007
  • The Fire

    The Fire

    Saturday we were driving through the rural community of Neola, in eastern Utah, looking for the Houston home. The day before, George Houston and his son Tracy died (along with Roger Roberson) when a wildfire swept through a hay field. We were looking for family members, hoping they will be willing to tell us about these two men. Who were they? And what has this community lost in their passing?

    We finally get close and were pointed toward the right house. It’s off down a dirt lane from the road, like a hundred places you’ve seen in the movies, with a mailbox out at the main road and Forrest Gump running down the lane. The reporter asks if we should drive down the dirt road, but I want to walk it. Walking the road sends a message but more than that, I feel like we have to walk. Others are walking ahead of us, holding hands and comforting each other. I put one camera and two lenses into a bag, latch it shut, and start walking.

    At the house there are family members with teary red eyes on the front porch. Others stand on the lawn and watch the massive fire off in the distance, still burning and sending enormous clouds of smoke into the air. A steady stream of guests brings those offering embraces, food, and comfort to the two women who lost their husbands yesterday.

    We are introduced to Margie Houston, who lost her husband of 44 years as well as one of her sons. JaLynn Houston joins us, Tracy’s wife. They tell us about these two men, who worked their entire lives to provide for their ten children. Margie’s granddaughter Marlise sits down and grips her grandmother’s hand. Only then do I pull the camera out of my bag.

    As we sit and listen, I’m constantly aware of the need to show respect to these people who have lost so much. Looking around at the family who have gathered to listen, I feel an enormous responsibility to tell their story. I put my camera on single-shot and click off a frame or two of Margie and Marlise’s clasped hands, with Margie’s wedding ring visible. It’s a powerful detail, but also my way of easing the camera into the situation. Move slowly, and start with a detail. Let them know that I’m trying to share their story, not exploit it.

    As we continue, the emotions rise and fall. Marlise leans in and gives her grandmother a hug. I raise the camera and take one frame. A moment later the situation repeats and I take one more.

    I look on the camera’s LCD to confirm that I captured the moment. And then I just sit and listen. If another moment appears, I’ll be ready. But otherwise, the camera will stay in my lap.

    Duane Houston, 11 years old, was in the hay field with his father and grandfather when the fire came. His grandfather yelled at him, telling him to run. Duane ran for it, as fast as he could through the trees and over two fences. He escaped, covered in soot.

    I asked the family if I could photograph Duane. His siblings and cousins were hopping into the back of a pickup. Duane stood for the photograph and then ran off to climb in the truck with the other kids.

    Once I left the Houston family, my mind turned back to my own superficial life with its trivial concerns, like what podcast should I listen to and where should I eat dinner. I drove into town and edited and sent my photos over dinner with my colleague, Tribune photographer Danny Chan La. Then I drove home, listening to music, returning to my family.

    My sons called as I drove. The house was too hot and they wanted to sleep outside in the backyard. But they were scared to do it alone. They would only do it if I would join them.

    I thought of how tired I was from the long day of driving and work. I thought of the early appointments I had the next day and how little sleep I would get if I was outside on the ground in a sleeping bag.

    Then I thought of Duane, his father, and his grandfather.

    “Of course I’ll sleep outside with you guys,” I said.

    More photos from this assignment here: Neola Fire

  • Neola Fire

    Neola Fire

    I wrote about this assignment here: The Fire
  • Neola Fire

    Neola Fire

    Neola – 11-year-old Duane Houston was with his father (Tracy) and grandfather (George) in a hay field when a wildfire swept through. At his grandfather’s instructions, Duane ran to safety. An out-of-control wildfire in the Ashley National Forest near Roosevelt had burned 14,000 acres in the Unitah Basin by Saturday morning and claimed the lives of three people.
    ; 6.30.2007
    I wrote about this assignment here: The Fire
  • Neola Fire

    Neola Fire

    Neola – Margie Houston tightly grips the hand her granddaughter Marlise Houston. Margie lost both her husband of 44 years and one of her sons in an out-of-control wildfire near Roosevelt that had burned 14,000 acres in the Unitah Basin by Saturday morning.
    ; 6.30.2007
    I wrote about this assignment here: The Fire
  • Neola Fire

    Neola Fire

    Neola – Margie Houston (right) is comforted by her granddaughter Marlise Houston. Margie lost both her husband and one of her sons in an out-of-control wildfire near Roosevelt that had burned 14,000 acres in the Unitah Basin by Saturday morning.
    ; 6.30.2007
    I wrote about this assignment here: The Fire
    Neola – Margie Houston tightly grips the hand her granddaughter Marlise Houston. Margie lost both her husband of 44 years and one of her sons in an out-of-control wildfire near Roosevelt that had burned 14,000 acres in the Unitah Basin by Saturday morning.
    ; 6.30.2007
    Neola – 11-year-old Duane Houston was with his father (Tracy) and grandfather (George) in a hay field when a wildfire swept through. At his grandfather’s instructions, Duane ran to safety. An out-of-control wildfire in the Ashley National Forest near Roosevelt had burned 14,000 acres in the Unitah Basin by Saturday morning and claimed the lives of three people.
    ; 6.30.2007
  • Deftones

    Saturday night I was assigned to the Real Salt Lake game. On our schedule was another assignment that was marked as a “no go.” We just didn’t have enough photographers to staff it. The assignment was the Deftones concert. I used to go see the Deftones play at Berkeley Square, back when all they had out was a demo tape. So when I was finished with Real, I decided to hurry down to the club and see if I could get something for the paper. Time was of the essence. I only had a few minutes to get there. I drove across town through about eighteen stoplights and then saw a sign on the club’s marquee: “Show moved to Salt Palace.” I doubled back, found a parking spot on Main Street, and started running. Even with the sun down it was so dry and hot. After running only a block I’m completely dehydrated. But I make it to the Salt Palace, and notice two other people reading a flyer on the door. It’s a skinny scene kid in tight black jeans and a teenage girl in a tiny black tank-top. They’re drunk. The flyer on the door says that the entrance to the show is clear on the other side of the Salt Palace. So I’ve got to run another three blocks. The kids follow. As we run the girl she asks me my name several times. I tell her my first name. The guy tells her to stop talking. She asks me if I’m on MySpace so she can look me up. The girl complains that she needs water. My throat is completely dry. We walk for a minute to catch our breath. The girls says to the guy, “I’m getting fake boobs this summer. Isn’t that cool?” “That’s cool,” he says. I start running again. So does the guy. The girl says, “Don’t run guys!” She’s begging. “Really! Don’t run!” We keep running. Finally I get to the right door. I can hear the Deftones playing, which is a problem since I’m only allowed to shoot the first three songs. The woman at the door says it’s their fourth song but she gives me a photo pass and sends me in as if it’s no problem. In front of me a security guard searches the girl I ran with. As he pats her down, she moves up close and rubs her body against his. He waves me in without a search. Inside, the girl grabs my face, moves in close and says, “You’re name’s Mike, right?” “Yeah.” I make my way to the front of the packed hall finding an opening on the right side of the stage where a friendly security guy lets me stand up on the barricade. I take a few quick frames as the song ends, just to check my exposure. Seconds later a big scruffy guy comes over and rips the photo pass from my shirt. (Big scruffy guys like this are usually the tour managers.) He’s belligerent. He says I can’t shoot, that I’m late, and that he doesn’t care if I watch the show, but no more photos. Over the years I’ve learned that there is no arguing with a tour manager. So much for those cool photographs I was after. So much for rescuing the canceled assignment. And so much for a photograph of the Deftones to go with our concert review, because I don’t have anything worth putting my name under. I start to walk the five blocks back to my car, thinking that even if I had a good photograph I shouldn’t send it in. They don’t deserve to have it published. Maybe it’s time to protest the ridiculous “first three songs only” rule. The rules of concert photography are bullshit. You wonder if great concert photographs are even being made anymore. Sure, it’s fun playing with the colorful lighting of a modern concert, but I’ve never taken a concert photograph with soul under these tight rules. I think back to the amazing work of photographers like Jim Marshall, who shot amazing candids that captured the passion and genius of legendary performers like Janis Joplin, Carlos Santana and Johnny Cash. The photographs I took of the Deftones back in 1994 had that feel. Their shows then, in a small dingy club, were full of energy and magic and my photographs captured that. When I got home I called the office and reported that I had been kicked out of the show and wouldn’t be sending a photo. Later I looked at the meager six frames, finding one that wasn’t completely awful. I sent it in. What can I say? I love the Deftones. But this is, hands down, the worst photo I’ve taken of them.