Dese'Rae L. Stage:

Before I start, I want to thank you for your guidance this month. It's been a whirlwind and an amazing learning experience. I have to say, though, I'll be happy to get a full night's sleep again!

It was impossible to put as much time in at the park this week as I wanted to. The holiday really cut into the time I had available to spend shooting. I was never able to re-establish my narrative thread, either. The evacuation made it even more difficult to make necessary connections. That said, this week's images are far more generalized and focus on interesting scenes or characters I met as I worked. I'm hoping to continue to work on this project over the next months. Maybe, with more time, I'll be able to concentrate my content on the stories of female and LGBTQ protesters as originally intended.

On the 17th, the OWS movement put together the largest protester action to date. I had to work that afternoon, but did make plans to meet with two protesters early that evening, both members of the LGBTQ community. Both went home before I had a chance to meet up with them. One, who has been known to throw himself into the mix, received two blows to the head with a police baton during the march earlier that afternoon. I spent a good deal of time that evening watching protesters take the Brooklyn Bridge, but by that point, tensions seemed relaxed. The first image of this week's set was made near the base of the Brooklyn Bridge as protesters flowed onto it. The second is an establishing shot, made further back and looking east onto the bridge.

The next trip I was able to make to the park was the day before Thanksgiving, and I was surprised to find it near-emptied of protesters. The third image in the set illustrates this. There may have been about fifty people in the park at that point.

The fourth image is a portrait of a protester named Jason. He was soliciting MetroCards. Jason works in the kitchen 16 hours a day, but funding for transportation has all but disappeared. The kitchen is still providing food for the protesters in the park, made off-site.

The few protesters in the park that afternoon were concentrated mainly in the northeast corner, near the intersection of Broadway and Liberty. This group gathered to sing protest songs as passersby gathered to listen on the other side of the barricades.

Image six is a detail shot from below of sculptor Mark di Suvero's Joie de Vivre, which became a symbolic home base for the OWS movement. Nightly General Assembly meetings were held on the steps near the sculpture.

Marsha Spencer, one of the "Grandmothers of OWS," was on day #55 of her occupation when image seven was made. She had spent a good deal of her occupation knitting with friend Karin Hoffman, who was nowhere to be seen. She left the park soon after.

In image eight, protesters take advantage of a bag of pastries donated by a local bakery.

Image nine shows Justin Stone-Diaz, a member of the Information Working Group, explaining that Zuccotti Park is only the symbolic heart of the OWS movement, and that the intention was never to occupy the park long-term.

The tenth image is a detail shot of a protester holding a copy of the latest edition of the Occupied Wall Street Journal.

For this final image, I left the park to see what was going on at the 60 Wall Street Atrium, where many working group meetings are held. The Direct Action Working Group was in session and heatedly debating a document that had been fleshed out over the past week.

Again, thank you so much for your feedback. I've still got a lot to work on, especially with regards to my shyness, but this project was a great motivator to get out there and really get my hands dirty. I can't begin to express how truly grateful I am to have had this experience.

Mario:

Thank you for your kind words and for all your efforts. Your project ended up being the most challenging of the three, due to the dismantling of the camp, and by extension your idea, in the middle of our month. I concur with your assessment that you will need to spend more time in order to develop your voice with this project. I'm sure you have been somewhat frustrated by the developments but I appreciate you not throwing in the towel and attempting to pivot towards a new destination with this story.

Of this last set, I like the subtlety of the 'subject to arrest' sign in the background of frame 2, I probably would have cropped or shot a lot tighter in this frame, to only include the bottom third or so, which would emphasize the activity on the bridge a bit more. I prefer frame 4 to most of the other images of the people, because I feel somehow engaged with this person. The shallow depth of field draws the viewer in to the subject. I would try to shoot more portraits in this vein, because I believe in the end your story will be at least as much about the people themselves, as opposed to the activities they are engaged in at the site, which are often rather mundane. Frame 11 is interesting and a good idea, I haven't seen an image that properly illustrates the disagreements that go on at these meetings, you're definitely on the right track here. I like the variety of expressions and different directions each participant is looking, this gives us a sense of the lack of formal or informal cohesion within the group. As with a number of your images, this one would be stronger if you were closer. The interesting things happening here are in the bottom third of the frame.

I hope you are able to continue to give it more time and find a thread that really appeals to you, which hasn't been told before. For your story perhaps Churchill said it best, "Now this is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning."

Dese'Rae L. Stage:

Thank you for the feedback. I'm working to digest it.

I have a question, though: just as I was on my way to bed last night, I saw an article from the NY Times about Zuccotti being raided. I watched the live stream helplessly from my mother's living room in North Carolina as tents were thrown into sanitation trucks and both protestors and press were pushed back and away from the park.

I'm not sure what this means for my project. I don't think I'll be able to get down there until tomorrow evening. Any suggestions for how to approach the work in the aftermath of a huge turn of events?

Mario:

I was there today and the good news is, the protesters have been allowed back into the park. They just can't camp there. I think you should just tweak your focus a bit, from the safe spaces idea, to just focus on the women who are part of the movement. This could encompass all women or just the subgroups of women or individuals that interest you. It is still a very interesting and under-told or untold part of this story. And as you said, this movement is in constant flux, so perhaps you can incorporate that fluidity into story. Hope this helps.

Dese'Rae L. Stage:

Full disclosure: I've only been able to make it down to the park twice in the past week. I was there on Thursday (11/10) and again very briefly the evening after the NYPD's early morning evacuation. I tried to take your advice into account, but the raid happened before I had another opportunity to try and gain access to the women's tent. Afterward, I found myself shooting near-indiscriminately. The energy and tension in the park were palpable, and every frame felt important. I've included images from that night that, to me, feel consistent with the narrative I've presented thus far.

The first image is of a pair of women debating outside the women's tent. I did not get their names, as they were deep in conversation, and I didn't want to break the candor of the moment. Like the rapid evolution of the movement in Liberty Square, the appearance of the tent changed every day it stood.

The second image is a detail shot of Buddhist prayer flags juxtaposed with caution tape, strung over tents between two trees on the south side of the park.

The third image is of Karin Hoffman, one of the "Grandmothers of OWS." She and another grandmother, Marsha Spencer, knit scarves, hats and mittens for their fellow protestors from donated yarn. Prior to the raid, they could always be found on the north side of the park, midway between Broadway and Church Street. When this photo was made, Karin was on her 43rd day of occupation, though she did not sleep in the park.

Image four is a portrait of John Reynolds, a queer-identified Atlanta native who originally came to Liberty Square in the first week of the protest. He took the knowledge he gained down to Atlanta to inform their protest, but has since returned. He is currently working to gather material for a film documentary. He's experienced homophobia and harassment in the park both firsthand and as a witness.

Images five and six depict heavy NYPD presence, many officers in full riot gear, at the newly raided Liberty Square.

In image seven, protestors mill about the park where, just a day before, there was an entire tent city. Electricity has been returned to the park, as evidenced by the illuminated floor lighting.

Image eight is a portrait of an older gentleman protestor the night after the raid.

The streets surrounding Liberty Square are flanked by various NYPD vehicles. Image nine shows the intersection of Broadway and Liberty Street, where an empty NYPD bus sits, ready at any moment to take on arrested protestors.

I should be able to spend more time in Liberty Square in the coming week. I look forward to seeing how the movement will evolve now that protestors are restricted from building structures and sleeping in the park.

Mario:

I'm glad you are willing to bend like a reed in the wind with this story. This is something that occurs quite frequently, nearly constantly, as a photographer. The ideas or concepts we conjure are inevitably transgressed by the whims of nature and humanity. You're going to have to spend a lot of time there this week to re-group and discover a narrative thread. I can't tell you exactly what this thread will be. That is between you and fate, but I think your focus on female and LGBT protesters is a good start.

I like the image of the women debating, especially the details in the background of the tent, with the star and other decorative elements hanging from the tent. The grandmother image is nice; perhaps spend some more time with her, and I also like the Buddhist detail.

I'm glad you are documenting the heavy police presence. I think you should try and shoot the next day of action of the protesters, whenever that will occur. There have been some amazing images of the violence that occurs between the NYPD and the protesters. While I certainly don't think you should risk your safety, it would be quite valuable for your viewers to see the clashes, from a female or LGBT perspective. Perhaps try to find someone who is known for putting him or herself into the mix and follow them for a day. At the same time, be sure to inform them that you merely want to follow as an observer and don't want this protester to engage in anything out of the ordinary simply because you are following them with a camera. And again, please be careful, no image is worth sacrificing your health! So keep a safe distance if the police show up. Generally, what is lacking in the police images you sent is the protester element, while you have shown us the police, a stronger image would inform us of the tension or conflict between the two sides, as opposed to just the physical presence. Having said that, I quite like the image of the police bus; it is graphically strong and also gives us a sense of ominousity (I guess that isn't a word, but you get my drift).

I like the light in the night image, but perhaps the content could be stronger. I would work on this idea a bit more. The older protester image is fine, but not sure if it fits in with your narrative. As you said, there are countless images from this protest. In order for your story to stand out, you need to have a strong and unique storyline. You will need to work hard this week. I look forward to what you come up with!

Best,

Mario

Dese'Rae L. Stage:

The Occupy Movement in Liberty Square is like a living, breathing creature. It sheds its skin on a daily basis, it moves, it changes. Both the layout and population of the park are ever in flux.

This constant evolution creates issues with access and a foundation of trust. Further, the park has become a tourist attraction cum media circus. There is an oversaturation of people with cameras – amateurs, oglers, and professionals alike – and the patience of protesters has worn thin. I'm working to build trust by making my face known. I'm spending every spare moment in the park. I walk the perimeter and through the maze of tents in the center of the park. I smile and stop to chat with anyone who approaches me. It is a slow process, compounded by the ever-changing nature of the population of the park.

I have always been a quiet shooter, hanging back, working to remain inconspicuous. I like to be respectful of the people I'm photographing, but I'm also learning that I'm working with a crippling shyness that keeps me from initiating conversation. This is a huge hurdle I'm working to overcome for this project.

I have yet to gain access to the designated safe spaces, and at this juncture, I am unsure of how many there are. On Friday (11/4), a military style tent was erected as a women's safe space. A similar tent was provided for queer, trans and gender nonconforming individuals, but it has not been erected. There was a LGBTQ safe space before the military tents arrived, but I heard that it had been attacked a number of times.

A breakdown of last week's images follows:

Mario:

As you are the one who provided new images this week, you will be getting the lion's share of the feedback this time around. I have been to Zuccotti quite often and what you're saying is absolutely correct about its constant state of evolution. I think this is one of the things that makes it interesting, in spite of the steady parade of photographers who may only come for a day or two. If you can stick it out and get to know the place as well or better than just about any other photographer, that knowledge will allow you to find pictures that no one else will discover.

As for your images, I think the strongest ones so far are 1 and 3 (portraits), 7 (detail) and 10 (woman with head down). I assume you have names for each of the women you have photographed so far – it will make the story much stronger to have names and bits of personal information about each person (primarily, why are they there?)

Please keep working on the portraits and don't be afraid to get even closer, right up into their faces, these types of images can often be very strong. Or pull back a bit and give a bit more context, for instance, a portrait inside the women's tent with some of the details of their living space visible. I would like to see some more images that solely focus on details as well, like the graffiti image. This adds a lot of context as well as a different visual layer to the story.

I'm not a fan of the kitchen worker picture because a) I feel it doesn't fit with the focus of your story and b) I feel like we don't want to paint this guy as guilty by association.

As for the overall picture of the tents, I understand what you're going for. You want to show the density of the tents. I think this was a good attempt but maybe try again from a different angle? This image could be stronger. Perhaps seeing a figure or two amidst the tents would help.

And definitely try to do more inside the women's tent. I would like to see wider images, where they sleep, is there a place where there is a mirror, where people brush their hair or anything like that? Any other details, possessions, belongings, to help us understand that this space is, at least temporarily, home. IF, and only IF, you feel it would be safe, I would suggest spending at least a night sleeping in the women's tent yourself. This will be a great way to get to know people and express your solidarity with the cause. Not to mention you will be able to probably shoot images no one else has seen. You will likely need a wide-angle lens to shoot it properly. If you don't own a wide-angle lens (24mm or wider in this case), try to borrow one from a friend or rent one for a day.

I fully understand your shyness issue, because I used to suffer from the same thing. In fact, I sometimes still do. One great icebreaker would be to bring a small set of prints of the images you have taken to show around and give out, especially to your subjects (Andrei is doing this with his family). It is a great way to initiate conversations and build trust as your subjects will become more aware of what it is you're trying to do.

Also, remember, the camera is your ally as you go into this psychological battle. I have found that my personality changes when I don't have my camera, I become shyer, less gregarious. But I have taught myself that my camera provides me with a reason to be just about anywhere and people understand that. So in this case, don't be afraid to wear it around your neck and tell people exactly what you're doing. It takes a lot of practice to feel comfortable doing this, but I promise you, it will eventually feel more natural and organic.

Most of the 8 billion of us on this planet have insecurities; we all have issues to overcome. A lot of photographers go through this as they start their careers, it is completely natural. Usually the worst that will happen is someone says they don't want their picture taken. Don't take it personally. They aren't reacting to you as a person, but to the device around your neck. Most people will agree to be photographed and, generally speaking, enjoy that someone has taken an interest in them. In the end, photography is perhaps the perfect endeavor to overcome shyness!

I hope this helps, good luck, hope to see some exciting new work next week!

Dese'Rae L. Stage:

Liberty Square, also known as Zuccotti Park, is a 33,000 square foot public space in Manhattan's financial district that has served as the flagship home to the Occupy Movement since its inception on September 17, 2011. Now, in the middle of the second month of protest and a drastic change in season, the park has truly become a self-sustaining tent city. All is not well, however.

There have been reports of intimidation, harassment, racism, sexism, and sexual assault – not from without, but from within. Just yesterday, an Occupy Wall Street kitchen worker was arrested in conjunction with two sexual assaults that occurred in the park in past weeks. There are also a number of other complications.

Sylvia's Place, the city's only youth shelter catering to the LGBTQ community, was forced to shut down last week, sending several homeless teenagers to the park for shelter. Surprisingly, many of them were driven out by inhabitants of the park who also identify as LGBTQ. In addition, the park has taken on a number of the city's transients who are not active within the protest and who, in some cases, do not comply with the Good Neighbor Policy that is actively enforced on-site. It is also rumored that the NYPD is encouraging the more difficult characters they encounter, as well as inmates recently released from Riker's Island, to "take it to Zuccotti."

In an effort to address these issues, a working group called the Safer Spaces Committee was created. They are working in conjunction with other groups, such as Security, Women Occupying Wall Street (WOW) and Queering OWS, to create safe spaces and an anti-oppressive environment "for everyone including, but not limited to: women, people of color, queer, trans, gender non-conforming, differently-abled, immigrants and undocumented, elderly, houseless, and those with less institutional power and privilege."

I plan on documenting this element of the protest in Liberty Square, especially as experienced by women and the LGBTQ contingent living in the designated safe spaces. I find this story compelling simply because all humans should have the right NOT to experience harm, in word or in deed, by others. The Occupy Movement is a social movement (and, indeed, experiment) where the goal is to reclaim and restructure society based on qualms with our current social and economic ills to create and sustain a new, fully-functional, fully-free society. If safety for these groups cannot be achieved within the idealistic bubble of Liberty Square, what does that imply about the future of the movement, and the future of American society on the whole?

Mario:

From our previous correspondence I know this is a topic that you believe in and I'm excited you will be pursuing it. I appreciate the amount of time and research you have already put into this. Yours is challenging due to the intrinsic sensitivity of photographing those who may understandably not be terribly keen on being photographed. I believe I can tell from our previous correspondence that you are fully cognizant of these issues. But it bears repeating to others: please take care to respect the dignity of your subjects as much as possible.

This will require a good amount of legwork on your part, getting to know the people of the community, carefully explaining to them who you are, why you are there, and what you intend to say and do with the photographs. Once you have gained the trust (easier said than done) of the community, hopefully you will be able to photograph somewhat freely.

How much time do you hope to spend there? Do you feel like you have gained the trust of the people already, or is it something you are working towards?

This may end up being a quiet story, a story more about portraits or quiet moments, rather than a lot of action. Which is totally fine. It will require you to really hone your portrait skills. You may end up shooting a lot of faces – stories can be very strongly communicated simply with faces.

We will also, of course, want to see what these safe spaces look like and how they are inhabited. Some may very well not want their faces to be photographed. In this case, you will have to use your ingenuity, perhaps by photographing in silhouette, or just a photograph of hands, or a scar, or wrinkles, or personal objects, or other details that somehow reveal a characteristic of the subject.

It will also be interesting to see your subjects away from the site, for instance, where do they shower or wash? Do they go other places in the city or just stay there at the site? I look forward to seeing images next week.

Also, please be careful yourself, especially at night. Thank you.