Mary Virginia Swanson at home in the Sonoran Desert ©Molly Peters

Photography Educator is a monthly series on Lenscratch. Once a month, we celebrate a dedicated photography teacher by sharing their insights, strategies and excellence in inspiring students of all ages. These educators play a transformative role in student development, acting as mentors and guides who create environments where students feel valued and supported, fostering confidence and resilience. By encouraging exploration and critical thinking, these teachers empower students to pursue their passions and overcome challenges.

I am deeply honored to kick off this series in 2025 with the incomparable Mary Virginia Swanson. I have known “Swanee” for over twenty years beginning at one of her marketing workshops in Tucson, Arizona. From our first meeting, I was immediately struck by her integrity and her profound, intimate knowledge with all things photography. She has been instrumental in guiding me on my artistic path, helping me explore career opportunities I could never have envisioned two decades ago. As a friend often remarks, “Swanee is always right!” She is like the North Star, unforgettable and bright in the sky, illuminating the way for me and countless other photographers.

©Image courtesy Datz Press: October 2024 at the launch of the Korean Language edition Publish Your Photography Book, Datz Press, Seoul, South Korea

Sprinkled throughout this interview are statements from a small collection of Swanee’s students.

I didn’t know that Art + Science was even a category until the day I visited Mary Virginia Swanson many years ago. When I shared my photographs with her, she pointed out the work’s underlying connection to science. She helped to educate me, encourage me, nudge me and show me a path to grow and branch out on my own. Now, years later, as Art & Science editor for Lenscratch magazine, I’m honored to carry forward Swanee’s tradition of supporting and highlighting the work of other artists in this field. Linda Alterwitz,  lindaalterwitz.com
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For the past 25+ years, as my photography career has evolved, Swanee has been a constant supporter and adviser who has helped steer me through the ever-changing photo world. Her sage advice has guided me as I’ve assembled portfolios, navigated my first book contract, and understand the transition from the earlier days of presenting slides to present times with PDF’s and social media. Her knowledge and reach is incredible and has been an enormous asset for me. All of this aside, the best part has been her friendship and belief in me as a photographer. Craig Barber, craigbarberphotography.com
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Mary Virginia Swanson has been an invaluable mentor, helping me navigate the transition from an emerging to a mid-career artist. Drawing on her deep wealth of knowledge, extensive history in the field and unmatched expertise, she has guided me in preparing for and maximizing portfolio reviews, establishing edition and pricing structures for limited edition prints, and refining my communication, branding, and marketing strategies. Her detailed insight has been key in developing my gallery and museum presence, setting realistic career expectations, and creating actionable steps to achieve my goals. Her generosity, profound care for the artists she works with, and the depth of her knowledge from decades of experience make her guidance uniquely impactful, and I am honored to benefit from her mentorship. Someone once told me that having the chance to work with Mary Virginia Swanson would be an incredible privilege, and I couldn’t agree more. The photography world is undeniably richer for her presence and the invaluable knowledge and generosity she shares. Alanna Airitam, alannaairitam.com

©Richard Klein

While I knew quite a bit about Swanee’s history in the photographic medium, I wanted to know more. How has she managed to adapt to an ever-evolving field? What guides and inspires her?

ES: Tell us a bit about your career and how it all started.
MVS: I was fortunate to benefit from the mentorship of several distinguished educators, curators, gallerists, and a host of accomplished colleagues early in my career that instilled in me a broad understanding of the medium, its history and best professional practices. I came to understand collecting and exhibiting fine photographs, editorial, design, corporate and advertising markets, and the value of images in licensing contexts. This broad range of professional experience has made me an effective problem solver and advisor to artists and arts organizations.

During my MFA studies at Arizona State University my summers were spent interning under the curator of photography, Carroll T. Hartwell at the Minneapolis Institute of Art.  Ted gave me a seat at the table and introduced me to the role of a museum as responsible custodian of their works. 

My first formal position following graduate school was with The Friends of Photography, the legendary photography organization founded in 1967 by prominent photographers and photo historians notably Ansel Adams, Beaumont & Nancy Newhall, and Cole Weston. Program areas included publications, exhibitions, and its legacy workshop program, offering valuable experience with significant areas of importance for photographers. I dove headfirst into leading educational offerings. I brought an inspirational group of artists, historians, publishers and others to our programs, including Ruth Bernard, Willard Van Dyke, Beaumont Newhall, Roy Decarava, Jerry Uelsmann, Mary Ellen Mark, Eugene Richards, Lewis Carlos Bernal and Olivia Parker. I subsequently accepted a position at Magnum Photo’s NYC office heading Special Projects, generating exhibitions and events surrounding the 40th anniversary of the artist-run cooperative. 

My knowledge of the photography industry expanded rapidly during 3 years at Magnum. I was exposed to artist assignments, commissions to create new work, requests for commercial licensing, and related business negotiations and contracts. After Magnum I worked on “A Day in the Life of America” where I learned the power of photography on the public stage.

In 1990 I relocated to Tucson Arizona, where the Center for Creative Photography at the University of Arizona was established by Ansel Adams. I knew the CCP would be a magnet for photographers, historians, curators, and the broader visual imaging community, like the legacy of The Friends of Photography.

I founded Swanstock, an innovative agency representing the work of fine art photographers for commercial licensing. As the next generation of designers and art directors arrived seeking a higher quality image for placement, we were an oasis in a sea of “stock photography.” I dedicated myself to sharing the work of over 600 photographers with top creatives throughout the country for nearly 10 years.

I look back and think of the countless photographers I have taught and mentored at workshops, portfolio reviews and now online courses with La Luz Workshops.

ES: Did you have an influential photography mentor or teacher? What was their biggest impact on you? And then subsequently, how and why did you get into teaching?
MVS: I chose to attend Arizona State University (ASU) for my graduate studies to work with professors Bill Jay (history of photography) and James Hajicek (non-silver processes and faculty advisor of Northlight Gallery) who became role models on academic and ethical standards and the value of a peer group. Under James I became the student director of the Gallery where we co-taught the Gallery class and oversaw operations.  It was during this period that I realized that unlike most of my graduate cohort who were preparing for teaching positions, I sought to find a career where I could engage with artists and their work. 

In 1999 James asked me to teach the Professional Practices class that coming fall to cover a faculty leave, which gave me an opportunity to bring my practical, real-life teachings to the college classroom. Since 2000 I have been visiting classrooms in person and now online, sharing best practices when strategizing careers in our evolving field.

ES: What career accomplishments are you most proud of?
MVS: Recipient of the Griffin Museum’s FOCUS Award for Lifetime Achievement in Photography in 2013. To learn more about this honor, visit Lenscratch’s “Mary Virginia Swanson Mixtape”. I was also named SPE HONORED EDUCATOR in 2015, the first chosen for this honor that is teaching outside of academia. Creating highly impactful online education programs during the pandemic with Selma Fernandez Richter of La Luz Workshops (2020) that continue to evolve, with offerings reaching international audiences.

ES: What is the most meaningful part of your job?
MVS: Seeing the success of the artists I am honored to teach and mentor, from individuals, to workshop participants in person and now learning online, and the countless readers worldwide through the third edition of “Publish Your Photography Book” (Radius Books, 2023).  

©Image courtesy Datz Press: October 2024 at the launch of the Korean Language edition Publish Your Photography Book, Datz Press, Seoul, South Korea

ES: Last year Radius Books released the 3rd edition of Publish Your Photography Book, the 10-year update to the book you and Darius D. Himes coauthored. Tell us what led you to revise and expand this seminal book?
MVS: “Publish Your Photography Book” derived from a 12-part quarterly column in the Photo-eye Booklist and series of workshops, both of which I collaborated on with Darius Himes. When earlier editions sold through and with important updates to content and resources, we developed a 3rd edition with Radius Books that is hardbound with a detachable Workbook to help artists understand considerations when embarking on their publishing projects today. Our step-by-step Workbook is available free for artists on a dedicated website for the book. In October of 2024 Datz Press, from Seoul, South Korea released a Korean language edition of the book, for which we are so grateful.

MVS and Darius D. Himes @ Paris Photo ©Daniel Milnor

ES: How and where do you find inspiration?
MVS: Working with artists on their projects and archives, attending book art fairs to learn of new titles, and meeting the makers and publishers. Also new adventures with our dogs and my periodic journeys to cultural destinations with long-time girlfriends.

©Molly Peters

ES: What has been your biggest sacrifice?
MVS: Not a sacrifice, but perhaps a compromise: Choosing to work as an independent educator rather than an academic has brought both benefits and challenges.

As an independent, I can stay current on the value and impact of photography, as visual communication has become an integral component of every industry. I am responsible for all investments of time and resources for continuing education, networking with curators, publishers, gallerists, scholars and maintaining a presence on social media.  Taking this path I have a broad knowledge of the field, a practical understanding of photographer’s needs with a window on what’s next, and a wide community of colleagues for which I am forever grateful. The opportunity to help and guide amazing people of all ages, backgrounds and nationalities on their photographic journeys is fulfilling in so many ways.

What did I miss by not choosing an academic path? Being a part of a team of colleagues with whom to build and re-build programs as our field continues to evolve, the chance to inspire young students as they consider entering our profession, and direct access to institutional resources and wisdom for deep personal research.

©Susan kae Grant

ES: What advice would you give to photography students?
MVS:Before you graduate, gain strong knowledge of every piece of equipment in the art department including motion, lighting, sound editing and if possible, learn to build shipping crates that can accommodate your work. Seek the opportunity to install your work and make high-quality documentation of the show.  Take design classes to gain knowledge and broaden your network, and seek out experts across campus. Take business classes. Expand your personal library as possible and strive to be a life-long learner.

Susan Kae Grant & MVS with books, online symposium, ©Richard Klein

ES: What is your vision for the future of photography education?
MVS: As educators we must all realize that the freelance life is likely to be the only path available when trying to enter our industry in today’s economy.  I have long been an advocate for professional practices to be taught in academic programs, including expanding opportunities for paid internships, work/study scenarios, conducting workshops on grant-writing, and other such mentoring programs for students to gain a window on the ‘real’ working world. This is essential, now more than ever.  

I met Mary Virginia Swanson at FotoFest in 2006. Her genuine concern as well as her extensive knowledge has been a shining light for me and impacted many of my decisions to pave the way for my career and legacy. Her mentorship helped me produce a self-published book in 2009, a book with the University of Texas Press in 2014 and my most recent and long term work, “Call me Lola” published by Hatje Cantz  in 2024. Loli Kantor, lolikantor.com
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Publishing a book of my photographs has long been one of my biggest dreams, but seemed impossible.  Because of Swanee’s informative, step-by-step classes both online and in person, this journey is becoming an achievable dream. It is rare to find an educator like her. Over the past year she helped me develop and edit my long-term project “Skinship” into a mock-up for viewing by publishing professionals. I recently had prints from this series shown at Paris Photo in the booth of a respected gallery and in advance of attending Swanee provided a ‘big picture’ understanding of that important world stage so I could navigate this amazing opportunity with confidence. Swanee is one of my mentors in photography that I had been seeking for a long time. I am so fortunate to have found her. Takako Kido, takakokido.com
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ES: Where do you see yourself in five years?
MVS: Enjoying my library before placing it elsewhere, visiting libraries and special collections, and making books of my personal work created in the Sonoran Desert to share with others.

©Molly Peters

The focus of my photographic work has always been to capture the essence of where I live. For over 30 years the Sonoran Desert in beautiful Tucson, Arizona has been my muse; I fell in love with its diverse ecosystem during my college years, and to return after years on the west and east coasts has been pure joy.

I live on the outer edges of town where urban and rural life merge, walking daily amidst the cacti and wildlife during first and last light. I celebrate its wondrous layers of complexity, and at the same time question how I see myself in it. Thanks to Instagram I have been able to share this work as #heavenathomeintucson and greatly appreciate the viewers who encourage me to show them more of this magical landscape. 

©Mary Virginia Swanson

©Mary Virginia Swanson

©Mary Virginia Swanson

©Mary Virginia Swanson

Mary Virginia Swanson has spent her career helping artists find the strengths in their work, identify appreciative audiences, and present their work in an informed, professional manner. Unique among authorities in our field, Swanson’s in-depth knowledge, professional reputation and relationships throughout our industry offer a broad range of perspectives on both the making and marketing of photo-based work. Her private mentoring, online group learning lectures & symposia and in-depth, in-person workshops have proven to aid photographers in moving their careers to the next level. 

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Elizabeth Stone is a Montana-based visual artist exploring potent themes of memory and time deeply rooted within the ambiguity of photography. Stone’s work has been exhibited and is held in collections including the Museum of Fine Arts, Houston, TX, Center for Creative Photography, Tucson, AZ, Cassilhaus, Chapel Hill, NC, Yellowstone Art Museum, Billings, MT, Candela Collection, Richmond, VA, Archive 192, NYC, NY and the Nevada Museum of Art Special Collections Library, Reno, NV. Fellowships include Cassilhaus, Ucross Foundation, Willapa Bay AIR, Jentel Arts, the National Park Service and the Virginia Center for the Creative Arts through the Montana Fellowship award from the LEAW Foundation. Process drives Stone’s work as she continues to push and pull at the edge of what defines and how we see the photograph.

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