Victor J. Blue is a freelance photographer based in Brooklyn, N.Y. He works closely with Bloomberg News, shooting a variety of content from across the United States and around the world. He’s traveled to California, Guatemala and Afghanistan, covering such major events as the Republican National Convention in 2012 and Barack Obama’s inauguration in 2013.
In Depth recently spoke with Victor to discuss his role with Bloomberg and some of his recent work.
Your recent shot depicting horse-drawn carriages in New York City was a memorable one. Can you describe the process of taking this photo?
The assignment was to photograph the horse-drawn carriages at Central Park in New York City. They’ve become a bit of a controversy, especially since the new mayor, Bill de Blasio, pledged during the campaign to ban them because the horses are poorly treated.
Bloomberg had a little bit of a different angle on the story: Certain real estate interests are pursuing the buildings because the stables that the horses occupy are located on increasingly valuable real estate. That was the story that Bloomberg was doing, and they needed me to illustrate that story. I was granted access to two different stables on two different days, so I spent two days with the horses and the carriage drivers – photographing them, seeing their work and exploring their world a little bit.
You have spent a lot of time photographing race horses that your grandfather trains. Do you feel that experience helped you in your ability to make the type of imagery that you produced for this story?
Absolutely. It was key. The main reason is that because I understood the dynamic of hitching horses and caring for them, it was easier for me to anticipate strong pictures. I have spent a good amount of time in barns taking care of horses and photographing them and the horsemen that care for them. It made it easy to sit around and talk ‘horse’ with the drivers and stable hands. We discussed breeds, grooming, shoeing, all of it. I shared the stuff that I know about hitching racehorses and they shared what they knew about what it meant to care for a city horse. This created that trust that made it possible to make honest images about what is a pretty controversial issue here in NYC.
This is a hefty topic in NYC right now, with a lot of different opinions on what or if any steps should be taken. What approach do you take when covering a topic like this?
I try to go in with a healthy amount of skepticism for all sides, and my experience gave me a good perspective on how a good or bad stable was run. It gave me the ability to assess for readers and viewers where the reality lies behind the rhetoric on both sides of this debate and to report honestly and from an informed perspective on it.
To some people that have never been around horses, they might be a bit intimidating, especially standing behind or underneath such a large powerful animal. How was your time in the stables? Did you spend time letting them get comfortable with you, and how did they react?
I’m very comfortable around horses. These were draft horses, as well as some former racehorses, so they were very large, but I know how to conduct myself in a barn so there was never an issue. They were very well mannered and very contented in the stables. They were as curious about me as I was about them. It was a super enjoyable assignment, and I always say that any photo with a horse in it is a good photo.
What gear did you use for that shoot?
I work with Canon cameras and prime lenses. This was the Canon EOS 5D Mark III.
Do you like the vibrant atmosphere of New York? How is shooting there different from working anywhere else in the world?
Shooting in New York is its own animal. It’s interesting. I like it. Shooting for Bloomberg in New York, we get access to a lot of things that we might not get access to others.
Working in New York is fast-paced, and it can be demanding. I have to move around the city on my own volition to visit the Bloomberg offices every week and collaborate with my editors. But it’s cool because in New York you’re part of such a rich media environment. You compete with photographers from other media outlets and other newswires every day. You have to bring your A-game.
Aside from the special access, what other benefits are there to working for Bloomberg? What do you love about the job?
I like the professionalism of Bloomberg. I like how the Bloomberg News team is ultra-professional, ultra-organized and ultra-knowledgeable. That shows in your work.
You can depend on other Bloomberg professionals and their experience. I covered Hurricane Sandy, for example, and it was terrible. Our editors had no power — we were devastated. But they were still in touch with us, still coordinating us, still doing their best. That’s what I value most – their experience and professionalism.
Photographer: Victor J. Blue/Bloomberg
© 2014 Bloomberg Finance LP