Rangefinder Magazine
July 2006

Jayne Wexler: Grandmothers by Peter Skinner
A Revealing Portrait by a Successful Writer/ Photographer Team

New York photographer Jayne Wexler and Chicago author Lauren Cowen have become a highly successful team specializing in books that reveal the intense, loving, and at times complicated relationships among groups of women. And they have hit another home run with their third book based on that theme.

Their latest offering is Grandmothers (Stewart, Tabori & Chang; ISBN: 1-58479- 465-8, $24.95), a compilation of insightful essays and powerful portraits that profile 23 remarkable grandmothers and their grandchildren. Through evocative writing and striking, revealing portraits, the photographer/ writer duo explores the unique, loving and mysterious bond that family members share with each other. Given that Wexler and Cowen have previously produced the New York Times bestseller Daughters & Mothers and Girlfriends (both published by Running Press), it comes as no surprise that Grandmothers is proving a great success.

In every sense, this work is a celebration of the powerful and beloved role of grandmothers, sharing the stories of special relationships rooted in love, strength and courage. Cowen and Wexler explore the relationships between the two generations, revealing the poignantto one another. The book features actress Olympia Dukakis, author Judy Bloom, singer/songwriter Alicia Keys and NBA star Steve Francis, along with women of diverse ages, cultures and backgrounds. And the stories truly touch the heart. One such story is that of Ruth Slagle, who, when her daughter-in-law Shelly committed suicide, had to break the awful news to her two granddaughters, Kristie and Kelley. In keeping with her courage and dignity, Ruth transformed the tragedy into strength and love. She became the rock in the lives of her two granddaughters, forming a bond whose very essence is captured in Wexler’s portrait of the trio.

While working on the book, Wexler and Cowen each experienced personal losses and challenges. Both of Cowen’s parents died, and Wexler’s infant son was diagnosed with and treated for leukemia. The intensity of their experiences and the personal strength each gained through the journey of creating Grandmothers are reflected in their work.

“Grandmothers give us access to worlds we don’t know and can’t see—they connect us to places, people and perceptions that widen the limits of our lives,” says Cowen. “They teach us, transport us, influence and inspire us in countless ways, and this book is a tribute to their unique spirits and perspectives.”

Wexler points out that the aim was not to simply catalogue the role of grandmothers, but to celebrate them through women of different perspectives. “We sought to profile women of different backgrounds and outlooks, women who varied not only in who they are, but also in how deeply the relationship defined them and the choices in their lives,” she says.

In addition to producing their earlier books, Cowen and Wexler have vast amounts of experience in their fields. Cowen has written for numerous magazines and newspapers, including Chicago magazine, Philadelphia magazine, the Chicago Tribune Magazine and Philadelphia Inquirer Sunday Magazine. Wexler’s portraits appear regularly in Vanity Fair, Glamour and People, as well as in commercial and advertising outlets. Additionally, she exhibits, lectures and teaches workshops. Their combined experience stood them in good stead when profiling this wide-ranging and complex group of women and their grandchildren.

Each of the 23 profiles in Grandmothers tells of the touching and inspirational union that connects generations. They give us insight into the strength of people like one grandmother who serves as both a force and an anchor for her superstar son. There are stories of joy, as in that of the grandmother who enthusiastically embraces the simple pleasure of playing hopscotch, watching airplanes take off and land, and gardening with her grandchildren; of resilience, as personified by the grandmother who looks to the future with tremendous hope and faith while raising her young granddaughter in the wake of her own daughter’s death; and of wisdom, as exuded by the grandmother whose ability to recognize her granddaughter’s untapped talent ledto a hugely successful career as a jewelry maker.

Whether you call her “Nana,” “Grandma,” “Granny” or any other term of endearment, Grandmother holds a special place in our hearts and minds. Most photographers harbor aspirations of producing a book on a subject dear to their hearts. In the following question and answer section, Jayne Wexler shares some of the details behind Grandmothers.

Peter Skinner: Did having a track record with this genre of book make it easier to get this project started?

Jayne Wexler: Whereas our first two books were published by Running Press, a new publisher, Stewart, Tabori & Chang (a division of Abrams), actually approached us with the idea for Grandmothers. Since Lauren and I had considered doing a book on this subject before, we were interested. Fortunately, I have always loved photographing older people, adored my two grandmothers, and was ready to do a third book. After some thought and discussion, we decided to go for it. I soon learned that the stereotypical image of a grandmother with wrinkles and staying at home cooking had changed quite a bit.

PS: How did you select the grandmothers for the book, and how long did the project take from start to finish?

JW: We wanted to find stories that varied in demography, geography and perspective, so Lauren and I sent letters to friends, colleagues and relatives. At the same time, we searched through magazine and newspaper databases and tried to imagine the stories we wanted to tell. While Lauren focused on finding the stories of women whose names aren’t known, I worked mostly on finding the celebrities, which involve often complicated correspondence with publicists, agents and managers. Fortunately, we had two research interns to help. The project took about two years from start to finish, but the shooting and production took about a year.

PS: What was the general modus operandi?

JW: When possible, we would interview and shoot the subjects at the same time. To make sure we had an intriguing story, Lauren almost always talked to the subjects at length on the phone and then sometimes would meet them in person before I went to do the shoot. It’s always helpful when we’re together because Lauren and I complement each other, and we try and create a fun and relaxing atmosphere for everyone. PS: The subjects have really bared their souls to you and Lauren. Did this happen easily or was there a degree of reluctance, even initially?

JW: Every subject varies. It’s up to me to draw out their true personalities visually. I help my subjects feel at ease with one another and in front of the camera. Each family is unique in the way they interact and relate to each other. There are distinct differences in the way love and respect are expressed between grandmothers and their grandchildren. It [drawing out their personalities] is always an interesting challenge for me.

PS: What’s the key to getting people to open up like that?

JW: I relate to my subjects in different ways. Sometimes I’ll tell jokes, sometimes I’ll ask about their favorite hobbies, sometimes I just listen to their stories. Most importantly, I remind my subjects to take a deep breath—and then let it out, of course!

PS: Did the subjects get to see your images before they appeared in the book?

JW: Very rarely do I show my subjects the final images chosen for the book. This only slows down the process, and often people are very critical of their images in photographs, not thinking of the photograph itself. It is difficult for people to see their own beauty. However, I do take Polaroids of my subjects before I shoot the film, and these I often share with them. Allowing the subjects to see these images gives them a sense of collaboration and tends to put them at ease. A few celebrities insisted on seeing the final images first, which is normal—this process has become so much easier now in the digital age. In the past I had to send prints, but now I can send a quick email.

PS: From a technical aspect, what equipment and lighting were used?

JW: I used a Hasselblad camera with mostly a 120mm lens. I also used 50mm, 80mm and 180mm lenses. I shot with Tri-X or Plus-X film and Polaroid as well. Working with Dyna-lites, I always try to mix the ambient light with the flash units to maintain a natural look. When shooting without lights, I use reflectors and diffusion. Each situation is different, which is my challenge.

PS: Did you use assistants?

JW: I always used an assistant, but since our budget was limited, I used only one per shoot. I couldn’t afford to take my regular assistants with me if I had to travel outside New York, so I would hire assistants locally. To do this, my studio manager would look up a big city near the shoot and find a local photographer who would refer assistants and hotels and help with other logistics. I was pregnant when shooting many of these stories, so I only traveled with the necessities: cameras, film and minimal lighting equipment—a Lumedyne 400 with one head and two batteries. When necessary, I rented lights and stands from the assistant or a local photographer.

PS: What advice would you give other photographers aspiring to publish a book on a favorite theme? How do they approach a publisher or get their foot through the door in the first place?

JW: Research your idea, and make sure it hasn’t been done in a similar way. Look at other books to gather data about publishing houses, design and text. One can go to a publisher directly or have a literary agent approach the publishing houses. A great proposal is needed, and a mock-up or comp of the book is usually essential. I believe it’s absolutely necessary to work with a designer to create a great layout. Many photographers think they can design, but often they should stick to photography. This designer or art director could help with the editing as well. We were fortunate that our publisher agreed to hire the same designer, Maria Taffera Lewis, who had designed our previous books. Depending on what type of book, it’s important to work with a strong editor. If it’s going to include text, a good writer is needed.

Given the diversity of backgrounds of the grandmothers featured in this book, it’s very likely that grandmothers all over the world will identify with many of the stories! Some will smile, chuckle, or even shed a tear as they relive their own experiences. Whatever their reaction, they should all do one thing— take a bow!

To see more of Jayne Wexler’s editorial, advertising and commercial photography, visit www. jaynewexler.com.

Freelance writer/photographer and author Peter Skinner has more than 22 years experience in the photo industry in public relations, media liaison, corporate communications and workshop production and coordination. His magazine articles and photography have been published internationally and he has co-authored or edited numerous publications and books. He collaborated with the late Don Blair on The Art of Seeing Light (Amherst Media). He can be reached at: prsskinner@bigpond.com.