Tag Archives: featured

A Passion Project Comes to Life on the Crow Indian Reservation

This is heaven, This is my land, This is Crow land, This is home. -Icezada Little Light, National Geographic Photo Camp Student

“I can be on a plane to Montana tomorrow” I said confidently. “Book the ticket,” Stacy Gold replied. My stomach fell through the trapdoor of anxiety as I tapped the red circular end call button on my phone. I didn’t know if the trip would produce the miracle I had just promised, but like a rock climber on a difficult ascent who is past the point of no return – my only option was up.

On my first trip to Montana twenty one years before I had felt this same knot of anxiety as I pulled off Highway 90 past the hot pink colored Ammaaiisshuuwuua laundry mat that sits on Makawasha Ave across the street from the white and red Teepee gas station in the reservation town of Crow Agency. I was a tall and lanky 18 year old filled with wanderlust. As I watched my friends enroll in various universities around the country, I packed my small gold colored Nissan Sentra and drove from Virginia to Montana to volunteer at an after-school youth center filled with ping pong and foosball tables on the Apsáalooke (Crow Indian) reservation. The rain washed streets and dense green canopy I knew from Virginia couldn’t look more different than eastern Montana’s alfalfa covered hills that looked like massive green ocean swells under an endless sky. I had discovered photography two years earlier in high school and had the crazy dream that someday I would be a professional photographer. To that end I had packed my Minolta Maxxum 8000i and a few rolls of black and white film in the back of my hatchback and this new, strange, big sky landscape captivated me.

Within weeks of my residency in a room a hundred yards from the Northern Pacific Railway tracks in Crow Agency, I realized it was much more than the landscape that had taken me captive. There was something different, something hard to place a finger on, something the Apsáalooke people shared that was incredibly powerful. I noticed when a man tripped and fell on the uneven sidewalk of Makawasha Ave, a complete stranger, handed him a couple dollars. I noticed every time I visited a home, no matter the time of day or night, food was pushed into my hands – even when many of the homes seemed to be living meal-to-meal. At first, this baffled me. It went against the law of the jungle. The law of conserving limited recourses. As the bitter winds of winter raced onto the planes of Montana, I began to understand. I moved from my house by the tracks into the home of Kenneth and Hannah Pretty On Top where I witnessed this kindness and generosity every day. I realized the intangible I had failed to grasp could be summed up in the Apsáalooke word Ashammaliaxxiia. Ashammaliaxxiia is the word for the Apsáalooke clan system and it translates to “Driftwood Lodges.” As the name metaphorically implies, the purpose of the clan system is to provide spiritual and material support to one another. Just as driftwood bands together in turbulent waters, so do the Apsáalooke people. As spring turned to summer, Kenneth and Hannah adopted me into the Pretty On Top family. I had fallen in love with this place, I had fallen in love with the Apsáalooke people, and now I too was a branch in this driftwood lodge.

Now, 21 years later, I found myself braced against the wind on the black tarmac parking lot of the Billings airport in search of my rental car with a knot of stress in my stomach. Against all odds, I had managed fulfill the crazy dream of my younger self, and become a professional photographer. Thanks to a chance encounter the year before with Apsáalooke tribal member and anthropologist Aaron Brien, we had hatched a plan to bring the National Geographic Photo Camp to the Crow Reservation. Aaron had been one of the 12 year old kids playing ping-pong and foosball in the after-school youth center I ran in Crow Agency in the 90’s – and now was a rising star in the world of anthropology with a recent masters degree and TEDx talk under his belt. It quickly became a new dream to share the vocation that I was passionate about with a group of high school students that were the same age I was when I discovered photography. Over the course of many conversations about what the camp might look like, Aaron said “You know JK, the clan system was given to us to keep us socially and spiritually alive – and the idea of it is dying. It is the one thing that makes Crows unique and it needs to be an everyday thing. But we don’t teach that anymore. What if we used photography as the tool to talk about the clan system?” I was sold, and much to our delight, National Geographic was sold as well. There was only one problem. It was early May, the camp was scheduled to begin in a month and we only had 1 student enrolled.

A lot has changed on the reservation since I lived there in the 90’s. The small community college has blossomed into an incredible campus of modern geometric patterned brick structures complete with fiber optic internet connections. The trash that lined the streets of Crow Agency has largely disappeared thanks to residential pickup that was implemented 8 years ago. But even in the age of cell phones and Facebook – the only way to get work done in Crow country is still face-to-face. Aaron and I had budgeted a week to visit the schools on the reservation to recruit students, but thanks to some incredible help from guidance councilors and staff at St. Labre and Hardin High schools the photo camp was full after the first day of visits. By the time I boarded the airplane in Billings at the end of the week, the knot of stress had turned into a knot of joyful anticipation for the camp.


How Wolves Change Rivers

Incredible video about how the wolves, re-introduced into Yellowstone National Park in 1995, have started a trophic cascade – an ecological process that starts at the top of the food chain and tumbles all the way down to the bottom – and how this trophic cascade has actually altered the rivers in the park.  It is all good news and time well spent to view the video.


Thirty Days in Sixty Seconds – A Photographers Journey in Panama

I was inspired by David Guttenfelder’s “Ninety Days in Ninety Seconds”. If you have ever wondered what it is like to be a photographer working on a story like this Spanish shipwreck in Panama, here is thirty days in sixty seconds.  You can read the full story on National Geographic here.


Kingston’s work featured on Nat Geo News

A few moons ago I found myself working on a fascinating project in Panama documenting Fritz Hanselmann and his team of underwater archaeologists excavating a 17th century shipwreck.  We were looking for ships belonging to the legendary English pirate Captain Henry Morgan.  Morgan was on his way to sack Panama City when a storm sank five of his ships at the mouth of the Chagres River – these were the ships we were searching for – but Panama had other plans for the team.   Instead of finding Morgan’s ships, we discovered a merchant ship laden with swords, bolts of cloth and other goods.

I was on the project for nearly 30 days – and out of the 30 days – had exactly two where the water was clear enough to shoot.  The shipwreck was located very close to the mouth of the Chagres river, and every time it rained, the visibility underwater went to just about zero.  Photographically, the project was a great exercise in patience and persistence – gearing up day after day, to be greeted with water that I couldn’t see the end of my arm in.

The great team of researchers made the days fly by, and in the end the currents worked out in my favor for just enough time to capture what needed to be captured.

Read the full story on National Geographic News – Rare Spanish Shipwreck From 17th Century Uncovered Off Panama – Photos by Jonathan Kingston.


How to merge two Lightroom catalogs

One of the questions I am most often asked about Lightroom is how to combine two Lightroom catalogs into one.  This need arises for me every time I return from an assignment – as I keep a traveling catalog on my laptop and a master catalog on my desktop. When I return home, I combine the traveling catalog into the master catalog using the following technique…

Ask, See, Do

I am often asked how many good photographs I get when I am out on assignment.  In the days of film, this question was framed “Jonathan, how many usable photos do you get per roll? ”   Today the question is simply reframed “What’s your ratio of good photographs to bad?”

It took me a long time before I could articulate an answer to the above question that didn’t leave me feeling strangely drained and awkward.  Not because I didn’t have an answer; there was a time in my life I knew precisely how many good frames I was averaging per roll of film and could return the figure as accurately as a cash register printing a receipt.  What always rubbed me the wrong way about the question was that I never liked the connotations of my answer – whatever the number was.  I disliked the idea that one of the metrics of how good or bad a photographer I was could be measured by how many good or bad frames I captured on a roll of 36, or on a memory card.

Many moons ago, I posed the same question to one of my mentors, Dewitt Jones.   He returned my question with a knowing smile and let just enough silence fill the space after the asking to make me feel like a kid caught with his hand in the cookie jar.  When Dewitt broke the silence he said “If your asking that, you’re asking the wrong question.” Feeling a little like young Luke Skywalker learning the force from master Yoda I replied, “What is the question I should be asking?”   Dewitt answered, “The question you should be asking is ‘did I get THE shot’?” He then went on to explain, “You either get the shot or you don’t get the shot – it’s as simple as that.”  The light began to dawn in my mind and I swear I saw Dewitt’s camera levitating ever so slightly on the table behind his chair. “It’s not how many good shots I get, the question is, ‘did I get THE shot?’”

Seeing Clearly

So what is THE shot?  For me the shot is the image, or group of images that most effectively tell the story.  The frame(s) that capture both the reality and the feeling of the moment.

Cartier Bresson describes the shot as capturing the “decisive moment.”  Rikki Cooke describes his process with the phrase “it turned my head.”  Chris Rainier describes his approach as a “feeling in the solar plexus.”  In fact, every great photographer I have ever spoken with uses different words to describe the same thing – excitement.

So what do I do when I have that feeling in the solar plexus?  When my head turns to see the soft light gracing the pilgrims face?

Ask, See, Do

My process can be summed up in three words:  Ask, See, Do.

Ask – I ask myself: What is the story here?  What matters in this scene and what doesn’t?  How can I highlight what is working and eliminate what is not?  And importantly, when photographing people, I try to live by the golden rule by always honoring my subjects and asking permission whenever possible.

See – Do I see the story in my mind’s eye? Do I see this shot at my core level?  Am I seeing this shot with my head or my heart?  If I don’t feel anything when I take the shot, people looking at my photo aren’t going to feel anything. If I am filled with joy at the beauty before me or cry because of the tragedy in front of my lens, my hope is those viewing the image will be able to feel the same emotion.

Do – Can I let my technology and technique augment my vision as an extension of  myself, or is it going to be a barrier between myself and the scene.  If it is a barrier – how can I simplify to the point where it is not and still capture the frame?  Do I need to put away the DSLR and pick up my point and shoot?

Great photography is knowing the story, seeing it with my heart and capturing it in a way that allows me to remain connected to my subject. Great photography happens when subject, heart and technique connect; and when they do, the result is pure magic.