Animal & people photojournalist and Diana Cervantes

Every subject in Diana Cervantes’ work feels familiar like you might’ve walked past them on your lunch break, or caught a glimpse of their hard work off the highway. They are showcased through Cervantes’ honest perspective and soft approach as unique individuals with full, robust lives. We speak to the Brooklyn-based photographer on photojournalism, which for her often depicts conservation and animal-human relationships, her kit, and what it’s like being a WOC in these spaces. Over to you, Diana.

MPB: Tell us about yourself and your photography.

Diana Cervantes: My name is Diana Cervantes, and I am an independent visual journalist based in Brooklyn, NY. I relocated from my hometown of Albuquerque, NM where I graduated from the University of New Mexico. I focus predominantly on long-form photo stories surrounding the environment, conservation, and human-animal relationships.

MPB: What drew you to photojournalism?

DC: I was always interested in photography as an art form; however, it wasn’t until I took a job as a freelance photographer at my college newspaper that I fell in love with the documentary aspect of it. Capturing moments as they are; candid and completely unguarded, from that moment on I realized that I didn’t want to do anything else. Additionally, I truly believe photojournalism has the power to get to the heart of important questions, topics etc., and show us plights we may not have known about. Through this profession, and by extension of my camera, they have opened incredible worlds to me and have allowed me to meet wonderful people who have taught me so much—none of this would have been possible without it.

MPB: What are your favourite topics and news issues to cover?

DC: Topics that speak to me personally and drive my work are the environment, conservation, and human-animal bonds.

MPB: Why do you think that is?

DC: I’m drawn to these topics because the planet needs us to act. We are on the cusp of the sixth mass extinction, which is purely human-driven. It is my hope, duty, and privilege to share stories of hope like conservation efforts that I hope to inspire us to act and do our part. I do this by turning the camera around on the problem solvers working tirelessly to protect our planet. I also hope that capturing stories with unique human-animal bonds inspires us to care for the amazing creatures we share this planet with and move us to protect and coexist kindly with them.

MPB: As a woman photojournalist of colour, how do you feel your experience differs from your creative counterparts? 

DC: I believe being a woman of colour can be difficult in this industry as a photojournalist, but also powerful. As WOC we bring unique perspectives into our work through our unique experiences growing up and where we are today. We’ve viewed the world largely through White perspectives as children, and now we have the power to change that for younger generations-they can grow up seeing more of themselves in the stories we share and the roles we take within our selected industries, and that’s such a beautiful thing.

MPB: Above all of that, what is the particular strength?

DC: One strength has been connecting with other WOC, whether in the industry or with women I have photographed on my personal projects. For instance, Lena from my Wild Horse story became more open to letting me follow their whole journey after she met me and felt comforted because I was a fellow WOC. This was also the case with Mother Pigeon. We have been underrepresented for a long time behind the camera, and I believe fellow POC feel safest when we share similar experiences and are the ones approaching the project/images through thoughtfulness and care because of what we have experienced ourselves. That is such a powerful and invaluable gift to bring to image-making.

MPB: What inspiration keeps you going - from people, to places and other art forms? 

DC: I spend a big amount working on photo projects, so I tend to recharge by being in nature. My favorite thing to do is visit nature preserves or the ocean. I also greatly enjoy drawing, painting, printmaking and writing letters to my friends.

I do have to mention my dear friend and mentor Ami Vitale. She has been such an inspiration and instrumental in what I do. She has been telling stories of hope and conservation for a long time and has been a guiding light in this regard. Her work inspires me to continue to share stories of hope and keep believing in a positive outcome for the planet and all of us.

MPB: Let's talk about camera equipment. What is your go-to setup, and what else do you bring with you on assignments just in case?

DC: I try to keep equipment as minimal as possible when I’m out working. I don’t like the distraction of too much gear weighing me down, so my gear list is rather small:

• Canon EOS 5D Mark IV

• 24-70mm f/2.8 L USM lens

• Joby photo tripods for video recording with my iPhone 13 Max Pro.

• Audio recorder

• And recently had to take my Outex underwater housing for a project that required me to be in the water.

MPB: Can you tell us a bit about any organizations you're a part of, like Authority Collective, and why they are so great?

DC: Working in this industry as a freelancer can be a bit isolating at times, which is why I believe organizations like authoritycollective.org and diversify.photo are so vital to creating a community. Not only can you support one another by offering job advice, but truly talk about what’s been weighing you down, and that is so important.

Additionally, these communities also have such wonderful resources for so many of us POC that we would normally have a harder time accessing. These communities offer discounted prices for portfolio reviews, which we all know can be pricey, and offer any opportunities work-wise that may come up. Including this wonderful opportunity to talk with you all, thank you Makeda!

MPB: What about relationships between animals and people intrigue you? Are there any techniques you use to capture that interaction? 

DC: I think that by the way we have constructed our world and societies, it’s easy to forget that we share the planet with so many amazing animals. We forget that they suffer just like we do and most often by our hands. That is why I think it’s incredibly special when I find people who have sacrificed and love a different species with such care, determination, and selfless abandon. It’s easy to love our own humankind, but I believe it takes a special human to truly see and care for any animal deeply—especially when they devote a big part of their lives and self. Therefore, that is why I’m drawn to capturing these bonds but as previously mentioned to help us understand that we share this planet, and they need our help too. Hopefully, we can learn from these people and be inspired by their kindness.

I don’t know if there is any special technique, per se. I think that heart, as cheesy as it sounds, is a big part of it. I also believe that the power and compelling aspect of our images are built through the depth of the connections we make with the amazing people who invite us into their lives.

MPB: What's a recent animal photo you're really proud of, and why?

DC: I would have to say the photo of the pigeons on the windowsill. It was an unexpected moment, and I was so glad I was in Mother Pigeon’s kitchen to capture it. It truly shows that all animals have different personalities.

MPB: How do you see yourself in your work?

DC: My love and care for animals come through in my images, and I believe that is one way I see an extension of myself in the work.

MPB: Any exciting personal projects coming up or anything else? 

DC: I’m excited to wrap up a project I’ve been working on for almost two years, and then I will be partnering up with a fellow reporter to do a story on the river in our hometown. I also hope to work on another conservation piece (time and other logistics permitted, so crossing my fingers!) which is still very much in the planning stages, but that I’ve had in my mind for many years.