We were lucky to catch up with Ecindy Stein recently and have shared our conversation below.

Ecindy, thanks for joining us, excited to have you contributing your stories and insights. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

I had an epiphany when I was in college as an art student that I should pick up the camera and use that as my preferred medium. In hindsight, it was a natural and really apparent. Luckily, a new program was launched called the CUNY Baccalaureate Program. It was designed to allow a student to design their own curriculum, choose their home campus advisors and the time limit/amount of credits. I went for the gusto and choose one course to run over 2 semesters for 21 credits.
I wasn’t versed in manual photography, let alone had a darkroom. However, I was a telephone operator for a messenger service that had the Kodak account. Yes, I used the account list to find out where I could intern. I found a young photographer with a great studio and two fantastic assistants. I had access to his darkroom whenever I needed it – which was alot! He didn’t spend any time with me, but his first assistant was brilliant. He was my first guide.
NY had a camera store called Olden Camera. It was housed in the photo district a couple of blocks from the studio. I had saved enough money to buy darkroom equipment. The manager at Olden took me under his wing over time – I was there regularly buying supplies. After a time of experimenting on my own, the camera store mgr. introduced me to my next mentor – Phillip Leonian. A pro photographer with a stellar reputation (I didn’t know the extent of his fame as there wasn’t any internet back then.) All that mattered to me is the quality of his work and mentorship.
Although he was commercial, he didn’t try to influence me to go that route. He supported and challenged me with my preference – I wanted to be either a Fine Art Photographer or a Nat Geo Photographer.
Unfortunately, life took a turn right when things started taking off for me.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

Fast forward to the digital age. By then I was a working mom. I had sold off my camera and darkroom equipment. Going digital was perfect for this time of life as it afforded me to still be amongst my family editing. So glad the technology progressed rather quickly – initially. I got back into shooting by giving myself assignments – which I still do today. As opposed to other photographers who specialize in one genre, I shoot many. Anything from abstract architecture to underwater portraiture. I find one feeds the other. During the pandemic I did shoot a project about how artisans were creating during this stressful time. It felt like a safe project as no creative wanted anything to interfere with their craft so they would take necessary precautions to stay well. I shot over a dozen craftsmen – from Bee Keepers to a foundry to a sea salt farmer. Great learning. Outstanding project.
The pandemic prohibited me from shooting another love – abstract architecture. I couldn’t get into the city for awhile after it opened. For about a year I had not let my eye just see. The only thing you will see in my portrait work is how my composition influenced from my abstract work.
During the summer, I am only about underwater portraiture. It’s a short season. I’ve shot as many as 16 sessions in an eight week period. Hey, I live in the NE, I have to cram it all in.
The largest problem creatives have is getting their work seen. I’ve been published and have shown in a couple of galleries. My frustration is that some galleries won’t work with you if you haven’t been published or don’t have an agent. The same for finding an agent. It is an area I still have to crack open.

How about pivoting – can you share the story of a time you’ve had to pivot?

I was the kid who got notes to get out of gym. I was outside a lot, but in that time, exercise wasn’t stressed as much as it is today. I went from carrying a guitar to art supplies – including large zinc plates for etching to pounds of camera equipment. Over time I created a rigging of cases and carriers to get my equipment to locations I was shooting a model. (I am still a location shooter to this day.) It stilled required me to carrying it up and down subway stairs. Ultimately, my neck and shoulder gave out. I couldn’t lift my arm or move my neck. They had me on some heavy pain meds. After which, the doctors told me to exercise. I had to present a note from my doctor to join a local gym because women weren’t allowed in the weight room. It took a few years to be whole. By then I felt like the train left the station. The boring job my mentor told me to take so it wouldn’t interfere with photography became my means of earning a living.

Is there a particular goal or mission driving your creative journey?

Fortunately, I now am in the position to shoot what I want when I want. I know many pros who walked away from shooting in their spare time. Or won’t shoot people cause they’re portrait photogs. or whatnot. I shoot whatever peeks my curiosity. I can’t shoot enough; it’s my drug. I believe my shooting multiple genres helps to come up with inspiration for shooting new projects. I believe shooting abstractly especially opens up many avenues of sight and creativity.
I am thinking and compiling projects for when I become too old to break into buildings, walk for hours shooting or just becoming too old to do my current projects. I am not the type to wait at a lion’s den at a zoo until he decides to lift his head. I will if that’s what a friend really wants to do, but it’s not my forte.

Contact Info:

• Website: photosbyec.com
• Instagram: photosbyec
• Facebook: photosbyec

Image Credits
Heather Personett – Clay Sculptor Malka Hynan Lilin Lace J Lange