With Frank Meo: Founder of the Projections Program
“What began as a casual idea became a powerful platform for photographic storytelling.”
Frank has represented photographers for thirty years as business partner, mentor, consultant, advocate and curator. This collaboration has produced hundreds of award-winning ad campaigns, art shows, provocative editorial content and successful books.
His online PROJECTIONS event now in its seventh year showcases the talent of visionary photographers from around world that include Pulitzer Prize, World Press and Presidential White House photographers among others to an eclectic audience of creatives.
He’s collaborated and curated numerous photographic books and spoken at learning institutions that include Syracuse University, New School, Foundry, Parsons, ICP, SCAG, SVA and Tampa University. He’s an in-demand speaker for trade organizations that include Xposure, ASMP, Eddie Adams Workshop and APA.
HM: Tell us about yourself—where did you grow up, and how did you get into photography?
FM: Well, I'm a Brooklyn guy—born and raised in Brooklyn, coming from a working-class, middle-class background. My dad owned a dry-cleaning shop, and my mom was a tailor. Growing up, I had this inexplicable fascination with advertising. I always knew, even as a kid, that I wanted to work in advertising. Fortunately, at a young age, I landed my first job at Ally & Gargano, a fantastic agency. It was an exciting era in advertising—agencies had real integrity and creativity, and weren't afraid to push back when clients were hesitant.
At Ally & Gargano, I started as a projectionist, screening all these incredible commercials they created for brands like Pan Am and Federal Express. It was inspiring. Around that time, in 1979, we landed a new client—MCI, the telephone company. Our bosses practically insisted we invest in MCI stock. I was just 23 years old and skeptical, but I put a few thousand dollars in the market. Within a short period, the stock skyrocketed, with MCI effectively challenging the Bell Telephone monopoly. Suddenly, I had $60,000 in the bank—an unbelievable sum for me at the time.
HM: So how did this unexpected success change your path?
FM: It gave me the freedom to pursue my dreams. I decided to quit my job and travel through Europe and the Middle East, something I'd always dreamed about. Everyone around me thought I was crazy to leave a promising career behind. But Amil Gargano himself—a mentor and a dear friend—encouraged me to take the leap. He told me something I've never forgotten: "We spend our whole careers fighting for three-day weekends and vacations—go now, while you're young. Your job will still be here when you return." So off I went, backpacking for a year.
HM: Anything special happened during that trip?
FM: Yes! Meeting my wife was undoubtedly the highlight. It was Bastille Day in Paris, on the Champs-Élysées, and I spotted her walking by. I knew instantly I had to talk to her. Quickly, I took off my watch, pretended I didn't have the time, and asked her. And now, we've been married for 34 years and have a wonderful grandchild. It truly turned out to be the trip of a lifetime.
HM: How did your professional journey continue after returning to the U.S.?
FM: After coming back, I reconnected with my network from the advertising world. People kept suggesting I'd make a great photographer's rep. Initially, I was hesitant because reps weren't exactly popular—everyone at the agencies tended to avoid them! But eventually, I was convinced to try it out, and I was fortunate enough to represent some incredibly talented photographers, such as Robert Ammirati for still life, Ron Levine, James Salzano for portraits, among others. It was a dream job. I genuinely loved it. For over two decades, it hardly felt like work—I was constantly surrounded by creativity, amazing people, and fantastic projects. Every day was exciting and fulfilling.
HM: And how did the industry changes impact you?
FM: Well, everything shifted dramatically with Getty Images entering the market—it disrupted the industry profoundly. Commercial photography changed almost overnight, becoming increasingly commoditized. I found myself gradually becoming more interested in photojournalism and documentary photography—fields that offered deeper stories, more authenticity. This shift made me reevaluate my place in photography and redefined my relationship with visual storytelling.
HM: You spent over 20 years in commercial photography. How was that experience overall?
FM: It was fantastic—honestly, it never felt like work. I loved the creativity, the shoots, the people. Working with art directors, writers, and agencies was inspiring every single day.
Photographer: Iva Sidash
Iva Sidash is an independent photographer based in Ukraine. She is a member of the Ukrainian Association of Professional Photographers and the National Society of Photo Artists of Ukraine. Sidash studied Documentary Practices and Visual Journalism at the International Center of Photography in New York.
A dance and theater group in Kiev
Photographer: Iva Sidash
A young Girl with a solider - pure innocence
HM: But the industry changed significantly when Getty Images entered the scene?
FM: Yes, Getty disrupted everything. Around that time, I began meeting photojournalists, and I immediately fell in love with their authenticity and commitment. Their work was powerful and essential, but financially, it was incredibly tough. They simply weren't making enough money to sustain themselves.
HM: And that's when you saw an opportunity to help photojournalists enter commercial photography?
FM: Exactly. I realized that if I could connect photojournalists to commercial clients like American Express, Nike, or Citibank, they could fund their own important work. The challenge was bridging two completely different worlds. Photojournalists didn’t understand commercial budgets, production logistics, assistants, wardrobe, location scouting—all second nature in advertising.
HM: Can you share a memorable example of how this worked in practice?
FM: Sure. One standout project was a global campaign for Citibank. The agency wanted photojournalists specifically, and two photographers I represented were shortlisted. I prepared them carefully and told them the budgets would be identical—it was all about their approach and personality.
The first photographer lost the opportunity within seconds by being dismissive, he didn’t realize the importance of relationship-building. The second photographer, Lori Grinker, was warm, professional and enthusiastic. She got the job!
HM: What was that experience like for Lori?
FM: Transformative. For a moment Lori went from shooting conflict zones and disasters to traveling first-class worldwide—Europe, Saudi Arabia, New York—staying in luxury hotels. Yet, even during this huge commercial job, she was nervously awaiting a call from Doctors Without Borders, that told me where her heart truly lay.
HM: Do you remember the moment Lori realized what this commercial assignment meant financially?
FM: Yes, vividly. I handed her a check for about $98,000—just a partial photo fee. She stared at it for a second and then started crying, quietly telling me, "Frank, you know this changes my life." That was a career-defining moment for me too—helping a photojournalist achieve financial security to fund her passion - what a gift for me!
Photographer: Hector Quintanar
Hector takes us on his journey to war torn Ukraine. He shares with the viewer the painful moment of a man who has lost his son.
Photographer: Hector Quintanar
This woman illustrates the determination of the Ukrainian people to continue life and will not back down to the Russian army.
HM: You also mentioned photographers like Ron Haviv and Stefan Falke. Did you help them similarly?
FM: Absolutely. I taught them how to navigate the commercial world, explaining the need for assistants, proper catering, professional production elements—things unfamiliar to photojournalists. Helping these photographers bridge that gap was deeply rewarding. Many would disappear afterward, funding their own meaningful projects that otherwise would never have happened.
HM: Looking back, how does it feel to have played a role in facilitating that kind of work?
FM: It’s incredibly gratifying. It means so much to see talented journalists given the chance to do essential storytelling without financial stress. Knowing I've helped make that happen, even in some small way, has been one of the great privileges of my career.
HM: Frank, you've been in the photography business for a long time and have seen substantial shifts in the industry. With the realities of digital transformation, AI advancements, and reduced budgets in newspapers and magazines, what practical advice can you offer photographers to survive and even thrive in today's challenging environment?
FM: That's a great question, and it's incredibly relevant today. I often use this analogy—though it's not mine originally, it's extremely poignant—photographers often think like spaghetti, but when it comes to running a business, you've got to think like a waffle. What does that mean? You have to compartmentalize and organize your approach systematically. You're not just creating images; you're running a business, and that means you have to market yourself effectively, manage client relationships, and find creative ways to nurture those connections.
Take, for example, client relationships. Let's say you complete a job with a creative fee—$5,000, $2,000, $10,000—it doesn’t matter the amount. Many if not most photographers neglect the follow-up. How about sending the client a beautiful print, a handwritten thank-you note, or even remembering something as seemingly mundane as their birthday or anniversary? Today, with social media and tools like LinkedIn, Instagram, or Twitter, it's easier than ever to discover these personal touches. Imagine a client’s delight when two months after your shoot, during a busy period for both of you, they receive a thoughtful birthday greeting or a small gift reflecting their interests.
During a two-day shoot, a photographer has ample time to notice personal details about their clients. For instance, you've learned I love chocolate licorice. That's precisely the kind of attention to detail photographers need. Whether your client loves vintage cars, exotic cuisine, or even has an eccentric hobby, knowing these things fosters a deeper connection. Business is personal—always has been, always will be.
HM: This personal touch seems critical. How does it specifically translate into tangible business success?
FM: It's simple—people remember how you make them feel. Delivering high-quality photography is expected. But to stand out, you must deliver a memorable experience. It’s about creating meaningful human interactions. I often compare it to dating: you want that second and third date, not just because someone is physically attractive, but because of the connection you've formed. The business equivalent is the trust and rapport that make clients eager to return.
Additionally, photographers must develop strong resources. Know who the best stylists, hair and makeup artists, and location managers are. If you're going abroad on assignment—say to Ukraine—you must know the handlers who can get you the right access, who speak the local language, who can make your assignment go smoothly. Building your network and understanding the industry landscape helps ensure success.
HM: With so many technical changes, photographers might feel overwhelmed. How can they adapt practically to these changes?
FM: Adapting to technological shifts like AI and reduced editorial budgets requires flexibility. Photographers need to be multi-dimensional and continuously expand their skill sets. Understand emerging technologies, see how AI can augment—not replace—your creative process. If budgets shrink, consider diversifying your income streams: workshops, teaching, print sales, or leveraging online platforms. The key is resilience, creativity, and never being complacent. The industry will continue to evolve rapidly, and photographers who succeed will be those who embrace change rather than resist it.
Street Photographer - Stephen Shames
Irish Boys - just hangin out - waiting for trouble and having a giggle.
Street Photographer - Stephen Shames
Black Panthers - Brooklyn - 1970’s
HM: You've emphasized personal connections and adaptability. What common mistakes do you see photographers making today?
FM: One major oversight is relying entirely on digital interactions. Many photographers have forgotten the power of a simple phone call. I've experienced times when calling someone unexpectedly leads to meaningful conversations simply because no one calls anymore. We're all texting, emailing, messaging—but human voices carry authenticity and warmth that texts rarely convey. I've had clients joke with me that we must be getting old because we're talking on the phone—but they love it. It leaves a lasting impression.
Another mistake is forgetting to genuinely show enthusiasm and curiosity. I tell my kids: be interested and be interesting. Editors and art directors assign projects not only based on portfolios but also on personality and enthusiasm. Photographers who demonstrate genuine interest in the assignment and curiosity about the subject matter invariably leave stronger impressions.
Ultimately, successful photographers today involve creating an authentic human connection, exceptional client experiences, adaptability to technology, and the relentless pursuit of personal growth. It's challenging, yes, but rewarding for those who approach it thoughtfully and passionately.
HM: So, Frank, where do you see photography heading in the next several years?
FM: Well, the future of photography—like anything else—is increasingly intertwined with technology, especially AI. But you know, it really depends on what niche or field you're working in. Whether you're covering news conferences, corporate events, fine art, or anything else, the competition is fierce, and it’s only going to intensify. So the key is not just asking where photography as a whole is going, but rather, "Where is photography going for me? What unique value do I bring to the table?"
HM: Could you expand a bit on how photographers can answer that question for themselves?
FM: Absolutely. It's crucial to identify your specialty and then strive to become exceptional at it. Let’s say you're focused on dance photography—you’ve got to aim to be the best dance photographer out there. Your portfolio, your technique, your presentation, everything needs to be top-notch. Photography's future, for each photographer individually, hinges on what they put into it. You can’t sit around waiting for opportunities or blame external circumstances. That approach just won’t work.
HM: How significant is adaptability, especially given rapid technological changes?
FM: Adaptability is everything. Photographers need to embrace change rather than resist it. AI, for instance, is already changing the landscape. Learn it, understand how it can enhance your workflow, or how it might open new avenues creatively and professionally. Your clients have to adapt to technological shifts as well, so positioning yourself as someone who understands and leverages these new tools will help you remain relevant and become a creative resource.
Photographer: Carol Guzy - Four time Pulitzer Prize Winner
Maria embraces the body of her son, Didykh Taras as a funeral is held for three soldiers killed in the Russian invasion at Church of the Most Holy Apostles Peter and Paul in Lviv, Ukraine on Friday March 11, 2022. The wails of weeping loved ones echo throughout the land.
Photographer: Carol Guzy - Four time Pulitzer Prize Winner
Soldiers attend a funeral for Denys Anatskyi who died near Chuhuiv from mortar fire in Kharkiv, Ukraine on June 24, 2022.
HM: You mentioned the importance of social skills. Can you explain why these matter now more than ever?
FM: Social skills and client relationships are becoming increasingly vital because competition is fierce, and the industry’s pie is shrinking. It’s not enough just to produce great images; you need to connect genuinely with your clients. Follow up regularly, maintain strong relationships, and anticipate their needs. Photography today is as much about managing relationships and demonstrating reliability as it is about creating excellent visuals.
HM: What about your thoughts on stock agencies like Getty and Shutterstock?
FM: Look, this is a major frustration for me. Photographers often undermine themselves by handing their images over to these stock agencies, effectively feeding the very competition they complain about. They’ll get upset if you crop an image even slightly, yet they willingly let a stock agency sell their work for peanuts—like getting $50 for a major corporate ad campaign when the company behind the campaign is worth billions. It's a massive disconnect. My advice is simple: stop contributing to platforms that undervalue your work. You have to reclaim control over your content. If photographers collectively refused these unfair terms, we’d all be better off.
HM: Do you think photographers can realistically change this dynamic?
FM: Honestly, it’s challenging, but yes, it's possible through collective action and greater awareness. Photographers must realize their worth and act accordingly. Until there's a united stand—until photographers say, "enough is enough"—nothing significant will change. But it starts individually. Make informed decisions, value your work properly, and advocate for fair compensation and terms.
HM: Finally, if you had one piece of advice for photographers navigating this complex landscape today, what would it be?
FM: Invest in yourself, your skills, and your client relationships. Stay curious, adapt to technology proactively, and always focus on adding value. Remember, complaining gets you nowhere. Being proactive, innovative, and exceptional at what you do—now that’s what secures your future.
HM: Frank, you've emphasized the importance of specialization for photographers—mentioning, for example, someone becoming known specifically as a ballet photographer. Do you think building deep expertise in a single area is truly the best approach?
FM: Absolutely. Specialization is critical, especially in competitive markets. For instance, if you're in a city like New York, the industry is incredibly saturated. Unless you're extraordinary and consistently innovative, you really need to find your niche and excel within it. It’s challenging—nearly impossible—to simultaneously be a standout portrait photographer, a brilliant still-life photographer, and an acclaimed landscape photographer. Each discipline requires a distinct vision, specialized skills, and dedicated networking.
Photographer: Stefan Falke
A wonderful creative essay using his mirror. Falke takes on his beloved New York City to capture its beauty and energy in a way we’ve not seen before.
Photographer: Stefan Falke
HM: But is there room for crossover at all? Can photographers successfully branch out once they've established themselves?
FM: There's definitely room for crossover, but it happens organically through relationships rather than broadly marketing yourself as a generalist. Say I’m working with a creative director on a portrait shoot, and they mention an upcoming campaign in the Mojave Desert. That's an opportunity to say, 'By the way, I have an incredible collection of landscape work I’d love to share.' Those relationships and genuine moments of connection are when crossover can happen naturally.
Similarly, suppose we're shooting portraits for a brand like Puma. If I have experience in still life, that's the perfect moment to mention, 'You know, I also do product photography—I could handle your entire range of products beautifully.' Now you've organically expanded your scope within a trusted professional relationship. This strategic approach allows you flexibility while keeping your core expertise clear and strong.
HM: You mentioned that agencies prefer clearly defined specializations. Can you elaborate on how agencies think when selecting photographers?
FM: Agencies categorize photographers by expertise, much like an artist’s palette with distinct colors. If you mix all the colors together, you end up with mud—unclear, undefined. Agencies have specific needs: portrait, still life, automotive, fashion, etc. When they think about hiring, say, a portrait photographer, they instantly have a shortlist—maybe 15 or 20 names. You want to be on that list. If you blur your identity by presenting yourself as everything to everyone, you risk getting overlooked entirely.
HM: What advice would you give photographers looking to break into highly competitive markets like New York?
FM: Honestly, I often advise against moving immediately to the largest markets like New York, Chicago or LA unless you have something truly unique or extraordinary to offer. Instead, focus on dominating your local market—whether that’s Atlanta, Nashville, or anywhere else. Be the standout photographer there, develop a strong portfolio, get recognized editorially, and build a robust reputation. Become exceptional where you are first, and your work will start traveling on its own merits.
If you come to New York without that momentum, the competition multiplies exponentially. Suddenly, you're up against hundreds of incredibly talented photographers who already have established relationships, recognizable brands, and robust portfolios. Unless you bring something groundbreaking and have substantial resources to promote yourself aggressively, it becomes extremely difficult.
HM: Speaking of promotion, what role does self-promotion play in a photographer's success?
FM: Promotion is absolutely crucial—and surprisingly, it's often overlooked or underestimated. Talent alone rarely speaks for itself, especially today. You must actively invest in strategic self-promotion. Whether through social media, networking, showcasing your work at events, photo competitions or having consistent presence through editorial projects and partnerships, promotion builds awareness. It reinforces your niche and helps your name stay top-of-mind with the right clients. Without deliberate promotion, even exceptional talent can remain unnoticed.
Photographer: Helen Rimell
This photo essay depicts the pain of losing your mom to Dementia and Alzheimers.
Photographer: Helen Rimell
HM: Frank, you've emphasized the importance of promotion for photographers, but it can often feel overwhelming. How can photographers realistically integrate promotional activities into their busy schedules?
FM: That's a great question. Promotion definitely feels overwhelming at first, but the solution is creating structured, dedicated time blocks. Set a weekly schedule, like every Thursday afternoon, specifically for promotional tasks—no shoots, no editing, just promotion. Consistency is key.
HM: How do you suggest photographers use that dedicated time effectively?
FM: Start by organizing your goals clearly. For example, make a list of the top ten art directors or agencies you'd love to work with. Then thoroughly research their websites, identifying creative directors, project leads, or those in charge of photography decisions. Having this specific information makes your outreach targeted and effective.
HM: Isn't detailed research quite time-consuming? What's your advice on managing this efficiently?
FM: It can be, yes. However, it's essential for successful outreach. One practical approach is to utilize interns or assistants. Assign them clear tasks like identifying key contacts at agencies specializing in your niche. That frees up your time to focus on strategic planning and crafting your promotional materials.
HM: Can you elaborate on your analogy comparing promotion to equipment preparation?
FM: Certainly. After every shoot, photographers instinctively clean and prepare their gear, ensuring they're always ready for the next opportunity. Promotion should be approached with the same discipline and regularity. For instance, you might consistently dedicate Wednesday afternoons exclusively to networking and LinkedIn engagement, keeping yourself prepared for potential opportunities.
HM: So, would you say discipline is crucial in successful promotion?
FM: Absolutely. Discipline turns promotional activities from daunting chores into regular, manageable habits. Once promotion becomes part of your routine, it feels less like extra work and more like an integral aspect of running your photography business effectively.
HM: So are you still representing photographers?
FM: Yes I represent photographers now in an a la carte way, when they need help they reach out to me. A photographer will contact me with a project and ask for help. They’ll realize they need a commercial rep to estimate a job. Or an advertising agency will bring me in to find the right photographer for a particular project. All of this works out perfectly for all parties, the photographer, me and the client.
Photographer: Margo Cooper
Margo takes us down south to experience the blues. We see the people, music, culture, food and history in its purest form in the deep south.
Her book: Deep Inside The Blues
Photographer: Margo Cooper
HM: Frank, tell me about Projections. It’s a remarkable initiative. How did it all begin?
FM: Well, I have to be honest — like most of my good ideas, they come from my wife. She suggested it seven or eight years ago as a way to stay connected to the photography world and do something that truly engaged people. She said, “Why don’t you create a space where photographers can come and talk about their work?” And that was it — such a simple idea, but it opened everything up.
HM: And how did that early idea take shape?
FM: It started organically. We found this spot in Manhattan — a place Paulina — which had a bar and restaurant upstairs, and a big catering space downstairs. We turned that basement into a little stage for photographers. They’d come, share their projects, tell their stories, and people loved it. The vibe was intimate, conversational. Then that space shut down, as places do in New York, and we were lucky to move to PhotoShelter.
HM: PhotoShelter — the portfolio and hosting platform?
FM: Exactly. They were incredibly generous. The folks at PhotoShelter are simply the best. (Also Pro Photo Daily and Epson have been with us since the early days and have been great to us). PhotoShelter gave us access to their corporate office space, and that became our home for quite a while. We’d host two monthly events but the idea was consistent: bring people together around the power of images and stories. And with my connections to the photojournalism world, we began attracting some really remarkable voices.
HM: Like who?
FM: We’ve had Ron Haviv, Carol Guzy, Paula Bronstein, David Hume Kennerly and so many other greats present their work. We’ve had five different White House photographers present their behind-the-scenes images of history in the making. And when the war broke out in Ukraine, we pivoted quickly — we’ve now hosted over 65 presentations focused on the Ukraine-Russia conflict. Some of them present evidence of war crimes. These are people who were quite literally digging up mass graves and documenting atrocities. It’s powerful, difficult, necessary work — and they trust Projections to be the space where those stories are heard.
HM: That’s quite a shift — from casual presentations to almost frontline testimony.
FM: Yeah. It’s evolved. Projections isn’t just a monthly talk anymore — it’s become a platform for critical documentation and dialogue. I’m always amazed at how many people say yes to speaking. Out of maybe 4300 invitations, only one person has ever said no — and that was only because she wanted to be paid. Which I get — but this has always been a labor of love. We don’t pay speakers, and yet no one ever flakes. No last-minute cancellations. People show up. They’re generous with their time, their work, and their stories. Rather significantly we also have many many emerging photographers present which I’m proud of.
HM: What drives you to keep it going?
FM: Honestly, I love it. I love giving back to my community - this community has been so good to me on many different levels. I love asking questions. I love the interaction, the spontaneity, the richness of the images, the weight of the stories. It’s a lot of work — scheduling, promotion, logistics — and it’s become a real job in its own right. But the impact it has on our community, on the people who attend, on the photographers who share… it’s undeniable. And deeply rewarding.
HM: Do you see Projections evolving even further?
FM: I think it already has. But yes — I’d love to expand the reach. Take it on the road. There’s a hunger out there for real stories told by the people who lived them. Projections are a reminder of how powerful photography still is — not just to document, but to connect, provoke, and ultimately, to inspire.
PROJECTIONS is a dynamic program founded by Frank, dedicated to showcasing powerful photographic voices from around the world. Through this unique initiative, photographers are invited to present their work and share the stories behind their images live via Zoom, offering an intimate and insightful look into their creative journeys. Each presentation is thoughtfully recorded and made available for viewing on PROJECTIONS YouTube channel, ensuring these inspiring sessions can reach a global audience anytime. We warmly invite you to explore the archive of past talks—and if you enjoy what you see, please consider subscribing to stay updated on new presentations.
You can find them here: youtube.com/PROJECTIONSNYC