Meet The Photographer :: Amy Sacka

Self-portrait, 2023 © Amy Sacka

AMY SACKA INTERVIEW

MF:   What sparked your interest in photography?

AS: I discovered photography when I was going through a divorce in my mid 30s. I had no idea I could take a good photo. But when I started doing it, I felt the potential for something different for my life… maybe a louder voice, or a voice I didn’t know I was missing?

MF: How has photography transformed you as a human being?

AS: Photography has taught me how much power there is in seeing someone—and showing them to the world. When you hold someone’s image, you control the frame. You decide what’s remembered, what’s left out. That’s not a small thing. I take it very seriously.

MF: How is your personality reflected in your work?

AS: I think my photos show that I’m a good listener. There’s a sense of trust, of quiet collaboration. I’m not trying to impose a narrative—I’m paying attention, letting things reveal themselves. The people I photograph aren’t just subjects. They’re part of the process. It’s like a dance, something we’re arriving at together.

Motown Couple, Detroit, 2014 © Amy Sacka

MF: Which photographers have significantly influenced your artistic vision, and how can you see their impact in your work?

AS: Alex Webb and Rebecca Norris Webb, no question. Early on, I took a workshop with them that completely reshaped how I evaluate photography. “Take interesting photos,” is something I remember Alex saying in the workshop. Alex moves through the world with instinct — he doesn’t force a narrative, he feels his way through it. That really hit home for me, especially at a time when people were pressuring me to define exactly what my work was about.

His use of color, light, and layering is unmatched—but more than that, his images hold tension. They’re chaotic, human, alive. Both he and Rebecca come from literary backgrounds, and Rebecca’s pairing of poetry with photographs has had a deep influence on me. I’ve always been a reader, and my latest project blends street photography with text from Simone de Beauvoir. They gave me permission to trust that kind of cross-medium exploration.

Recently, Alex came to Detroit and I took him around the city. That felt full-circle. His influence isn’t just in how I shoot—it’s in how I think, how I edit, how I move through the world with a camera.

See You Tomorrow, Detroit, 2013 © Amy Sacka

MF: If you could have dinner with one of your favorite photographers, who would it be, living or deceased?

AS: Robert Frank. I retraced his entire route around America, so in a way, I’ve already been in conversation with him. I’ve looked at his life inside and out and I’ve come to the conclusion that I don’t think people read him right. He had a complicated relationship with power. He was brilliant at exposing it, but I don’t think he was comfortable holding it behind the lens. Maybe that’s part of why he stepped away from the spotlight.

Moreover, I think his view of women was shaped by the same macho world that birthed Jack Kerouac. Romantic, sure — but also limiting. I’d want to challenge him on that. 

MF: What are your thoughts on the ethical considerations of street photography, especially regarding privacy?

AS: It’s something I think about a lot. I’ve never been fully comfortable with the idea of shooting people candidly without their knowledge. There’s a line there, and it’s not always clear. I think Robert Frank struggled with this as well. I tend to shoot a lot of street portraits, so I’m usually engaging with people in some way. I don’t really fall into the classic street photography mold. There’s often a moment of connection—some kind of exchange—which feels more honest to me. At the end of the day, I want the person in the photo to feel seen, not used. That’s the line I try to walk.

MF: What draws you specifically to street photography compared to other genres?

AS: It's freedom. The spontaneity. I never really know what I’m going to find, but that’s part of the draw. No setups, no planning, no fancy lighting—just reacting to what’s in front of me. That unpredictability keeps it exciting. It feels alive, like I’m traveling.

Bathers, Chicago, Illinois, 2020 © Amy Sacka

MF: How would you describe your unique style in street photography?

AS: Human. Sometimes humorous. Definitely messy.


MF: What strategies do you use to remain inconspicuous while capturing candid moments?

AS: To be honest, I don’t really try to stay hidden. People usually know I’m there. I’m not sneaking around. If someone doesn’t want to be photographed, I can feel it right away. And I respect that. I’d rather miss the shot than force the moment.


MF: Can you explain a time when you captured a particularly powerful moment on the street and what made it special?

AS: I was at a dinner party, early in my career—back when I took my camera everywhere. Two people started dancing in the backyard, and it felt like something out of a movie. They were a beautiful couple, totally lost in the moment. I ran and grabbed my camera, started shooting from the doorway—quietly, just watching it unfold. There was this sliver of light cutting across the yard, and they kept moving in and out of it. In and out of the light. In and out of the light. Kind of like the dance of photography.

Last Dance, Detroit, 2014 © Amy Sacka