The Paris Review
Erica MacLean has a diverse range of work experience in the field of photography. Erica started their career as a freelance photographer and creative director in 2015, where they worked on various campaigns, editorial content, and personal projects. In this role, they were responsible for capturing and creatively directing images, as well as developing set design, wardrobe styling, and concept creation for shoots and productions. Erica also handled general office duties.
In 2019, Erica worked as a photography assistant, supporting machine operators in setting up and operating production equipment. Erica also performed various tasks to support operations and assisted with set building.
From 2018 to 2020, Erica worked as a headshot photographer for Barbizon Modeling & Talent Agency. In this role, they photographed high-quality headshots for students and agency models, directed models for specific posing, and retouched and color-toned final images.
In 2018, Erica also gained experience as a photographer at Visit Salt Lake and as a photography intern at Ballet West. Erica'sresponsibilities in these roles are not specified.
Most recently, in 2020, Erica worked as a food photographer at The Paris Review, where they edited, toned, captioned, and uploaded food photographs for publication. Erica also made adjustments to subject position, props, and lighting equipment to optimize the final product.
Additionally, in 2020, Erica worked as a photo studio assistant at 110Studios. Erica'sresponsibilities included selecting and setting up appropriate props, backdrops, and lighting, maintaining cleanliness of the studio environment, and painting the cyclorama between productions.
Erica MacLean earned their Bachelor's degree in Modern Dance from The University of Utah from 2015 to 2018.
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The Paris Review
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Founded in Paris by Harold L. Humes, Peter Matthiessen, and George Plimpton in 1953, The Paris Review began with a simple editorial mission: “Dear reader,” William Styron wrote in a letter in the inaugural issue, “The Paris Review hopes to emphasize creative work—fiction and poetry—not to the exclusion of criticism, but with the aim in mind ofmerely removing criticism from the dominating place it holds in most literary magazines and putting it pretty much where it belongs, i.e., somewhere near the back of the book. I think The Paris Review should welcome these people into its pages: the good writers and good poets, the non-drumbeaters and non-axe-grinders. So long as they're good.”