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Emma Rose Milligan (MFA 2018 Photography, Video and Related Media; BFA 2015 Photography and Video) calls herself a “run-and-gun photographer.” As many freelancers know, sometimes pitching into the void yields nothing for long stretches of time, and then the dam will break and a windfall of opportunities arrive. This is where Milligan has found herself in the past few months, and she has been making the most of it.

Milligan’s photography has been seemingly everywhere of late, appearing four times in The New York Times since October (the most recent appearance, for an article about the fight for New York sidewalks and tree real estate, is here), as well as in The Washington Post (for a story about combating transphobia at boxing gyms in Brooklyn) and Barron’s. Last week, she wrote, filmed and photographed a multimedia Wall Street Journal story about the renewed popularity of Super 8 cameras.

Milligan says her ethos and approach is all about a “dynamic attitude.” 

“I capture photographs that are edgy, energetic, and often maximalist in the sense that your eye is physically moving around the frame,” she says. “You can throw anything at me, and I will figure out a way to nimbly exceed expectations.”

Her commercial work focuses on product and lifestyle, and her personal practice explores themes of youth culture, women’s empowerment and understanding looking versus being looked at. Earlier this year, her project “Mirror, Mirror” was selected as an American Photography 40 Chosen Winner. Milligan recently took time to answer some questions about her time at SVA, her flourishing career and her advice for up-and-coming photographers.

What got you interested in photography in the first place?

As early as I can remember, I would steal my mom’s film point-and-shoot to take photographs of my house, dog and neighborhood. I initially planned to be a fashion designer, but when I was 15, I went on a day trip to visit a nearby trade school, where I saw my first darkroom, made my first photogram, and was immediately hooked. Fashion and photography intertwine because they’re both about looking and representation, so it’s always been funny how the paths aligned.

How was your experience at SVA and how did it prepare you for the industry and the real world?

SVA was so nice I decided to go twice! I went for my BFA with honors in photography and then the MFA photo program shortly after that. Despite being vastly different, both played an equal partnership in preparation for my career. I consider the BFA program to be the base for how I became a “working” photographer and the MFA program for conceptualizing my artistic practice. In order to break any rules, you need to know why they’re there so you know how to break them. Both programs provided just that. From tangible guidance on determining how you “see,” instructors who work in the industry, the legacy of fellow alumni, and the ingraining of grit and self-determination, I couldn’t have asked for a better academic background.

Your editorial work has become increasingly prominent since last fall. What changed, and what made it continue?

Starting around the end of 2020, after the pandemic, I began to email editors introducing myself and my work, but I never received any responses. I kept trying to no avail, and then in fall 2022, I did a one-day workshop with Brian Finke (BFA 1998 Photography). I had mentioned to Brian that his path of fine art, commercial and editorial is where I wanted my career to grow, and from there, I ended up doing a mentorship with him throughout 2023, all thanks to [SVA faculty member and MFA 2007 Photography, Video and Related Media alumnus] Matthew Baum and his platform PhotoPhlo.

Brian introduced the concept of having a new personal project to show editors “how I see,” because my commercial work lacked my specific vision as a photographer. From here, I began working on a new series, making a physical book, and going to portfolio reviews to meet editors in person. 

In May 2023, I had a pivotal meeting with photo editor Sylvia Kang from Time, who told me photographers could also pitch stories. Once I understood this, it completely shifted my perspective and is entirely what led to my recent success. Working in the advertising space, you are constantly on top of news and trends, ideating and pitching original concepts and, in many ways, acting as a “cultural” mover and shaker. It was an easy transition once I understood the rules, and once editors know “who” you are, they keep you in mind when they have the right fit for an assignment. So yes, work begets work!

What advice do you have for other aspiring photographers?

There is always a way to “find” the yes, so don’t ever let “no” stand in your way. Failure is a good thing, and you should always try to fail better; make bad photos until you make great ones! To quote Joe Sinnott [BFA 1988 Photography], one of the best SVA instructors I’ve ever had, “You have to want it more than other people.” 

If you can see what you want for your career but don’t know how you will get there, trust the process. Luck truly is when preparation meets opportunity, and you will achieve whatever you want to do, but try to accept it will never happen the way you think it will. Taking action is the only way to get what you want, so get out there.

Work from Milligan’s “Mirror, Mirror” series will be featured in a special issue of the French publication Courrier International. To see more work from Emma Rose Milligan, check out her website and Instagram, @emmarosemilligan.