A Chat with Pulitzer Prize-Winning Photographer Deanne Fitzmaurice
Winning awards is a powerful way for photographers to quickly gain recognition for their work. I discovered Deanne Fitzmaurice while researching Pulitzer Prize winners, fascinated by how this prestigious honor transformed and accelerated her career.
The Pulitzer Prize for Feature Photography is awarded annually for excellence in journalism. It recognizes a distinguished example of feature photography in black and white or color, which may consist of a photograph or photographs, a sequence or an album.
Deanne received the prestigious Pulitzer Prize for Feature Photography in 2005 for her series illustrating the story of “the near-death of a young Iraqi boy, who was horribly injured by an cluster bomb, to his triumphal recovery in the United States.” Fitzmaurice followed the progress of Saleh Khalaf over 13 months in an Oakland hospital beginning in November 2003.
Deanne is an award-winning freelance photographer who had worked at the San Francisco Chronicle for 20 years. Deanne has been published in National Geographic, Sports Illustrated, TIME, and NY Times Magazine. She also has participated in Day in the Life book projects.
Deanne’s numerous awards include honors from the Society of Professional Journalists, National Press Photographers Association and the California Press Photographers Association, The Pulitzer Prize, W. Eugene Smith Finalist Grant Recipient, International Photography Awards, and United Nations Int’l Photographic Council Achievement Award.
Fitzmaurice is a graduate of the Academy of Art University in San Francisco, where she earned a B.F.A. in photography.
Peter Levitan: The Pulitzer Prize recognized the excellence of your reporting about the young Iraqi war victim Saleh and his family. How did the assignment start and when did you begin to view it as a long-term story vs a one-time project?
Deanne Fitzmaurice: I appreciate your interest in my work and my thought process behind it, Peter.
This project started as a short-term assignment covering the immediate aftermath of the war, but as I got to know Saleh, I realized his journey embodied a much larger, long-term story about survival, and resilience. The depth of his experience and the ongoing challenges he and his family faced made it clear that this was more than just a one-time piece—it was a story that needed to be followed over time to truly capture its impact. More than 20 years later I continue to follow this story.
The Saleh family story is deeply moving. What emotional or narrative elements were you trying to convey through your images?
I’ve always aimed to document the story as it unfolds, capturing its raw, emotional depth. Through my images, I strive to convey not just the hardships but also the strength and humanity that persist in the face of immense adversity.
How do you balance objectivity with emotion in your photography.
On a human level, you have to feel something to be able to convey it, but you can’t let emotions take over and paralyze you. I strive to find a balance by allowing empathy to guide my perspective while maintaining a clear and honest approach to storytelling. My goal is to capture moments with sincerity—ensuring that the emotional weight is present without overshadowing the truth of the scene.
How did you first get into professional photography, and what led you to a life in photojournalism?
I first got into photography through classes in art school, where I fell in love with the craft. When I realized there was a profession that allowed me to be out in the world—learning, discovering, exploring, and telling visual stories that could truly impact people—I knew I had found my path. From that moment on, I was all in.
The Pulitzer Prize is the most distinguished Journalism award. Did winning it in 2005 affect your career path?
Winning the Pulitzer Prize in 2005 certainly opened a lot of doors for me, creating new opportunities and allowing my work to reach a wider audience. But at the end of the day, I still have to prove myself every time I step through those doors. Awards are an honor, but the real work—the storytelling, the dedication, the pursuit of truth—never stops.
You worked on staff for the San Francisco Chronicle. Today you are a freelancer. What are the key differences between being on staff and freelancing?
Being on staff comes with a lot of support—access to equipment, a company car, a steady paycheck, and the camaraderie of a newsroom. I appreciated all of that at the time, but now, as a freelancer, I value the freedom to choose the projects that matter most to me. While freelancing comes with its own challenges, the ability to pursue stories that truly resonate with me is something I wouldn’t trade.
What emerging trends – especially in the digital age – do you see in documentary and news photography?
One of the biggest emerging trends I’m watching closely is AI, particularly because credibility is the foundation of photojournalism. To address this, I’ve been working with Adobe on their Content Authenticity Initiative (CAI). Right now, the app is in Beta testing, but I’m excited about its potential for the industry. Many camera manufacturers, including early adopters like Nikon and Leica, are partnering with Adobe to embed a digital fingerprint into images straight from the camera. Unlike traditional metadata, this content credentialing system cannot be stripped away, ensuring transparency and trust in our work.
If you were starting out today as a journalist, how would you work to get recognized in this digital vs traditional media environment?
Many photo editors still look to Instagram to discover new photographers, so having a strong online presence is important. But more than that, I believe recognition comes from doing the work you truly care about and finding ways to share it—whether through publications, competitions, or other platforms. What sets photographers apart is not just a single image but a cohesive body of work, a project that tells a compelling story. If you focus on creating meaningful work and getting it in front of the right audiences, recognition will follow.
How do you determine what cameras, lenses, and lighting to bring on assignment? Is there a basic kit?
I always have my Nikon Z8 and the Nikon Z6 III with me. My go-to lenses are: Nikon 85mm f/1.2, 50mm f/1.8, 24-120mm f/4, and 70-200mm f/2.8. For lighting I use the Nikon SB Speedlight and ProFoto B2s with Profoto Umbrellas and Westcott modifiers.
You are a founder of Think Tank, a camera case company. What functional gap was missing in the market when you launched the company?
It’s hard to believe, but we launched Think Tank 20 years ago! At the time, my husband, Kurt Rogers, and I were staff photojournalists at competing newspapers, and we felt that the camera bags we needed simply didn’t exist. We struggled with carrying gear efficiently—whether on airplanes or during daily assignments. That’s when we met Doug Murdoch, with an expertise in design, manufacturing, and distribution. He wanted to create a camera bag company and asked us to be part of it.
Born out of a practical need, Think Tank was created to offer reliable and versatile camera bags designed by photographers, for photographers.
Thanks to our dedicated team, we’ve been able to transform an idea into a full product line that truly meets the demands of working professionals. Our company has become known in the industry for crafting high-quality rolling cases, backpacks, and shoulder bags that address photographers’ needs—all while delivering exceptional customer service.
Follow Deanne Fitzmaurice on Instagram at @deannefitzmaurice.
About the author: Peter Levitan began life as a professional photographer in San Francisco. He moved into a global advertising and Internet start-up career. Peter photographs people around the world using a portable studio. This is his excuse to travel and meet people.
About the author: All photographs by Deanne Fitzmaurice
