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I Love Your Stories is a soulful conversation series hosted by artist and creative guide Hava Gurevich, where art meets authenticity. Each episode invites you into an intimate dialogue with artists, makers, and visionaries who are courageously crafting lives rooted in creativity, purpose, and self-expression.
From painters and poets to healers and community builders, these are the stories behind the work—the moments of doubt, discovery, grief, joy, and transformation. Through honest, heart-centred conversations, Hava explores how creativity can be both a healing force and a path to personal truth.
If you’re an artist, a dreamer, or someone drawn to a more intuitive and intentional way of living, this podcast will remind you that your story matters—and that the act of creating is a sacred, revolutionary act.
[MUSIC]
From the classroom to the wilderness,
my guest built a life around exploring
the connections between
science, art, and education.
Welcome to this episode
of All of Your Stories.
I'm your host, Hava Gurvitch, and my
guest today is Rosalind Phillips,
a teacher, scientist, software engineer,
and accomplished nature photographer.
Rosalind has spent her life exploring the
connections between art,
science, and education.
In this episode, she opens
up about her early influences,
her career as an
educator and software engineer,
and her passion for nature and wildlife.
We talk about her journey as a
photographer with three decades of
selling art at art fairs,
the lessons learned along the way, and
how she's navigated both
triumphs and challenges
as a woman of color in the arts.
She also shares her
hands-on approach to teaching,
rooted in the belief that knowledge isn't
isolated, but deeply interconnected,
and her lifelong commitment to public
service and genuine human connection.
Rosalind, welcome to the podcast.
Now, quick word from our sponsor, and
then we'll get right back to the show.
When I started selling my art, I had
absolutely no idea how to
actually turn it into a business,
a professional business.
And then I came across Art Storefronts,
and that was a game changer.
I've been a customer now for years,
and they've been instrumental every step
of the way of helping me succeed.
I have a gorgeous,
powerful commerce website.
I have marketing tools and a membership
to a community that is very supportive
and teaches me how to
succeed as an artist.
Check them out, artstorefronts.com, and
tell them how I sent you.
Welcome back to the podcast.
My guest today is wildlife
photographer Rosalind Phillips.
Rosalind, it's a pleasure
having you on the podcast.
And tell everyone a little bit about your
background and how you
got into photography.
I would be happy.
I am so delighted to be here.
I have really enjoyed
participating in the Breakfast Club.
In fact, sometimes I think that's the
most valuable one of all the education
that Art Storefronts does
because it's a heartfelt
conversation among artists.
And yes, we talk about the business
stuff, but we also talk
about the soul side of it.
And to be honest,
that's why we're artists.
Absolutely.
We're souls.
It feeds our hearts.
Yes.
And that's kind of what I want this
podcast to become, is a
sort of an extension, a public
extension of that.
No, but you, what you do, I think is why
joining the platform is valuable.
I mean, there's all the other stuff, but
it's the human side to
me that makes it worth it.
I feel like I get a different type of
validation as an artist.
Absolutely.
To me, that's what's very important.
Anyway, I was born in New York City and
live in way, way upper
Manhattan, even above Washington
Heights.
I lived in a little neighborhood called
Inwood and the Coisters,
which is the medieval part
of the Metropolitan
Museum of Art is right there.
And that's an important part of my life.
But anyway, I grew up in New York City
and in upper Manhattan,
there are lots of parks
and it was a very, well, like most New
York neighborhoods, it
was a diverse neighborhood.
We actually had a very
strong Jewish population there.
And then there were lots of black people
and most of the black people were of West
Indian descent.
And then there were lots of people from
Puerto Rico and the Dominican Republic.
So it was a very mixed place.
And so it was a nice place.
And New York City back in the late 50s
developed this thing called the
Mitchell-Lama Co-ops.
And they were these beautiful apartment
buildings that you could buy
an apartment for a reasonable
price and it was geared towards
middle-class families.
And so that's where I grew
up in this wonderful building.
And so I have two sisters
and it was really pretty good.
My mom was a school teacher in the New
York City public school system.
And so she sent us to private school.
She worked very hard for that.
We went to this wonderful school that was
run by the Ethical Culture Society, which
is as reformed Judaism as you can get.
And it was based on John
Dewey's laboratory school.
So it was a very action doing.
I mean, it's like I can pretty much
remember almost every
single day of elementary school.
And this is all very important to me as a
wildlife photographer
because everything was
based around social studies.
So for example, in fourth grade, we
studied the Vikings.
So that meant that what we were reading
and writing stories
about in English were the
Norse myths.
And what we were learning about in social
studies, of course, was the history.
But then there was art class.
And then we had this wonderful class
called industrial arts.
And in that class, we
learned how to cook and sew.
And so in fourth grade, we made Viking
costumes and everybody
did this, boys and girls.
And it was wonderful.
So you had the art, you had the math,
because we learned about
whatever math system they
had besides regular
fourth grade math and stuff.
In third grade, we did Native Americans.
In fifth grade, it was the Middle Ages.
In sixth grade, it was
the colonization of America.
The great Jane Goodall just passed.
And she was certainly one of my idols.
And one of the highlights of my high
school life was the
opportunity to take some classes
with her.
Wow.
Yeah, you know, and
so just very important.
So the other part of it was my mother
believed that if you
wanted your black children to
grow up safe in New York City, you sent
them out of the city for the summer.
And so the way she afforded that was she
was a counselor at this
Quaker camp up in Vermont,
the Farm and Wilderness Foundation.
And we went to camp in Vermont.
And that's really where my love of nature
really, really blossomed.
And so I did all
kinds of stuff like that.
Now, my dad was an amateur photographer.
And I would say maybe when I was 10,
maybe eight, and my sister
Brenda was six, no eight.
So because they're two years between us,
we got our first cameras.
And they were little point and shoots.
And you know, so we
took pictures all the time.
And my dad would
occasionally give us some instruction.
And so cameras of taking pictures has
just always been a part of my life.
And that was pretty remarkable.
As you were talking, what it seems to me,
and I don't know yet too
much about your current
life as a wildlife photographer, I do
know you've been doing
it for many, many decades,
for decades, and that you fell in love
with both nature,
animals, and photography in your
early teens.
So you're just living your best life.
Like you're living the life that you
started living as a child.
Would that be?
I am now, yes.
You know, the first 20 years of my
working career, I was a
teacher, high school and teacher
education classes and computer science
classes in the local colleges.
I moved to Olympia, Washington when I
was, I don't know, maybe
24, 25, because I started
my teaching career at a Quaker school
just outside of Washington, D.C.
And I taught, and as I say, I
did my time in middle school.
That's amazing that you valued education
so much growing up, and
it left such an impression
that you decided to go into education as
well and impart your
knowledge to another generation.
The experience that I had at Fieldston so
profoundly affected
my life and my sister's
lives that I wanted to share that
experience with people who
didn't have the parents that
sacrificed so much to send their children
to a private school.
I mean, obviously we had scholarships and
things like that, but
still, to send three
children to private
school is pretty difficult.
And so I taught mostly, well, I taught
math and science and computers.
And so I became a national leader in
using the computer in
the classroom and worked on
several pioneering projects.
I built, when I started out teaching, we
had the Apple IIe computer.
And what was so great about that computer
was that it was really accessible and you
could build things and
plug them in and use them.
So I built a whole thing of lab equipment
so that we could do that.
And all my classes have
always been project-based.
So the skip ahead many years.
In the late 80s, early 90s, it was fairly
fashionable to bash
high school kids and talk
about how horrible they were.
And I just got tired of it.
So I brought my camera back out because I
had actually stopped
taking pictures in college
and through that, I
got my camera out again.
And I started taking pictures of my kids
in the classroom and what they were doing
because I was just so impressed because
again, my classes were all project-based.
And the school that I was teaching at a
public school was an alternative school.
And the school was geared towards kids
who didn't fit in, but it
was really geared towards
low achieving kids who really
could have amazing potential.
And so pretty much my imagination could
run wild in my kitchen
because I could do pretty
much anything I wanted.
Anyway, I started, I was
taking lots and lots of pictures.
But you know, while the kids were doing
different things, I
started taking pictures of other
things and rediscovered my love of
photography and birds.
And so although this picture behind me is
not the hummingbird
picture that I took back
in 1992, but it was a hummingbird
picture, a hummingbird
nest that was over a stream
that I noticed when the
kids were doing water samples.
And so I took a picture of a hummingbird
sitting on her nest and
that was kind of like the
start of everything again.
Wow.
I love that.
So there is an actual pivotal photograph
that you took that
ignited your entire passion.
That's amazing.
So where did it go from there?
Well, it meant that I got a real camera
because remember in those
days we're still shooting
film.
Yes.
And the primary science classes that I
taught were physics and
chemistry and advanced biology,
so genetics and things like that.
And so photography is physics.
I mean, it's a study of light.
It's a study of light.
So I took my love of physics and I put it
into my photography
and I started studying.
Well, I had been keeping nature journals
like this probably
since I was about, I don't
know, maybe 12, 13.
I had a really big
sketchbook at that time.
And what I would do is when I would take
my pictures, because on
film I would then paste
them into my big sketchbook and I would
write down the
settings, which you had to write
down meticulously as you took each
picture because we didn't
have it automatically then.
And then I would write down what I liked
or didn't like about the picture.
And from there I started to develop my
philosophy of photography.
I'd love to hear what that philosophy is.
Well, the philosophy is that there's a
reason why we take a
picture and there's a difference
between a photograph and a snapshot.
Absolutely.
Yeah.
Right.
I mean, a snapshot is
you just take pictures.
A photograph though, you think about it
and there's planning.
Yeah.
So it's about intent.
It's about intent.
And so it very quickly changed from just
writing down my
settings to what's the story.
Why did I want to press the shutter?
What was the intent?
What would you say is the kind of
narrative, like the
overarching narrative of your photography
story?
What is the main story
that you are trying to tell?
So if you were to read this stuff on the
website, it would talk
about how my intent with doing
birds, because that really is my first
love of wildlife is birds.
Not that I don't do lots of other things.
And I'll talk about that later, but is I
want you to really see the story.
I want you to see the
soul of that living creature.
I want you to know that every single
living creature, whether
it be a bird or an insect,
is worthy and deserves the same respect
that we give other human beings.
And that's what I want to
convey through my photography.
I want to convey that story.
I want to convey that.
The Quakers, because the camps that we
went to, the former
wilderness camp, were started
by a Quaker couple.
The Quakers have a saying of that of God
within every person,
and every child deserves
to be loved.
And so that was my
philosophy as a teacher.
That is my philosophy for life.
And so you can just extend that.
Every living creature, whether it be an
animal or a tree or a
flower or a mushroom, deserves
to be loved.
And that's my philosophy.
That has governed my entire life.
Let me ask you a question.
Right now, what are you most
passionate about right now?
Right now?
Astro photography.
It's really funny because I've been
looking at my pictures
and I realized that I really
haven't taken very many
bird pictures this summer.
I haven't really taken very many animal
pictures since I got back
from Alaska in early June.
Fell in love with the sky.
Well I've always been in love with taking
pictures of the Milky Way.
In 1997, I got ill.
And it was really kind of ironic because
for the first time in my
life, I had a safe science
lab that had ventilation and stuff.
And I got really, really sick.
And at the end of 1997, actually got
carted out of the school
on a stretcher because I
had such a bad asthma attack and I had
developed chemical
sensitivities, which I didn't realize.
And I got carted out of my classroom on a
stretcher and I never
went back to teaching.
And that was a really hard
transition for me to make.
And I went into my next great love, which
was software engineering.
Because I'd always been
very active with technology.
And so I then spent the rest of my
working career as a
software engineer and worked for
the Washington State Department of Health
as their lead software
engineer and was responsible
for the software that collected all the
infectious disease data
around the state and sent it off
to CDC every week.
Can I ask you a question?
So obviously, I didn't know anything
about you when we started talking.
And so I introduced you
as a wildlife photographer.
That's all I knew.
But you had-
I am as a teacher.
Really what I am as a teacher.
Teachers and a scientist and an engineer
and all of these other things.
I'm curious, like, where- I mean, your
photography is not just a hobby.
Oh, no, no, no, no.
It's my soul.
It's my soul.
And so one of the things that stopping
teaching did, it meant
that even though I didn't have
those eight weeks in the summer to pursue
photography, it
meant, though, that I could
do things at different times of the year
and I could really
pretty much be in charge of
my own schedule.
But I would say that my life as a
professional
photographer really started in 1995.
Okay.
For you, life as a professional
photographer means- because
I know you sell a lot of your
photography.
Is that your main-
In the art, the summer art circuit.
And you've been doing
that for a long time.
Since 1996, yeah.
Can you talk a little bit about that
lifestyle as an artist who
has made a career doing the
art fair circuit?
Because that's something that I know some
of us are really curious about and it has
to be a lifestyle.
Can you talk a little bit
about the pros and cons of that?
Sure.
The nice thing was that Olympia,
Washington really has a
very vibrant arts community.
And so in 1996, Olympia started this
little thing that was
called art- I guess really
it was Art on the Landing because we have
this beautiful waterfront because Olympia
is right on Puget Sound.
And you could sign up for
these Sunday afternoons.
And so, you know,
built some pegboard stands.
At that time I didn't even have a tent.
And there were two jewelry artists, my
friends Heather and Todd,
that were starting doing
this at the same time.
We kind of grew together as
artists and started learning.
And because I am a scientist, I'm very
methodical in looking
up how to do things.
You have to remember that in those days,
back in the mid-90s,
the internet is not really
a big thing yet.
And so I'm in the library doing research
about how to do this.
I think at that time I didn't know about
the Small Business
Administration and that I could
take classes with them.
And so I just figured it out.
So all the amazing tools that we have now
to get started, none
of that stuff existed.
I just figured it out.
You're such a scientist and an engineer.
When you talk a lot about the methodology
of it, I want to talk more about emotion.
From your first time sort of setting up
and having your art on
display for people to buy,
I'd love to hear what did it feel like to
sell your first
photograph, to get your first
repeat client?
What was that like?
Probably the most important thing for me
during those first years
was learning that selling
and how much you sold was not
the measure of your success.
Because what you have to realize is that
I was always used to being the best.
The top of my feet, as
a student, as a teacher.
And so you're sitting there in that
booth, you know this,
and people come by and they
look at it and they say,
"Very nice," and then they leave.
Well, very nice.
It's nice, but it'll give you money to
buy more camera equipment.
Right.
I mean, because you have to realize that
at this time when I
started, I'm still a full-time
teacher.
And so I don't need the money from the
booth to pay my mortgage.
What I need the money for is to be a
photographer and to be able
to travel and to be able to
buy new equipment and to
buy more photography books.
And most importantly, because remember
we're still in film
days, to process my film.
When I made my first sale to somebody who
wasn't a friend or
family, that was a pretty
big deal.
That was over the moon.
You're so right to say that selling your
art is not the same
thing as being good as an
artist and that should not
be a metric of validation.
On the other hand, there's still that
feeling when somebody
who doesn't know you isn't
like kissing up to you or anything like
that, they genuinely
love your art so much that
they're parting with their heart, earn
money so that they can own it.
And that is just an
amazing feeling, isn't it?
It really is.
And so my philosophy in my booth was to
always have a wide range
of prices because I believed
that everybody deserved to have beautiful
artwork in their homes.
And so I had my cards and I had, you
know, Prince, matted
Prince, and I had the frame
stuff on the wall.
And what I very rapidly discovered
through doing Harbor
Days, which is the Labor Day
celebration here in Olympia.
And so when I started doing that show,
and the first time I
would have done that would
have been in 1996, what I very rapidly
discovered was that people
would buy a card and then
the next year they'd come
back and they'd buy a print.
And then the next year they'd come back
and they'd buy the framed picture.
And so what I discovered very quickly was
that the same types of relationships that
I built with my students over the years,
I needed to build with my clients.
And so that's what I focused on.
I love that.
And I would even sometimes, particularly
people who had kids, I
would actually make notes
about people because I would see them
year after year, you
know, and I would see them
at Harbor Days and I'd see them at Art
Walk, you know, our
local types of things.
I would see them at the holiday shows.
And so over that time, I would build
these amazing relationships with people.
Amazing.
And today, when I do Harbor Days, I have
people who were little
kids who are now bringing
their grandchildren to see my stuff and
telling stories to their
grandchildren about me when
they were children.
So one of the nice things about doing art
in your community, and also because I was
a teacher in the community, is that I
just have all these
relationships and I treasure
those relationships.
You know, when people come into my, we
hug, we ask each other
how your year has been.
They ask me where I've traveled and do I
have anything special
that I want to show them?
That's fantastic.
This actually dovetails
very nicely to a question.
I like to ask all my guests, how would
you define success now
and how has it changed
over time?
Ooh, that's a really good one.
Well, I've certainly, you know, selling
lots of stuff is always good.
But I really think that I define my
success with by repeat
customers and the relationships
that I've dealt with them over time.
And especially because your art has a
very specific message
that you are sharing through
your work.
And so when it resonates with others and
especially over time, it
really does feel like advocacy
to some degree, doesn't it?
It is advocacy for building a
relationship with nature.
And so over time, you know, when I first
started taking pictures, it
was mostly about portraits,
actual portraits, and just trying to get
it in focus, have a nice blurry back, you
know, it was about that.
But over time, it has very much changed
into giving a window onto
that, onto nature's life,
to their interactions.
So if I just duck my head out of the way,
this is more of the
type of picture I take
today with mom feeding
the chicks, you know.
And so this particular picture
represents, well, the whole
range of pictures represents
21 days, well, more than 21 days of
pictures because there's
a wildlife refuge not too
far and every year the Rufus hummingbirds
pretty much nest in the same area.
They don't use the same nest.
And you know, and we're
all looking for the nest.
And as soon as somebody finds the nest,
they let everybody know.
And then I start staking out the nest.
And depending on where the nest is
located, I figure out the
time of day I want to be
there.
So for those of us listeners who are not
watching it on YouTube and
can't see the photo, what
we're looking at is a close
up of a hummingbird's nest.
And the nest itself
is made out of lichen.
Lichen and spiderwebs.
And spiderwebs.
And this beautiful little bird has two
chicks and she is in the
process of feeding one of
the chicks.
It's just such an intimate and magical
moment, especially
because it's a hummingbird.
So it's so tiny.
And seeing this delicate creature in such
detail is actually quite amazing.
And it tells a very, very vivid story.
So we talked about your success.
What success means is connecting with
people and building those
connections over time and
generational connections with people.
What are some of the challenges that
you've encountered in
your career as an artist?
There are a number of challenges.
First off, there's the challenge itself
of your booth doing
outdoor shows and coming
up with an arrangement that lasts through
windstorms and rainstorms and still looks
beautiful, you know,
because it has to look beautiful.
And so obviously my booth has changed
over the years to do that.
One of my worst show stories is rain was
forecast for one evening.
It was a summer show up in Seattle and I
sort of looked at it
and I thought, you know, I
think I'm going to take all the pictures
off the wall and put
them in their tubs and cover
up the tubs with a tarp.
And I don't, you know, because I just
looked at it, it was
supposed to be windy.
And you know, I had that grid wall so the
booth wasn't going anywhere.
And so that morning when I got back, it
was like, well, where's my tent?
And it had collapsed.
And the middle was down on the ground and
then the edges were
still up around the grid
wall.
But if I had had my pictures up on the
wall, they all would have been ruined.
Some people's tents were gone.
These tent pretty much was ruined.
And in those days, Costco was so great
because you just took it
back in and they gave you
another one.
It was great.
But that was, but that, but that was, you
know, that's the type
of thing you deal with.
The other thing that I dealt with besides
practicalities of money
and all that and insurance
and all that kind of stuff was the fact
that unfortunately
racism is alive and well in
America.
And that really has not changed.
And people have stereotypical images of
what women and
particularly what black women, women
of color can do.
And so, you know, it still is not
uncommon for somebody.
I mean, in 2025, it still is not uncommon
for somebody to come
into my booth and say,
is this your husband's work?
And to assume that I'm
married to a white man.
And I have got into some very, I mean,
essentially I just ask
people to leave my booth.
It's because engaging in
conversation just upsets me.
You shouldn't have to.
Evolve the right kind of energy.
Yeah.
Which makes it even more remarkable that
you are committed to your
passion and have persevered
over three decades.
Well, that's because I believe that even
though there are hateful
people in this world, I
still believe that the majority of people
have their hearts in the right places.
And those are most of the
people that I interact with.
Yeah.
And you've interacted with like three
generations of people.
You know, the kids, the
little kids now have grandkids.
And so you can clearly say that your
message, you have, and each
one of those people shares
that story with their people.
And I feel like the message that you're
sharing is worth sharing.
And I think it trumps the few.
I have a lot of respect for anyone who
continues to do their passion.
And it's like we said from the beginning,
a passion for
wildlife, for animals, for the
environment, for ecology, for
storytelling, for arts and
photography, all of that.
You've had that in you
since you were 10 years old.
And you have known from a very young age
how important it is to have an education.
And you've watched your mom and your dad
do everything they can
to give you the best start
in life.
And I think if I was to say, what is the
definition of success?
You wake up every morning
and I know there's challenges.
There's always challenges.
There's life challenges.
As we get older, there's health
challenges and so on.
But you get to do what you
were meant to do in this life.
And now that I'm retired, I can really,
really focus on stuff.
And so the two things I love to do is
take pictures and teach.
And so I teach photography.
In fact, I'm Zoom.
And so one of the things I love about
being an artist and a
teacher is that I am always
learning new things and
finding new ways to look at stuff.
So if you were to look at some of my
newest work, you would
see that over the years I've
started doing a lot more abstract stuff
with nature because
what I have found is that
by doing some abstract stuff, I'm really
getting into the soul of stuff.
So here's a story for you.
I went out to the coast to do Milky Way
pictures on this
beautiful place called Ruby Beach,
which is on like the
wild Washington North Coast.
But there's also the
whole rainforest up there.
And so whenever I'm in
that area, I always...
Now the whole rainforest is like going
into a mystical fairy land.
It is just this most amazing place.
And for 30 years, I have taken pictures
of the whole rainforest
and I have never printed
one because it has never
done what I wanted it to do.
And so this particular day I said, "You
know, I think I'm going to leave...
I'm going to just leave my big lens in my
pack and I'm just
going to use my mid-range
lens and I'm going to do what's called
intentional camera movement.
I'm going to have a long exposure and
move my camera around
and see if that does more
of what I feel in my heart."
And so what I ended up doing was doing
one kind of like this
up and down of this group
of cedar trees with all the big moths
hanging down and stuff.
And it did it.
It captured it.
It did exactly what I wanted and I split
it up into a triptych.
And when people look at that picture,
they look at me and
they say, "Oh my God, this
is the whole...
This is what I feel in my heart."
Mom.
You know?
Another picture that I did that day was I
laid on my back and I
looked up at the canopy
and I zoomed my lens in and out.
And when I looked at the picture, I could
see a woman dancing.
It's amazing.
That's, you know...
Mother and father.
And for me, what I immediately thought of
was Langston Hughes.
Music is a very, very
important part of my life.
My mother was a pianist.
We all learned...
She was a music teacher.
We all learned how to play instruments.
And I looked up at that and I heard
Langston Hughes's
poem, "A Dream Deferred."
To fling my arms wide in the face of the
sun, to dance, dance, dance till the dark
day is done.
What about that?
Okay.
And then Sweet Honey and the Rock, which
is this incredible
acapella black women's group,
put it to music.
And so when I looked at that, I
immediately heard them singing it.
My mother and I did a fair amount of
travel during the latter
part of her life after she
retired from teaching.
And whenever we would go someplace, and
particularly in a waterfall,
she would fling her arms wide
and twirl around and say,
"Rosalind, take a picture of me."
And so I have all these pictures.
And so when I look at that
picture, I see all of that stuff.
And again, it captures a soul.
And it's part of my Juneteenth collection
because every year I
pick a picture that I've
taken over the last year and I designated
it as a Juneteenth picture that tells the
story.
So just as a final thing,
how can people find you?
Where can they find you
both physically and virtually?
So physically, I live
in Olympia, Washington.
And they can find you at the different
art fairs there, right?
They can find me a different...
Right.
So my next big show is my big Christmas
show, The Best of the
Northwest in Seattle, which
would be November 7th,
8th, and 9th up in Seattle.
And I actually will be featuring some of
my night photography as
well as my pictures from
Alaska when I went to Alaska and spent an
amazing two weeks up there in June.
My website is
rosalindphilipsophotography.com.
And of course, I'm on Facebook and
Instagram and you can just
type in "Rosalind, Phillips
Photography."
Thank you so much.
It was a pleasure speaking with you.
And thank you very much.
Well, thank you, Hava.
Thanks again for tuning in.
That's our episode.
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And if you did, please help us out by
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