In conversation with ‘SNL’ photographer Mary Ellen Matthews

Mary Ellen Matthews has been the resident photographer at “Saturday Night Live” since 1999. Now, she’s sharing her famous portraits in a new book. 

Released in conjunction with the sketch comedy show’s 50th anniversary, “The Art of the SNL Portrait” features a collection of photos taken by Matthews during her tenure with the show – think the photographs that pop up of the host or musical guest when the show transitions from a commercial break back to live programming. 

Matthews is set to appear at a book signing on April 16 at Don Purcell Jeweler in Buckhead Village from 5-7 p.m. Guests will be able to meet Matthews, buy the book, and have it signed. 

Ahead of the event Rough Draft Atlanta spoke with Matthews about her career and the book. This interview has been edited for length and clarity. 

Your predecessor on the show was Edie Baskin. Can you talk about what you learned from her that helped you take over the helm? 

Mary Ellen Matthews: I learned an awful lot from her. I started as her studio manager and her then as her assistant, and accompanied her on all the shoots. I got to see how shoots basically went down – how they were put together, how you deal with talent. You know, just from soup to nuts, really. I learned what it is to work with and for “SNL,” and be part of that family, be part of that crew … There’s a very tight weekly schedule, and having to shoot in a very small time frame and turn it around – just learning how to manage all that. 

How do you think “SNL” has evolved over the time since you started?

Matthews: The cast changes, of course. You’re bringing in different personalities. The talent changes, so there’s that. The whole landscape of the world just keeps changing, so we try to keep an eye on that. Technical things have changed – the way that the show is shot. Everything’s digital, and then COVID, and having to work at home. I think everybody has probably the same experience, in a way, but I think mostly [it’s] the changing young cast, and writers, and keeping it fresh as the world turns. 

I was reading an interview with you where you were talking about setting up the photo shoots with each subject, and how it depends on who it is for how the creative process goes. You said that John Mulaney is someone who really brings new ideas to the shoot – what are some of those ideas that stand out, and how does that creative process work, with him and everyone else? 

Matthews: I have a chapter in the book, which is “A Case Study of John Mulaney,” because of all of his enthusiasm, and our working relationship, and collaboration. He’s so enthusiastic and excited to do these shoots, which is such a nice thing, that somebody’s bringing all that to [the shoot] before we even start. 

Mostly everybody likes to pitch ideas. These bumpers have gotten more well known, just because the show keeps going and going. Everyone knows kind of what to expect. So people are excited to jump in there. 

When did you start playing around with the idea of making the photos into a book? 

Matthews: It has been on my mind for a while, but since the 50th anniversary and all the events were happening – we knew about this a couple of years ago, with all the run up – I thought it might be a good time just to lean into the celebration and put it out around then. 

How was the process of deciding which photos would make the cut?

Matthews: It was so hard. So many didn’t make the book, only because it was a page count thing. I wish there could be, you know, five volumes of this. But I hope to put another one out and [use] all the ones that didn’t make it. It was impossible. It was really hard. The pain was slow, of one image to the next. I was really happy when we figured that out.  

Are there any favorites in the book that you can think of off the top of your head?

Matthews: Well, I do love the cover so much – Andy Samberg as the martini – that’s why he’s on the cover. The sort of matter-of-factness of being the olive in a martini [laughs]. You know, they’re all kind of like my children, as it were. I wouldn’t say there are really favorites. The ones with my dogs … when we had to do the photos for the home shows during COVID. We had to make [do with] what worked around the house. 

Yeah, I can’t remember how long that all lasted, but I’m sure having to shoot at home and make things work was really difficult. 

Matthews: But so needed, in the moment, you know? To dig in, and get creative and work with others. 

Speaking to the creative aspect of it, as you mentioned it’s such a fast-paced gig. How do you keep the inspiration alive and those creative sparks flowing on such a quick basis? 

Matthews: I’m very well prepared for each shoot. I do a lot of research and just come armed with ideas – more than I need – so, whoever I’m shooting, we can make decisions together and go in the direction that fits each person the best.