Kathy Ryan’s career journey began in Bound Brook, New Jersey, at St Joseph’s Catholic School. Her third grade teacher, Sister Mary William, had a thing for great works of art. And, as it turns out, so did Ryan.

“I got it. I so got it. Looking at the pictures and just understanding. It was like, ‘Wow, I get it.’”

That understanding of the power of the visual led Ryan to a focus on art in college—on lithography and printmaking. But the solemn life of an artist wasn’t for her. She hated being alone all day. She loved working with people. She wanted to be part of a team.

Kathy Ryan was made for magazines.

After starting her career at Sygma, the renowned French photo agency, Ryan was hired away by The New York Times Magazine in 1985. She had found her team.

In her tenure at the Times, she has collaborated with all the bold-face names: Jake Silverstein and Gail Bichler (the current editor-in-chief and creative director) as well as Adam Moss, Rem Duplessis, Janet Froelich, Peter Howe, Diana Laguardia, Gerald Marzorati, Ken Kendrick, and Jack Rosenthal. And between and among them they’ve won all the awards—and created one of the world’s truly great magazines.

Recently, Ryan’s work at the Times took a new turn. Inspired by her collaborations with the most gifted photographers in the business, Ryan started making a few pictures of her own. 

She had always been mesmerized by the way the light hit the Renzo Piano-designed Times headquarters. But on this particularly sunny morning, Ryan pulled out her phone and snapped a picture. Then she took another. And another. She started seeing pictures everywhere. Portraits, abstracts—whatever caught her eye. Encouraged by friends and colleagues, she posted them on Instagram with the hashtag #officeromance.

After a career of looking at pictures, she is now making them. And that led to her glorious book, Office Romance, published by Aperture in 2014.

We talked to Ryan about her passion for the art of work, about the thrill of discovering incredible talent in unexpected places, and about the responsibility that comes with sending photojournalists into harm’s way.