Many people ask why building collections are significant. Powerful images are not only not only serve their purpose of sharing a story; however, images preserve moments and memories to last a lifetime. Photographic images invoke feelings, trigger thoughts, and project perceptions of reality upon its viewers. Images preserve personalities, interactions between one another, and unique moments shared between individuals. Preservation is vital and is a critical part of my process as a I photograph any portrait session, social gathering, and especially weddings.
From building a romantic wedding collection, leading up to your newborn collection, to your sweet seaside family collection we are capturing your milestones.
When I photograph these milestones, I wish to bring the viewer back in touch to the moments and time period. Throughout my career, I have aspired to capture truth in my images and have been incredibly inspired by documentary photographer Lewis W. Hine.
Hine describes capturing truth, reality, and symbolism using imagery in the following quotation, “Whether it be a painting or a photograph, the picture is a symbol that brings one immediately into close touch with reality. It speaks a language learned early in the race and in the individual [..]” (Trachtenberg 111). Hine speaks of perception. Any image created will be perceived differently by every viewer. As a creator, a title, light, and pose can alter the way and image is perceived.
Artists represent life in many forms, whether this be a painting, sculpture or print; however, the photographic image is highly relatable. Viewers have the ability to connect with the exact moment pictured in time.
As I build my collections, I create photographic essays to guide my viewers through their collections. The photojournalstic image speaks for oneself. One image can alter a sequence and an image chapter. Each image chosen is of great significance to the sequence. Therefore, image choice is of great importance as collections are being created.
In addition to creating the collection and sequence, tilting is of great importance. I think of the digital gallery as a novel. Each image is of great importance to tell your story. The digital image collection is broken down into sections for the client to easily flip through its chapters for easily navigate and view their story seamlessly.
When I began photographing events in 2012, I was heavily inspired by the social documentary photographer Walker Evans.
In college, I found myself searching for more meaning behind my images. And my junior year I found myself in a serious "artistic" slump. I was extremely unhappy with my images and at the time, I was working on still life and searching for a deeper meaning. At the time, I began titling images, collections, and creating small image albums and began creating photographic essays. In traditional photography, photographic essays are images and words combined. This may be a description below or wording hung upon a gallery plaque.
My images became stronger and wreaked of the truth during my internship. I photographed small town politicians to the governor of Massachusetts. Even though I was photographing these big names, I still was in complete understanding of the images I was creating. Now I am only to find out now, that the images conveyed great and dire meaning upon us. What I was searching for was simply to capture the essence of the moment. Every day at lunch, I worked on my collections and researched documentary photographers in either the library or photography labs. As I was in the lab, my professors came up to me and commented about the images and always laughed about who I had photographed.. It was all just another image to me.
My junior year of college is when creating documentary images blossomed. At every crit, my colleagues disliked like my image titles; however, I knew what fit the images. Inspired greatly by Walker Evans’ work of the early 20th century, I had a strong desire to capture America, the industry, beauty, and create images that were true to their nature. Evans uses the photographic essay to his advantage in "The Americans" and gives us a glimpse into daily life in the early 20th century. Using the photographic essay, Evans provides his viewers a detailed description of the location, name of his subject matter, and date his images were photographed. In addition to titling, he uses sequencing to tell us about the timeline and the events in history surrounding the images. Gonzalez describes Evans' style and his use of definition in the following quotation,
“Their proximity opens up the welcome association with what Evans did to define a picture of America on the eve of the Second World War — how that interaction with American popular culture would flower and change after the war [..].”
Documentary photographer, Walker Evans, has provided his viewers not only a visual translation of the 20th century; however, a description of this time period and his subject matter.
Both Walker Evans and Lewis W. Hine are masters of their craft of documentary photography. Hine using strictly imagery and Evans combining imagery and word. Both photographers leave it up the viewer to read their photographs, take a glimpse into the scene that they have placed up display and leave their viewer to perceive their story, and assess based upon their perception.
Hine, Lewis W. ""Social Photography"" Classic Essays On Photography. By Alan Trachtenberg. New Haven, CT: Leete's Island, 1980. 109-13.
Gonzalez, David. "A New Look at Walker Evans’s ‘American Photographs’."Lens Blog. The New York Times Company, 08 Aug. 2013. Web. 24 June 2016.