In early July I had the pleasure of visiting the studio of artist Nicholas Kahn. Though he has his primary studio in Hudson, Nicholas also works in his farmhouse where he has cultivated a menagerie of objects from Mexican devil figures to dead bats and taxidermies. As I am studying photography, it was a rare opportunity to see his artistic process, although for the majority of my visit Nicholas was working on a watercolor painting, another one of his mediums. Some of his other works are heavily inspired by 17th century dutch art and pagan religions ( especially the Greenman), which are prevalent in his floor to ceiling tapestries. After finishing up with his painting, which ended up being a pangolin suspended over valley and Hudson River, we headed out to a local waterfall to work on “Dreams of the Drowning World,” a portrait series by Nicholas and fellow artist Richard Selesnick.…Continue Reading
For me, taking and editing photos is a therapeutic experience. After a long day of class, creation and conversation, I take comfort in the thought that at the click of a button I can capture a canvas worth manipulating later. Best of all, the canvas is never blank; it comes ready-made with shapes and forms and structures to work around and within. Especially when editing photos taken at night, when the drama between light and dark is heightened by limited illumination from street and window lights, I enjoy using the composition that already exists as a guideline for where to fade completely to black and where to allow color and light to remain.
With this photo set, I actually aimed to alleviate the tension between seen and unseen elements, either by emphasizing clean lines or showcasing gradual transitions between light and dark. I hope that when a viewer observes these photos, he or she does not feel compelled to strain to see details that are hidden by darkness, but can instead view each image holistically, a testament to editing that successfully naturalized (at times, unnatural-looking) transition zones.…Continue Reading
In public settings, dim, artificially-lit places are usually associated with illicit activity, secrecy, and the frightening unknown. Shadows become real-life homes for imagined fears; dark spaces where terrors become validated just by remaining undiscoverable. However, through photographing within dimly-lit enclosed domestic spaces, I’ve noticed that while these similar lighting conditions retain the ability to obscure and warp visual elements, they often take on unexpectedly positive visual representations, evocative of solitude, introspection, and comfort.
In this photo series, through a muted color scheme, emphasis on negative space, and attention to where elements fall within linear structures, I hope to convey the therapeutic effect of shadowy areas inside naturally-lit indoor spaces. To show that when faced willingly from within a zone of security, the dark is more transcendent than it is terrifying.Continue Reading
Every year Dickinsonians make a journey around the globe, whether it be for a semester or year, to continue working on their liberal arts education and cultivating a better global perspective. Lead by David Strand, Professor of Political Science and East Asian Studies, a group of juniors including myself managed to navigate the thousands-year-old city of London. Departing each day from our hotel in Bloomsbury we set out on daily adventures to places like St. Paul’s Cathedral and poet John Keats’ house in Hampstead. For someone studying photography, it is difficult to resist taking photos and coming across as an obvious tourist with their lens clicking at every possible opportunity. Fortunately, my self-imposed restraint created an opportunity. Rather than taking photographs of everything I saw, I had to look with earnest, selecting only a few objects or areas.
Walking around London there is something extraordinary on almost every corner, such as an incredibly fat pigeon or a tavern from the 16th century, but when you are trying to document the city you have to think about what images work with each other.…Continue Reading
There’s something fascinating about decay. Maybe it’s the way man-made things look as they revert back to their natural states, maybe it’s the idea of the slow but inevitable aging process which is often augmented by neglect, maybe it’s just the thought that everything meets the same end but gets there in different ways. Regardless, there is something aesthetically beautiful about things that are not typically considered aesthetically beautiful. Like when a person is conventionally unattractive, but just has ‘something’ about him, there is a raw character about these objects that would not be visible under a fresh coat of paint.
I chose to use a macro lens while taking these pictures, because (besides the fact that I had just gotten the new lens and was really excited to use it) I wanted to capture these subjects the way someone would capture a conventionally beautiful thing, like a dewdrop on a piece of grass, or a flower petal.…Continue Reading
Everyone’s “everyday” consists of a different makeup, a different routine. Places, on the other hand, remain constant. I explore these everyday places in order to ground viewers in an area with which they are familiar, to give them a sense of reality. My images, however, try to capture the surreal in these places of reality. I want to show the parts that are ignored, the areas that seem to be so commonplace that one wouldn’t think anything odd could possibly exist there. When I take photos, I look to deconstruct an everyday area to show its quirks, oddities, and most importantly, the aspects that make it surreal.
Digital photography is my medium. For this project, I limited myself to a single parking garage and explored it as well as the surrounding area. Every photo is taken of, or from, this garage at night. I used a tripod to keep the images clear and crisp to capture the location’s inherent surrealism, letting darker areas become illuminated and bright ones become blown out or flared up.…Continue Reading