Feature Project – Stacey Ilyse’s 365

Today we are featuring Stacey Ilyse. She’s been shooting documentary style photography for several years and took on a 365 project (one picture a day for a year) in December of 2016 to document more of her family. You can see more of Stacey’s work on her website, Facebook, and Instagram. Here is what she had to say to our contributors:

Aniya: I absolutely love your work – been following you for ages. I find that we tend to get in a box – “what kind of photographer are you?” And we often times feel compelled to define our work – portrait photographers, vs fine art photographers, documentary, and the list goes on. Do you define yourself as a documentary photographer who also makes amazing portraits? (Love the portrait of your daughter!) Or do you prefer not to define yourself as a “x” photographer? Why or why not?

I think at this point I’m gonna go with “fine art documentary photographer”. Why…? I aspire to create beauty and art within the moments I capture not JUST documenting them, but I’m also not the type of photographer that completely creates the scene. I like to see things unfold as honestly as possible. I think straight up documentary photography is kick ass and sometimes that is all it is that day – just documenting it for what it is. But for me, I’m looking to move past JUST THE MOMENT. I want (as often as possible) for the moment to feel artful, too. That happens for me when I consider the light, the moment, sometimes the lens, the location, the editing choices I make, etc.

Leslie: Beautiful work, Stacey, I’ve been following you for some time and enjoy seeing both your client and personal work. I’m surprised that since you have been shooting so long that this is your first 365. Was there a reason behind this decision? Why this year?

In 2015 I made a commitment to myself to take out my camera more often and capture more images of my girls and our lives, to put myself in front of the lens more often and be more intentional with what I was shooting – while also pushed myself to capture my girls as they were. I felt I had done that pretty well. Some days/weeks more than others, but I had my camera handy and took it out fairly often. Then last year (2016) I told myself I would do a monthly DITL. About 6 months in, I lost interest, work got so hectic, and so on. Especially with learning and adding video services to my business. I found myself at the end of a long and super busy fall season with actually VERY little personal photographs to speak of. I was so burnt out from it all, and I was truly disappointed in myself. Not only did I fail to follow through with my monthly DITL, but I stopped taking photos of my family altogether. I decided on Dec 23rd to just DO IT. I wanted a goal to keep me going – and to make the effort even during a hectic time in my business life to still remember my family. So I made the commitment to take on the challenge. I picked up the camera and took my first shot – of my younger daughter, CRYING in her christmas jammies. It felt appropriate to start with that one. 🙂

Jessica: I love how you see humorous and poignant moments and also have a very strong sense of light. What do you consider your strengths and weaknesses as a photographer and are they different for your personal vs client work?

I’ve never been afraid of high ISO’s, slow shutters, trying new things, epic failures when trying something new, laying down in the dirt, jumping in the puddles and more. Before I started this project I think my biggest weakness was that I was convinced that I COULD NOT engage with my subjects – that it had to be 100% all natural – or nothing at all – but FOR ME that does not work! I find that my own children NEED me to engage with them – I’m their mother, not a fly on the wall! I found that it worked best when I got a good mix – sometimes I let the scene happen as it’s playing out, other times I laugh with them at the kitchen table – with my camera next to me ready to go. Some days I ask them to do it again partly because it was something I wanted to remember and partly because I saw the joy in their faces, so I knew it was an easy sell to get that shot.

Before I changed my mindset I used to feel like I was to running around like a chicken with my head cut off – worrying about “missing a moment” and getting disappointed when I felt it fell flat. The reality of it is this, there will ALWAYS be another moment, and MOST kids (or at least mine) don’t mind us making them laugh, they usually like “doing it again”, or they are to wrapped up in their own moment to notice and so on. Thinking this way gave me permission to slow down, take my time, get it right, enjoy the moment both with my girls and with my camera too!

With my clients I do my best to find that happy balance between getting interesting, authentic images but also ones that I think would speak to the parents too. So while I love me a good toddler crying or find humor in a good spat over a toy and I certainly don’t shy away from documenting it. I also work hard to show the flip side to that child’s personality. I would love to think my clients would be as open with me as my own family, but I think that is hard for MOST people on some level. And that is ok. They are entitled to want privacy, and I respect that. You can’t document EVERY.SINGLE.THING. but you will get the things that ultimately matter the most in the end.

Jenny: I love your work Stacey! And I love that you have included some beautiful portraits as well as documentary work in your submission. Do you only do documentary work for your clients or do you also offer portraiture, fine art portraits, etc?

I ALWAYS love to do portraits for my clients – whether they are individual images, just siblings, or the entire family altogether. I think it is SO important to have both. I love remembering the moment, movement, the overall scene – BUT I still think it is nice to remember how some looks, their features, their expressions, etc. It is kinda amazing to see a portrait of my girls from the start of the year and even 1/2 way through how they have changed! The same holds true for a client! I work hard to encourage my clients to see past the perfect smiling portrait – educating them that it is OK to look beyond that.

Robin: Has your personal 365 project changed or influenced how you document other families for work?

It 110% influenced how I document other families. I’m far more willing to play with light or take chances now with my clients images then I was before. I think I played it safe, afraid that if I shot the way I wanted it would not be welcomed. Now I try and to channel my 365 mindset into my client work. I also feel that by consistently sharing the work I do of my own family has given my clients a clear indication as to how I will shoot their families if they are willing to just let go, have fun, and be themselves!

Heather: I love the humor in your images. I know you just started your 365 but have you run into any slumps? If so how did you push past them?

Yes, some days I think, I’m SO F-ING TIRED. So, maybe the image I take that day is not that fantabulous – but I just do it anyways. I found that when I’ve started to feel a slump coming on – I think of something new to do with it. I give that day a purpose. I decide today is a details only day and only shoot the small, often missed over details of our lives. Or I’ll pull out my lensbaby and shoot with that. I’ll set out on an adventure with my girls and make a point to do it with camera in hand. Maybe I’ll make a point to capture dinner with my mom or take a portrait of my husband instead. I put the power in my hands because we ALL lead lives that are a bit redundant and mundane, but it is up to us to find the beauty in it and create something unique from each day.

*****

Want information on how you can be a featured artist? Check out our submission page for all the details.

Featured Session – Julia Erz

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We loved this busy, raw, and emotional documentary session featuring a family of 6 sent to us by Julia Erz. She is a documentary family photographer in Germany. Julia has two kids of her own and a masters in psychology which can only assist in her ability to understand and empathize with the children she photographs and anticipate their behavior. You can check out more of Julia’s work on her website, Facebook page, and Instagram.

Here is what Julia had to say to our contributors:

Chrystal: I love how honest these moments are. Sometimes I feel my documentary clients are still looking for pretty, perfect moments even though it’s a Day in the Life session. Is this true for some of your clients too? How do you make sure to find clients that would love an image of nose picking? I think it’s so perfect and wonderful but worry the client may not.

Well, the families see the photos on my homepage (www.juliaerz.com), my Instagram (https://www.instagram.com/juliaerzphoto/) and Facebook (https://de-de.facebook.com/JuliaErzPhotography/). I think they know that I show “real” pictures rather than aesthetic ones, which demonstrate the daily life and routine. It’s clear to me that not all families want these authentic pictures, but that’s totally fine.

In a while, these pictures will be of great sentimental value. Kids are growing up so fast and there’ll be a time when we miss the moments when we told them not to pick their nose, when we were annoyed or the intimate cuddles with them. How wonderful will it be to dig out these photos from “a day in the life” from the past and just reminisce…

I’m also aware that these family portrait sessions require a massive amount of trust. For the most part, there’ll be a bit of tension and shyness at the beginning, but – and I speak from experience – these will cease after half an hour and the family will feel comfortable to do what they normally do. When it’s time to say goodbye, the parents are super excited about how relaxed their day was. I also notice that the kids are able to their thing free of any reservations, without having to pose and smile into a random camera. It really is much easier than the family thinks. It’s just so much fun!

Aniya: Julia, it’s no secret I’m a huge fan of your work. You seem to be able to get access to these families so that they are completely at ease with you. How well do you get to know your clients before the session? Do you send them a questionnaire? What do you do to put your clients at ease so that they are at ease with your presence?

For the most part, I didn’t know the families that I have accompanied at all. I do not send a questionnaire before the shooting. I rather make sure in advance that I know their expectations and what they can expect from my type of photography. This is essential to me! If the family is well informed before our session, everything works out just fine.

During our shooting, I’m not the famous fly on the wall. It’s quite the contrary – I talk to the parents and kids and keep up the conversation. I’m always happy to get to know new people, find out about their story, hobbies and everything else.

My primary day job is being a nurse, but then I decided to add a degree in rehabilitation psychology. I’ve always been interested in patients’ lives and backgrounds rather than what they were diagnosed with. I believe that a natural interest in people is essential for documenting families via photography.

Carrie: Do you think your background in Psychology affects/informs your artistic vision when shooting your family or clients? If so, can you elaborate?

Definitely! But; I’ve always been a rather empathetic and sensitive individual. I experience situations and personal encounters very intensely. I don’t think that it’s necessarily linked with my studies in psychology. Just by watching and simply observing people, our surroundings and the lighting, moments unfold, which I would just love to capture with my camera immediately.

Lisa: With such a large family there must have been so much activity going on at the same time. How did you decide which moments to capture? Did you feel that you needed to choose one moment over another at times?

Honestly, I love big families. There’s ALWAYS something going on. Of course, it’s hard to literally be at a lot of different places all at once, but I stopped pressuring myself. For me, it’s important that the composition, lighting, and moment merge into the perfect picture. Yes, I may miss another moment in this situation, but I’m even more happy about ONE really great photo, where everything is perfect.

Leslie: What a great set of images. I love your use of b/w. Really allows me to connect with the family. Many times when I’m photographing a family, I have a muse…that one person who draws me for a great deal of the session. Do you find yourself doing this as well? If so, who was your muse during this session?

Yes, sure. I definitely have a muse during every family portrait session; however, most of the time I do realize that I’m taking too many photos of this muse and will make sure to get the other family members into the picture as well.

But during this season with a family of six, there was a balance from the beginning. All four kids have COMPLETELY different personalities and manners, which made it extremely exciting for me. If I had to pick a muse, it’d have to be the second youngest boy who was picking his nose.

Michelle: The documentary family photography movement is growing in the U.S. but, outside of large metro areas, it is definitely diffuse. It’s still hard to get families to buy into this style of photography. Is this the same in Germany or do you feel that the European mindset toward these kinds of sessions is different from what you understand of that in the U.S.?

Oh, documentational family photography is arriving VERY slowly in Germany. I feel like the US are moving at a faster pace here, also when it comes to the families’ attitudes.

People spend money on good wedding photographers, but when it comes to family photos, they are satisfied with photos that were shot in kindergarten (in Germany). That’s very sad!

For me, documentational family photography is a luxury. But why not gift your kids something of a more sentimental value (for later on). Kids are being bombarded with material gifts nowadays, so it would be amazing to present them with some family portraits, as a treasure for later.

*****
Want information on how you can be a featured artist? Check out our submission page for all the details.

child points at spot on map - documentary family photography

Featured Session – Katie McMenamin

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This session from Katie McMenamin stood out for us, not only because of her beautiful images, but also because of her long standing relationship with the family pictured. Katie says:

“I have been photographing families for almost ten years now and started shooting documentary sessions several years ago. The majority of my work is still lifestyle sessions, but documentary really has my heart. There is nothing like going into a family’s home and capturing all the little moments that they’ll want to remember years from now. I love how it preserves a sliver in time, how it’s about more than just pretty pictures. I firmly believe that the value of these photos will really be felt ten years from now, when life looks very different than it does at the moment.

I have been photographing this family since their oldest of four kids was just one. This Winter was the first opportunity that I’d had to photograph a documentary session for them. Mom home schools their older kids and dad happened to be home that day, so it was a really relaxed, typical day in their home. I photographed a bit of their home schooling, the kids playing with legos, lunch and nap time. The kids’ personalities really shone and I loved watching them interact with each other in this setting where they’re super comfortable. It was by far, my favorite session that I’ve ever had with them.”

You can read more about Katie on her website, Facebook page, and Instagram account.

Our contributors also asked Katie a few questions about this session and her work in general. Below is her Q & A:

Aniya: Hi Katie, I love that you’ve been able to move this family from lifestyle to documentary. How do you see this creeping into your business, and how would you go about marketing these sessions differently from your lifestyle sessions? Also, I see that you aren’t afraid to get close in, and go in some places that some photographers stay away from. Do you ask before, say, going into the bathroom? Did you find this particular documentary session more relaxed since you do know this family particularly well?

I started out shooting weddings about ten years ago, and even then, I was always drawn to the photojournalistic moments over the posed photos. So when I started focusing on family photos, even in a more traditional lifestyle session, I always loved capturing documentary moments. I shot my first fully documentary session almost five years ago, https://www.kmcmenamin.com/r-family-part-1-manayunk-documentary-family-photographer/. I feel like it’s been a slow build since then. At first, I didn’t think I’d be able to sell this sort of session to people, and honestly, I was too scared to even try. Once I had my own kids, I realized the true value of these photos. I have been working harder to show these types of images on my website, blog and social media and to encourage my clients to at least make a portion of their session documentary, which I think gives them a taste of this type of work. I love nothing more than when a client who had a traditional, lifestyle session, tells me that a documentary moment that I captured was their favorite image. Lifestyle images with beautiful light and smiling happy kids sell themselves. I really think it’s harder to see the value in documentary photos unless you see photos of your own family.

Any time I know the client before the session, it is always more relaxed. I also always have my clients fill out a pre-session questionnaire. So even if I don’t know them, I can get a taste for what moments are important to them and who they are as a family. If I am capturing a personal moment and it wasn’t explicitly addressed in the questionnaire, such as breastfeeding or a toddler on the potty, I will usually ask if it’s okay. If a little one is older than a toddler, then I just give them their privacy in the bathroom, unless the door is open and they’re brushing their teeth or washing hands, etc. I am also extra discerning with what I share online. I never want to make my client feel uncomfortable with an image that I share, so if it feels too private or intimate, I will either ask or simply won’t share it. I think it takes a lot of trust for a client to let me into their home to capture everything, the good, bad and ugly, and I really want to respect that trust.

mother and daughter in child's bedroom - documentary family photography

Felicia: How did you convince this family to try your documentary approach or were they intrigued because they have seen the shift to documentary (maybe through your personal work?)? When you shoot for yourself, do you find you always take the documentary or lifestyle route, or both?

This family actually won a contest that I was running to promote this type of session. I love nothing more than a documentary session, so the more interest and excitement I can generate for this type of work, the better. From that contest, I was also able to book a few other clients for documentary sessions as well.

When I am shooting for myself, I definitely take more documentary photos. Looking back at images from when my first daughter was born, four years ago, most of my photos of her tend to be lifestyle. I think that was just out of laziness. For me, it felt easier to set her up in a clutter free zone in a pretty outfit every once in a while than being at the ready with my camera at all times. In the last couple of years, I have found a balance. I keep my camera out all the time and if something cute is happening, I try to grab it. I don’t beat myself up if I miss the moment though and I still take tons of iPhone photos. I do love a posed, genuine smile for the camera photo of my kids too. Just like in my client work, I really feel there is a place for both lifestyle and documentary.

mother tickles child - documentary family photography

Erika: What is one thing you learned from this session and/or is there anything you would have done differently?

I feel like I learn something from every session that I shoot. In this case, I overshot and gave too many images. It’s something that I consistently struggle with and it’s a lesson that I’m constantly trying to absorb. I get emotionally attached to my clients’ images just like I get emotionally attached to personal photos. But just like my personal photos, I know that they won’t all be printed and revisited, so I think it’s really important to be able to give them the best of the best to choose from. I don’t want to leave them feeling overwhelmed.

father and son on couch- documentary family photography

Jessica: What types of moments would you say you are most drawn to as an artist? Do you see light and composition first, or is the moment in the scene which draws you in?

I am definitely drawn to moments first and foremost. When I first started shooting this way, I would stress if a shot weren’t perfectly composed. But now I’ve come to realize that meaningful moments outweigh technical perfection 100% of the time. Sometimes, things are happening fast and getting perfectly into position just isn’t possible. Likewise, I love great light in an image, but when I’m shooting in a documentary style, I just let things unfold and use the light that I have available. If I have the time to compose things thoughtfully, I really love shooting things happening in the foreground and background simultaneously or shooting through things. Dimension always makes photos much more interesting to me, regardless of the light.

child with stuffed animal - documentary family photography

Leslie: What’s your favorite image from this set and why?

I have the hardest time choosing favorites (see above), but if I had to pick, it would be the image with their youngest sucking his fingers and holding his lovey. There are just so many things about that image that seem to capture a moment in time that is fleeting. At one and a half, he is right on that edge between baby and toddler and this image feels like it grabs on to that little bit of baby that is left in him. This session was only a few months ago and who knows if he is still sucking his fingers or toting his lovey around. I also love that you can see the hint of lunch left on his face. Such a real life moment.

mother reaches for books while holding coffee - documentary family photography

*****
Want information on how you can be a featured artist? Check out our submission page for all the details.

Featured Session – Katrin Küllenberg

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Katrin Küllenberg is a mother of four and a family & wedding photographer based in Germany. As her children grew older her photography business began to play a larger role in her day to day and, although she started her business as a documentary wedding photographer she found that shooting families was still her favorite thing to do. She says she found it “very exciting to come into close knitted families and discover how they interact, what are their roles and relationships among each other, to see how they tick.” She also states that her goal as a photographer is to help her clients “discover themselves, to notice the familiar but also find out something new.”

Today we are featuring a few images from one of her sessions, but you can check out more of her work on her website, Facebook, and Instagram.

mother struggles to feed baby - Documentary Family Photography

Carrie: I love the idea of wanting your clients to discover something new about themselves through your photography. Can you give us an example of this that perhaps a client has shared with you after they viewed their photos?

Some clients told me that the images make them see their family from an outsider’s point of view. I show them a lot of special moments they have been taking for granted but now those seem like a precious gift that they tend to value more.

Especially parents with several children suddenly notice the special characteristic traits of each kid and his/her standing in the family, things they sometimes failed to see in their everyday routine.

kid with toy lawnmower - Documentary Family Photography Erika: I love the unconventional crops you choose to submit. Are you generally setting up the compositions in camera or are they more a decision in post?

When I started with photography I tended to crop a lot in post but after all those years now I hardly ever need to. I compose in camera and slightly adjust my angle while shooting. I control results directly on my LCD and have noticed that not having the camera in front of my eye the whole time also frees my vision. I check my monitor but also register what is happening outside the range of my lens. I usually know what I am looking for in an image but I think that only comes from experience, meaning you have to practice a lot.

girl has quiet moment - Documentary Family Photography Lisa: You’ve captured great quiet moments. I myself am drawn to those as well. How do you approach a family that is more chaotic and less quiet?

Chaos is growing with the number of kids in a family. I love photographing big families where a lot is happening. I have four kids myself so I am used to it. For me the problem is rather that one tends to concentrate on the kids who put on the show. Lively kids are easy for a photographer, you just have to follow them and you can be sure something wild or weird will happen. I try to get close to the action even when it is getting rough sometimes, but in general, chaos is perfect for the photographer. You don’t have to think a lot about what you are doing – great moments are happening and you just have to capture them with your camera.

But I sometimes really have to force myself to give due to all the kids in a family. There often is a quiet one who prefers to stay apart, to read or draw and for a photographer this can be “boring” visually. But this is important stuff, too, as it shows the character of that child. So, for me, it is far more demanding to render those moments in a profound and creative way, to show the beauty of a quiet moment. In those situations it is very important that you know how to compose an image and not just simply snap a picture and be done with it.

kids work on puzzle - Documentary Family Photography Chrystal: I noticed you used a lot of lenses. Are you typically switching lenses throughout the session or do you stick with a favorite for the majority of the time?

I usually have six lenses and two cameras with me. I mostly use prime lenses indoors when there is bad lighting and take my two zoom lenses (12-40mm and 40-150mm) when we are outside. I noticed that inside the house kids don’t mind you being close to them but when they are playing outside they want to run around and be on their own.

My favourite lenses are my 12mm, 17mm and 25 mm ( that means 24mm, 35mm and 50 mm fullframe). I know, this does not sound like a great variation but depending on the rooms I am working in a change in lenses can sometimes be crucial. Standing in a tiny bathroom with four other people will have you coaxing the most out of your 12 mm whereas a big living room can leave you happy with your 25 mm.

baby pulls mother's hair - Documentary Family Photography Aniya: Love this session. I see your patience in the images, and I can imagine you waiting quietly for moments. I also see that you make moments when your subjects are completely unaware of you and you use elements to frame and shoot through (the flowers and the kiddos playing, and then the glass framing the little girl reading).

But on the flip side, you aren’t afraid in anyway to get extremely close, as seen where the mom is feeding her son, and then the son is pulling moms hair?

Do you prefer one way of shooting over the other? Are you equally comfortable getting close to your subjects and keeping your distance, and how do your clients feel about you getting right in there?

Often I only notice how close I have gotten to people when culling my images. During the session I do not feel uncomfortable and my clients tell me they didn’t either. My advantage is that I am using a small camera. I am working with the Olympus OMD – EM 1 and use the tilting LCD a lot. I can see the image live on the monitor, adjust the composition, light, focus, etc. and so it is not my full face that is close to the mom and kid but just the camera. I think this helps me a lot not to physically cross certain lines of privacy. When I am witnessing a quiet moment, e.g. the mother trying to put her baby to sleep, I switch the camera into silent mode though risking more shutter shock.

I usually stick to one position for quite some time to see how a moment will work out before changing position, so I am not running around hectically but try to change my position rather slowly.

I love getting real close, especially when parents are cuddling their kids but sometimes it will take some time for the kids to adjust to it. The mothers know not to look into the camera but a lively two-year old will often try to put on a show for the camera. I never tell them they should stop it but I simply switch to silent mode and not gratify their behaviour with a “click”. That way they quickly lose interest in me and get on with what they were doing in the first place.

But I want to show all aspects of my clients’ lives so I also step back a lot to show more context: the place they live in, people interacting with each other. And, of course, during the course of a whole day, there are times when not much is happening. That gives me the opportunity to look for interesting angles and compositions which otherwise might get lost in the action.

father brushes kids teeth - Documentary Family Photography *****
Want information on how you can be a featured artist? Check out our submission page for all the details.

Featured Artist – Colleen Adams

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Today we are featuring artist, Colleen Adams, who has recently shifted into shooting more documentary work. She says the shift in her thinking came after being asked to photograph a baby blessing and finding herself truly enjoying the photojournalistic aspect of that session. As she explains she found herself “yearning to be a witness to what is real and document what I witness.” You can follow up with Colleen on her website or Facebook. Here’s what she had to say to our contributors:

blonde girl plays in dirt

Celina: You mention creating a connection with your clients, how do you go about? Do you send a questionnaire? Chat beforehand? Also, how do deal with a session when that connection isn’t made?

My first contact with many clients is email. I don’t have an official questionnaire, but I think that is a great idea! I usually ask questions about their family and what they are looking for in a photo session. Also, I offer to answer any questions. I am an empath and an extrovert and able to connect with all kinds of people very easily. I find most families are slightly frazzled and a bit worried about how their kids are behaving during a photo session. I respond with compassion. I offer lots of breaks. I assure parents that their children are amazing because I really believe all children are incredible works of art, even in their most challenging state. I come to a session with very little expectations. My only goal is to capture the personalities of the people I am photographing. I find the easiest way to do this is to have no agenda. I just meet people where they are at.

As far as technique for connecting with clients, I use conversation as an icebreaker. I make small talk, I joke, I ask questions. I try to surprise them to make them laugh. This work is sacred to me; people are allowing me to really see them. It is my honor to observe, wait and exercise patience. I hold a safe place for them to be themselves. In turn, I capture authentic images.

I have yet to have a session where a connection wasn’t made at all. I have had a few reluctant husbands, but even the most reluctant husband warms up when I tell them the session is almost over! Not every session is as natural as I would like, but I accept that. You cannot make everyone comfortable being themselves in one short photo session. It’s a life-long work for some.

kids play on swing and play with sticks Felicia: I see a few images where the children are camera aware and their personalities shine through. Can you share some tips on building trust with kids so you can capture their environmental portraits?

This is my favorite type of work. I have always loved the idea of portraits for children because you really get to document a clear image of of the child at different ages and stages. It preserves their history. I take this idea a little further by trying to capture a clear image that shows their personality as well. As previously mentioned, this is achieved by creating the connection, talking and observing. Also, I like to get really silly with kids. I sing to them, I talk about poop, I ask lots of questions. I pretend the camera is not there and I play with them. Sometimes I even put the camera down and swing them, dance with them and run around like a crazy person. Parents often want a few posed photos, but I find the best photos are taken during our breaks. I let the kids take breaks and I keep my camera handy while being watchful for magical childhood moments.

girls play with bubbles in bath

Carrie: What would you say is your primary objective when shooting a client family? What do you aim to convey in your images that is in the back of your mind when culling?

My primary objective in shooting anyone is to capture their authentic personality. While culling, I ask myself the following things: Is this image real? Do the faces show authentic expressions? Do the bodies look natural or is there any tension from feeling like the image is forced? Secondly, I check the technical aspects of a photo. I don’t often use flash, so I may encounter some images that are too grainy for my liking. In addition, I sometimes miss focus with fast moving, super engaged children. I’ve literally had a 3 year old tackle me to the ground while shooting because he was having so much fun playing with me. Of course the parents were mortified, but I took it in stride. Clearly, he felt comfortable with me and I take that as a compliment. In an high energy environment, it’s possible to miss the focal point at times.

girls on quarter machine carousel

Leslie: What a diverse beautiful set of images. You mentioned it took you a while to find your niche. Who is your ideal client and how do you market your work to them?

My ideal client is someone who wants to document their personal history with authentic images of people they love. I really enjoy family documentary photography and this is the type of client I am trying to attract. I use social media and instagram to showcase some of my latest work. In addition, I write blogs about my sessions. Most of my clients have come to me as referrals.

child sitting on rail at beach

Jenny: You’ve shared a lot of black and white images, and I absolutely love them. Do you shoot with black and whites in mind? Do you predominantly edit in black and white over colour? If so, is there a reason why?

I absolutely love black and white images too!! I think this is because my roots have been established in film. I started shooting film with my first SLR in 6th grade. In high school and college, I spent most of my free time in the darkroom processing film and prints. Most of my personal work is in black and white because I love it so much. I do color for other people because I know they want it. For me, black and white brings the subject to the forefront and lets colorful distractions fade away. Black and white elicits more emotion for me.

girl covered in dirt with paint brushes Gemma: There is a wonderfully wild, carefree tone to all of your images with children. Is there something or someone in particular that has influenced this view of childhood in your photographic work?

Thank you for noticing how I capture children. I aim to capture children in their most natural state. I love the wonder, freedom, and wildness of childhood. The season of childhood is much too short in our current fast-paced culture. I grieve for children that are forced to grow up too fast. I have adopted a very connected attachment parenting style with my own children. In addition, I homeschool so we can maximize our time together. Our family embraces the true essence of childhood and we aim to prolong it. This is the filter to which I view children and childhood. I take these values with me when I photograph children. I aim more to bear witness to them than to control them. I want to know them, who they are and capture them and the raw beauty of their natural state. Children amaze me.

kid slides down bannister

Jessica: In many of your images, the subject is central in the frame. When you are making a picture are you thinking most about the moment or the composition?

I am always thinking most about the moment, but composition, framing, and cropping are huge for me. I’ve always loved close-ups because I love faces and eye contact. In recent years I have challenged myself to pull back the camera and get the whole scene to tell a more complete story.

boy holds new baby

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