Featured Session – Chelsea Silbereis

Today we are featuring a family session by Chelsea Silbereis from Hamden, Connecticut. Here’s what Chelsea had to say about this session:

“I spent a fantastic day with Rachel and her family. In all seriousness, as I’m coming off of maternity leave and focusing exclusively on in-home, documentary family sessions, this session meant so much for me. First of all, Rachel and her family were so welcoming. We live in the same neighborhood and they shared so much knowledge with me, from their preschool and kindergarten experience to some restaurant recommendations. Second, I love my job. I have missed this so much. It is a long, tiring day, but I get home invigorated. Then when I’m getting bogged down by life, I work on a little editing and I’m invigorated again. It is beyond words to be able to spend time with a family and make pictures of all of their love and the little quirks and traditions that they share. It makes me overflow with joy and gives me hope.”

You can find Chelsea online on her site, facebook, and instagram. Read on below to find out more about Chelsea, this session, and her approach to photography.

Jessica: I love your creative compositions that are still moment-focused. Do you find a composition and wait for something to happen in the frame, or are you just watching for a moment to occur.

Chelsea: A little bit of both. I’m looking for a composition the whole time I’m with the family, and sort of mentally mapping out compositions that I like so that when the family is in a particular area I have an idea of how I’d like to shoot whatever is happening. Of course, if something great is happening outside of where I plan on shooting, I go for it. But I can certainly tell that the pictures in which I set up the composition then wait for a great moment tend to be stronger.

Leslie: Beautiful family story. Was this the session that made you realize you only wanted to shoot in-home family documentary? If so, how did you come to that realization? If not, when did you realize that was your passion?

Chelsea: I had always tended towards shooting more documentary style sessions. When photographing families I gravitated towards less posing, more activities. Eventually I discovered Kirsten Lewis’s work and participated in her group mentoring. This pushed me towards doing fully documentary, all day sessions.

But it wasn’t until I hired a business coach that I decided to go for it and get exclusive. Shawna helped me identify what part of my business really inspired me. She convinced me that having a specific vision will result in clients who are more devoted and will make it easier for me to promote my business as well as feel fulfilled by my work. You can find her here.

Aniya: This is an amazing session, Chelsea. There are times when I’m doing a day in the life when I feel some moments are off limits and I’m having an inner conflict. For example, if a child is behaving really badly and dad is at his wits end at scolding him; do I shoot through this? Is it disrespectful to shoot? Am I going to be yelled at to put my camera down? Did you ever have any of those moments with this session, where you weren’t sure you should be documenting?

Chelsea: It is better to ask for forgiveness than permission. In one of my first Real Day sessions I arrived before the Dad woke up. In retrospect I can see that the Mom was really eager for me to shoot her and the kids waking up Dad as that was a special ritual for them, but I was afraid. I didn’t follow them into the bedroom. Afterwards I felt miserable. In the immediate aftermath I could tell she was disappointed and I had to work to regain her trust. I gave myself a clear goal of shooting everything regardless of my discomfort because that is what I’m there for, that is what I’ve sold my client.

In this particular session the Mom communicated to me before hand that she didn’t want any below the waist nudity photographed, at all. When she brought it up I took the time to clarify exactly what that meant. What we came away with was I should photograph through any nudity, but compose the pictures to only show the kids from the waist up.

During the session the older son had a couple of time outs. I could tell that he did not want to be photographed during his time outs, but the parents didn’t mind. I continued to photograph but tried to give him his space. Eventually he asked me not to photograph him on the “naughty step,” and I said “absolutely, I’ll give you some privacy.” He seemed to really appreciate that and we moved on with our day just fine. Which really worked out perfectly because I was able to deliver time out pictures, but also respect his request when he decided he wanted me to stop. I think it actually helped me connect with him because he was able to set a boundary and saw that I really respected his decision. Essentially I treated him like an adult, like it was his decision and that usually goes over really well with kids.

Meg: What are some of the first things you do when you go into a session like this? Do you shoot right away or do you chat with the family and let them get used to you some?

Chelsea: I have my camera out right away and I let them know that during our communication before the session. I start out talking and shooting less and as they get comfortable I’m shooting more and relating less, but I want to be ready the minute I arrive (even before, as I’m approaching the house) in case there’s a great opportunity for a picture.

Lacey: How did you know you were ready to end your maternity leave and get back to photographing clients? How was it going back after a long break? Was it different getting back in than what you expected? How so?

Chelsea: I’ve been shooting pretty sporadically since having my first baby in April 2014. During this pregnancy, my second, I really didn’t shoot or promote my business very much as I had a very difficult pregnancy. I felt so sick much of the time that I didn’t even want to make pictures of my own family and really struggled through the few client sessions that I did. So I was pretty excited to get back to shooting and to be really focused on only shooting what I’m most excited about.

Practically, the most difficult thing was pumping enough to get my baby through around 12 hours without me. I know he had a hard day being away but the joy on his face and how he settled into my arms when I came home was just wonderful to experience.

Lisa: What was your biggest takeaway from doing this session?

Chelsea: I think my biggest take away was confirmation that I’m on the right path. I enjoyed the day, I enjoyed the shooting, I enjoyed the editing much more than I usually do. I feel like I’m finally saying something with my work, something that is really important to me, and I can’t wait to see where that takes me.

Michelle: Which of the photos you submitted is your favorite and why?

Chelsea: It is hard to pick. I really love pictures that contain the whole family. From this set I love the picture of the parents trying to use their phones while the kids are climbing all over them. My body knows exactly what that feels like so when I look at the picture it feels really universal but also very specific. It tells the story of something probably all parents experience, but it is also something pretty unique to our period in history.

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

Featured Artist – Nykie Grove Eades

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Today we are featuring Nykie Grove Eades of Auckland, New Zealand. Nykie is drawn to the uninhibited nature of children. For her business, Nykie offers clients both documentary sessions and lifestyle, but that even in her lifestyle work she takes incredible care to focus on those natural, unplanned, in between moments. You can find Nykie online on her site, facebook, and instagram. Below is a little more about Nykie, her work, and her business in her own words.

What made you focus on b&w photography? Do you approach shooting differently knowing that they will be converted to black & white?

My work has just progressed that way… I started with B&W only in my own dark room in the 90s, to then creating perfect colour images when I went pro with digital many years later, which I still love. But as time went on especially with photographing kids, the images became more about the randomness of shapes and moments, I feel like black & white strips the image down to the bare bones of a moment. Often I feel like colour distracts. I will leave it however if I think it’s adding to the feeling of the shot, or if the shot is about eyes, but more often than not I will choose black & white.

I don’t shoot for black & white specifically, but I know the second I have taken one…. they’re more often the random funny moments that happen in between, the moments when my subjects “let go”, and chaos ensues… (the best bit).

There is so much motion & action in your images and I love your choices to pan or accentuate the image with a slower shutter speed. Any tips for those who might be looking to incorporate those techniques into their work?

Practice! To learn to pan, I went to several high speed events from motocross, to running, and my own kids on water slides…. It is still hit & miss. With panning I find you’ll get the best results if you start moving with your subject WELL before you plan to click the shutter… you’ll get a feel for the speed of the movement, then keep panning well after your shutter has shut again. This way you’ll get the flow of the movement – then do it several times. Often kids are having a blast having all eyes on them over and over again 🙂
On paid jobs I will play with this effect, but I do tend to only do it when I know I have a ton of other shots in the bag. I guess it’s kind of my “me time” on a shoot. I try to play as much as I can once I feel I’ve nailed what I came to get (which also feels like play!). Aside from panning, just some good old motion blur is awesome. Kids especially are so frenetic! You do need to be open to having images that are loose and free and not necessarily sharp. Enjoy it……. let the fun of it wash over you 🙂

I love all the different perspectives you use in your photos. When you photograph a scene, do you know ahead of time the perspective you want to shoot from? Or do you shoot from several different perspectives and see what works best afterwards?

I have gotten a feel for it… If kids, for example, are immersed in an activity, like a bath, I will just shoot from many different angles because I simply have time. Quite often though I am inspired by what’s happening in the moment – With kids, I feel like their world is so much more about “the now” than us adults. I often feel inspired to lay down, or hide behind something, or climb a tree!, and just watch them and hope that I can disappear just momentarily. Also I feel like I am “in their world”, by getting an angle that accentuates their play.
Of course too the back of mind is always on composition mode. I also shoot quite wide, and I am a serial cropper… I work fast and I move a lot, and that’s just how I unashamedly roll 🙂

There’s an effortless joy and that comes shining through in your portfolio – not only with kids, but also with adults. What are a few tips you use to help clients relax and truly feel comfortable in front of the camera?

I feel people! Awkwardness hits me as if it were a stab to the chest…… I struggle with anxiety and part of that is an almost hyper sensitivity to people. Over the years I have developed an almost selfish need to put myself at ease on a shoot, which has resulted in my style developing, and I therefore need people to be genuinely having fun.

My philosophy is FUN FIRST, PHOTOS HAPPEN….. I am always honest at the start, “lets get a few awkward ones in the bag, and then we can warm up a bit”….. I find telling people they will warm up is a self-fufilling prophecy. I also have a secret weapon, which is my chicken hat. It is honestly the most dorky looking thing, I put it on and act like a fool and people loosen up. I talk a lot on shoots, sing, dance, pull faces, and genuinely enjoy peoples company. People sense that there is no ego at all coming from me, and they can relax. If dad is awkward, get him DOING stuff like interacting, tickling, piggy backs, etc… and also let him know he is “off the hook” quite early on in the shoot – and you’ll find he will probably want to keep being involved later on anyway…. Kids are tricky, but I find it’s just about respect. Use your manners, ask nicely, ask about their day… if they are super shy, it’s a good idea to start from their home and check out their bedrooms etc… Also don’t be over bearing from the beginning, chat to the parents first and let the kids see you being friendly with them, and their trust will instinctively follow.

I like the way you have put this question… “effortless joy”, for the client it really should be, but as a photographer it comes from a place of 100% commitment and effort in caring for people and reading them, and enjoying them.

What percentage of your business is lifestyle vs. documentary? Do you get more inquries about one type of session vs. another? And if so, do you ever work with your clients to persuade them into a different style of photography based upon what you are learning about them? Walk us through how you and your clients decide on the style of photo session that works for them.

Mmmm, I think I am at 50/50. Lately I have been convincing more of my lifestyle clients to get shots done at home first before we go to a location, so we can get both. I won’t push to hard on that, but the ones that do take me up usually end up really loving that portion of their shoot. I feel like here in New Zealand people are leaning more towards the unposed and unscripted style. We’re a pretty humble nation and most people are not after a large posed portrait above the fireplace. Currently I am trying to really educate more people about the joys of documentary by driving what I call the “Unposed & Funposed revolution” , I have never been into marketing that uses fear to get people to book – but I can’t help but have a genuine yearning for people to capture their families now and often before their kids get older – missing that opportunity does scare me!

If someone enquires with me, I will facebook stalk them! I can often get an idea of someones style by having a quick look at their images or house. I will also ask about kids hobbies and interests… There is usually something in there that will allow me guide them towards at least starting the shoot at home. I have to show what these images will look like too. It’s hard for people to imagine how their “every day life” will translate into anything special. But if say, a mum tells me Tommy LOVED his dinosaur collection… I’ll say “well lets celebrate that! we can go to beach afterwards when the light is pretty, but it would be awesome to be at home first and capture his every day awesome”

I will also gently tell people how amazing it is to look back on photos years later and reminisce about the way their house was, or the items in the room, the carpet, the wallpaper. My dad was an awesome photographer and our family albums are absolute treasures of every day stuff! In a nutshell, I get a sense about a person, I will push the doco a little, and sometimes not at all, and see if they bite… and if they don’t that’s fine. My lifestyle shoots will also contain a fair whack of unscripted goodness too! And just like I do with documentary, I do stop and take some camera aware portraits as well……. mix it up I say 🙂 I am all about having fun!

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

kids dance on shore - Documentary Family Photography

Featured Artist – Polona Avanzo

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Our newest featured artist is Polona Avanzo. She lives and works in Slovenia and loves to include an element of humor or quirkiness to her images because, “I believe everything in life is easier if we are able to laugh at ourselves and bizarre situations.” You can find out more about her on her website, Facebook, and Instagram.

In your submission application, you mentioned that you were trying to bring more of this style of family photography to your home country. What do you think, culturally, will be the biggest barriers/resistance to having this style of photography welcomed there? How would you characterize the family photography market where you live?

In Slovenia there is a strong wish to have a perfect family. Parents would do everything for their kids and want them to accomplish many things. Sometimes it is hard to accept that they are not perfect and embrace the beauty of everyday mess. Another thing is the concern about what other people think looking from the outside. It is common to hear “what will neighbours think”. We don’t like to broadcast our imperfections and want to be seen as perfect.

There is also the difficulty of letting a stranger in our homes to document our messy house. I often hear “sorry about the mess in the house” when everything is perfectly fine and tidy for everyday life. Families in Slovenia usually clean the house for every visit they have.

Otherwise the Slovenian family photography market is still mostly leaning towards posed photography in a photo studio or in nature. People prefer to buy a professional camera for themselves… and then use it on auto 🙂 I feel like the photography profession is sadly not respected enough as it is a case with most services opposed to material goods.

What situations do you struggle most with capturing? And what is it about those situations that you find most challenging?

I struggle the most with intense moments – arguing or crying. I get the feeling that I am not welcome to capture this moments and have the urge to try and help the situation. Even with my own kids I had to overcome this feeling and accept it as a normal part of everyday life. They are moments that I also want to remember.

Your framing and use of layers in your images is fantastic! Are you purposely seeking out these compositions? Do you find yourself shooting a lot of frames, or do you just sit and wait to capture that one perfect moment when everything lines up beautifully? Do you have any advice for others who wish to incorporate more depth in their images?

Yes, I love layers! I think they give some depth to the photos. Especially when I succeed in capturing different actions in one photo I feel I told a better story. Usually, when I see something interesting is going on, I quickly take some photos so I don’t not miss the moment. When I get the chance to calm down a bit I will look for a better composition. A lot of times I find the best spot and wait for everything to line up perfectly. In many cases it pays off. Sometimes you have to be a small fortune teller to predict what everyone will do next. Observe, predict and wait.

I love the sense of humor and quirkiness in your images. Do you feel like you see the humor of your images as you shoot or is it something you recognize and curate as you cull and edit?

I love humorous moments. I believe that with humour and a smile everything is easier, especially if you are able to laugh at yourself and your mistakes. I guess this mirrors in my photos. Usually I know that a photo will be funny or good the moment I take it. And I work hard for it. As I mentioned before – I see the moment and I want to capture it in the best way. Things rarely surprise me in post production.

Featured Artist – Olivia Gatti

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Our newest featured artist is Olivia Gatti, who describes herself as a “former photojournalist turned librarian turned roller derby queen turned mom to three girls and one rescue dog.” While she has been working in family photography for many years she has recently transitioned to her true love of in-home 100% documentary sessions. You can find out even more about her and her work on her website, Facebook, or Instagram. Here is what she had to tell us about her work and her business.
child on counter digs through cabinets

Your work shows a beautiful use of light, particularly dramatic light. Is there a lighting situation you are particularly drawn to? And can you walk us through your editing process?

Thank you for noticing! I’m always drawn to good, different, and unexpected lighting. Once you start to truly understand light, you see opportunities to capture it everywhere. There isn’t one specific kind I truly love, honestly. I love it all, the more unexpected the better. In documentary, you can’t control when the light is good, or even if your subject necessarily will move into it, so when all the elements collide, it is truly a magical thing. You just have to be ready, and with lots of practice hunting and shooting in all types of light, you will be.

I try to keep my editing process extremely simple. My background is in news photography where you weren’t allowed to alter images in any way. All you could do was boost contrast and curves, maybe a little dodging and burning. Because of that I never really learned any fancy photoshop tricks. And at this point I don’t really want to. I do everything I can to get it mostly correct in camera so I don’t get bogged down in editing.

I do use one VSCO preset and one Nik Silver action. I own a ton of actions, but in the end have found the two that really keep my work looking clean and not overly processed.

You use a lot of creative compositions. Do you crop in camera or in post?

I love photographs with interesting and smart compositions. I feel like that gives me better insight towards the photographer and their approach; it’s like I really know they can “see” the moment. So I try to emulate that in all I do as well. I love layers, and frames within frames, and unusual crops. I love when someone unexpected runs into the frame and I catch a random body part or blur. I shoot pretty wide, consistently with a 24mm and now a 35mm on my Sony a7rii. Because they are such wide angles, I feel like I have to be fully aware and responsible for what’s in the frame. It’s the weird accountability I hold myself to when I shoot. So to answer the second part of the question, I crop in camera, never in post. I might straighten a horizon here and there, because I don’t particularly like tilted horizons, even ones that are slightly off. But if in straightening the horizon means my overall composition and balance gets thrown off, I’ll probably just kill the photo altogether.

What guides you in determining which elements to include/exclude in a frame?

Beyond the moment and some nice lighting, I look for elements that help to tell the overall story or that better evoke the mood or feelings at the time. I was just shooting my friends and their kids this past weekend in the Hamptons, in a beautiful house with white everything, super stylish. The light was great, the moments were really authentic and true (laying on the couches cuddling the kids, braiding each other’s hair). But there were also all these My Little Ponies and wiffle balls and pool noodles lining the edge of the fancy glass coffee table so no little one got hurt. And I thought to myself, well I could compose this so that I exclude what is happening on the floor level and it will look like some photo shoot from The Hamptons Magazine, or I could compose the photos to take in the real scene. So I went with the real scene and included the kids’ mess, because that was real. Even in the Hamptons.

You work shows little fear in showing skin which is something so many of us, as parents of young children, can relate to. Do you deliver these types of images to your clients too? If so, do you have a conversation about it first to make them more comfortable?

Showing skin is such a tough one, and I can completely understand and respect people who don’t shoot it or shoot it but never show it. It is clearly a very personal and individual decision. With that said, I, on the other hand, feel really strongly about being honest about my life as a mother, and in my life my kids are naked, especially my littlest one. My older two are becoming more self-aware and so I’ve stepped back and let them have the privacy they want. This means I have watched them sometimes close their bedroom doors on me while getting dressed and have felt this bittersweet feeling, but such is life. I think, because I have a pretty open mind and an on-going visual dialog happening with my work about my life, I attract clients who feel similarly about childhood, nudity, and positive body love. I am planning on adding something in my new client questionnaire about this topic so that I know before hand how they feel, but currently when documenting families, I often have to use my best intuition to read if this is or isn’t cool. And it never hurts to ask, either. Even if we are in the moment, to pause and make sure everyone is comfortable with the scenario. I always explain it is for their eyes only, and also encourage them to see the bigger picture of these moments; that someday all too soon, their little kiddos will want to get dressed and undressed behind a closed door and maybe right now the freedom and safety they feel is indicative of where you all are in life presently. And I think that is why these photos are so beautiful.

How do you help families relax and act as naturally as possible around you while doing a home documentary session?

I don’t have any special formula for getting my clients to relax. I truly believe I attract cool, relaxed people to begin with by what I put out there (and yes, I’m talking about energy). I’m honest and vulnerable and real with them the entire way through the experience. If I feel like I need to throw on a long lens, which I know looks crazy to some folks, I just talk about it while I do it and get them used to the idea of how some of my gear works and why I use it. I get on the kids’ level almost immediately too, and act silly and sing. I make real eye contact and ask questions. I keep my energy low and easy and they seem to tap into that if they need it. I never push anyone to do or be anything other than themselves. I think all these things keep it really natural and fun.

Have you found the transition of your business to exclusively in-home documentary to be a difficult one? What is one piece of advice you would give to photographers looking to make a similar transition?

Luckily my transition has gone really well so far. It is still fairly new, and I’ve had to redirect a few jobs to other shooters I think would be a better fit, but I also feel like the new clients and old ones who trust me really get the approach and appreciate it. It is so wildly different from family portraiture (a form that I still think is very important to have done from time to time), and I get why some people just don’t like it or get it. So my advice to someone who is trying to make the same transition is two fold. For one thing, be sure you are moving towards in-home documentary because that is what you truly love to photograph, not because it is on trend right now. Flip flopping styles just to appease potential clients means you (the photographer) won’t ultimately be satisfied. And you should be satisfied! Secondly, trust that the right people will find you and vice versa. They are out there. Maybe some people need to be educated and see examples of this before they sign on, but they are out there. And odds are if they dig your style, some of their friends will too. I’ve done zero marketing this year beyond a blog post about switching over, tweaking my site, and the social media posts that I normally do. My business is almost entirely driven by word of mouth. It’s really a wonderful way to understand just how impactful your work can be on a family when they share you with another.

kids gathered on front stoop - Documentary Family Photography

Featured Artist – Francesca Russell

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Our newest featured artist is Francesca Russell from Long Island just outside New York City. She is a stage manager by trade who picked up a camera in 2007 to document her travels and now recently has transitioned to documenting families. She has a special interest in creating short films for her clients and her family. You can check out some of those films on Vimeo. You can also keep up with Francesca by visiting her website. Below is a little more, in her own words, about her method and her work.

I see you have several personal projects going on including a 365 – how do you prevent burnout and continue to take photos you love?

I am a self-professed project-a-holic! I always have multiple personal projects going at the same time – I personally see the most growth for me as an artist through my personal work. It keeps me constantly learning and experimenting, and it challenges me on a daily basis. I recently went back through my blog archives and I noticed a huge leap forward in my photography last summer while doing my “100 Days of Summer” project. Everything I had been studying about light and composition and moment in many, many classes (I’m a learning-a-holic too!) came together through that practice of daily shooting and sharing.

I am currently doing a 365 project and a one-second-a-day (of video) project. I have highs and lows with all my projects – especially the long-term ones. Burnout definitely happens, but I find ways to push through it. There are often days when I don’t want to shoot. To get out of a slump, a few things that I like to try are:

Change up my environment. Get out of the house and visit a new place with my kids.
Pull out a different lens that I haven’t used for a while. Recently I pulled out my 50mm which had been collecting dust – I had forgotten what lovely photographs you can get with a 50mm! Now its back in rotation.
Try something experimental – I pull out a Lensbaby or try freelensing or using a prism in front of the lens. I love the dream-like quality I can get using these techniques in both still photographs and video.
Find a different subject to shoot. I love photographing my kids, but sometimes its nice to change things up. I’ll go over to a friend’s house and photograph her family, or pull out the tripod and do some self-portraits.
Go for a walk and pay attention to light and shadow, lines, shapes and colors. Your own neighborhood can be such an inspiration if you really open your eyes to it. I took a class from Lauren Mitchell earlier this year called “Here is Where: Photographing the World Around You” and it was such a game-changer for me. You really can find beauty in the most unexpected of places if you are open to it.

Many of your photos include dramatic pops of color. How do you feel you use color in your images to tell a compelling story?

I love a good black-and-white, but I am usually first drawn to color in my images. It really depends on what the focus of the photograph is. Sometimes keeping an image in color helps draw the eye to what the important elements of the story are, where they would get lost in black-and-white. But then there are other instances, where black-and-white focuses the eye more effectively – especially if there is dramatic light present, or if there are distracting elements in the frame that are best subdued in monochrome. It is really is such an image-specific decision. Since I most often photograph children, I do love to incorporate vibrant color, as it infuses such a fun, happy quality into my images. Color, especially in the environment, can also be such an awesome compositional element. I love looking for bright blocks of color when I am out and about doing street photography.

child with bed head and cereal - Documentary Family Photography

What would you say is your greatest strength as an artist? Your greatest weakness?

Oh that’s hard! I’m not sure what my one greatest strength is, but a handful of things I think I am most comfortable with (so therefore good at, I guess!) are:

1. Photographing the quiet, in-between moments and connections. I am an introvert (an INFJ) so those are the moments I am most drawn to. I am a quiet observer, both in my personal and client work, which enables my subjects to forget I’m there – therefore allowing me to capture moments that maybe wouldn’t occur if the subjects were more aware of my presence.

2. At client sessions – putting families at ease. I think that comes from being a stage manager for so many years and having to be the calm in the eye of the storm. I definitely know how to just roll with it during a session, no matter what happens.

3. I think my video work is getting stronger and stronger with every film I make. Having a theater background, I am drawn to the movement of video, and I think theater has definitely influenced the way I structure the narrative in my films – its almost second-nature to me, creating the perfect beginning, middle and end with the action building to a climax along with the music.

As for my weakness – doing posed sessions. Occasionally a family will want one posed portrait “for grandma” and I just feel like a fish out of water. When I stage manage, I prefer the position of assistant stage manager because the head stage manager has to do a lot of directing – maintaining the show after the director leaves, and rehearsing understudies and replacements. I HATE directing – so I am happy not ever being a head! The same translates to photography. I am just not comfortable directing people. I am much happier just capturing what unfolds naturally.

kids waiting in front of cubbies - Documentary Family Photography

How long have you been doing video? How did you learn and do you have any tips for people interested in adding video to storytelling sessions?

I started playing around with DSLR video in 2012. I had been following Xanthe Berkeley on Flickr and through her site for a number of years and in 2012 she created a group on Facebook to share “time capsules” made on 12-12-12. I had made a few fusion photo/video slideshows before that, but that was really the first time I put together a little family film. Since then, I have been taking classes from Xanthe pretty much non-stop. I find her work such an inspiration and she is such a lovely person as well.

As for adding video to storytelling sessions – I shoot a lot of video during my sessions. Once I have shot through a moment and gotten the stills that I need, I always switch to video mode and capture some footage as well. All of my sessions include a fusion video/photo slideshow, and my clients love them! It really does take a lot of practice to shoot both video and stills at a session. My advice would be to just start getting into the practice of doing both with your own family. Make a point to take video everyday along with your photos. After a while it will become second nature to you to capture both. My one-second-a-day project has really helped me with that.

As far as marketing family films – this is still a work-in-progress for me. I am in a difficult market for films in the NYC area, as so many people here work in film/tv and broadcasting. I’ve been told to just keep producing work and sharing it, so that’s what I’m doing. I make at least one film every month. Even if I just keep making personal films forever, I’ll be happy doing that. I love making them. My style for filmmaking is a bit more surreal than my real-life, documentary photography. In my films I like to incorporate a dreamy quality, as though you are looking back at a memory.

girl stares at undecorated Christmas tree - Documentary Family Photography

Many of your images include a subtle bit of humor and classic childhood narratives; do you feel your previous work in theater has impacted how you compose a frame, how you decide what storytelling elements to include or not include in a frame or what scenes you are drawn to shoot?

I think theater has definitely influenced the way I structure story in my films. As for stills, I don’t think it is as relevant, except when it comes to lighting. I am drawn to dramatic, directional light, and I know that comes from the theater.

My photography is mostly inspired by all the great documentary masters. I have been studying the masters of photography for a lot longer than I have actually been shooting or studying the “how to’s” of photography. I remember seeing an exhibit of Walker Evans’ work at the Met in 2000 that totally blew my mind – especially his subway series. The study of strangers. I just fell in love with it. And then I saw Robert Frank’s “The Americans” on exhibit – twice! I think in both Los Angeles and New York. I absolutely loved seeing his contact sheets from that book – how he decided which frame was the “decisive moment”. Fascinating.

I was so blessed to tour the U.S. and Canada from 2006-2010 with two shows. I saw so many amazing photography exhibits while traveling. Pulitzer Prize winning photographs at the Annenberg Space for Photography in LA, Annie Leibovitz in Washington DC. The Newseum in Washington DC blew my mind. If you like photojournalism, that museum is not to be missed. I spent two days there and couldn’t speak afterward. The exhibits on Hurricane Katrina and 9-11 especially. So incredibly moving.

Currently I am inspired by Vivian Maier (how did she get so many amazing photos while toting around children?! Definitely a challenge for me). I also love Alex Webb. His use of color and layering is awesome. I am inspired by Saul Leiter when it comes to color, especially in an urban environment. Contemporary photographers that I love include Lauren Mitchell, Molly Flanagan, Melissa Breyer, Heather Robinson, Breanna Peterson and Sarah Swanson.

But getting back to theater – I recently took an in-person workshop with Molly Flanagan, and one thing she said about composing a scene that really resonated with me was that she sets up her frame as though she is looking at a stage. She decides exactly what the set is, what elements she wants to include in her scene, and then she waits for her players to place themselves in the perfect spot and for a moment to happen. I loved this explanation of micro-composition and how it relates to theater, and have definitely been implementing it in my own process since the workshop.

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