Artist Statement
Initially, when I entered photography I, I only had a knowledge of digital photography. Film photography was an entirely new process for me and it, being the prime focus of the class, was what I concerned myself with, to the point where it overshadowed most of the digital photography that I was pursuing. With this new way of viewing photographs, I had the opportunity to really develop and explore my interest in the impact of light and shadow on the images I captured. With my film photography, I often found myself photographing the trees around the Elmira College campus. I couldn’t exactly define the allure, other than the fact that it was fascinating to me that these large pillars of life surrounded us in such rich abundance and provided so much beauty and natural resources, yet they were largely taken for granted and ignored. In addition to that, I loved the diversity of shadows that could be created with the bodies and foliage of these trees.
Shortly after taking stock of this interest in photographing trees, I stumbled upon an article by Mrill Ingram discussing the research of Suzanne W. Simard, professor at UBC and project leader for the Department of Forest and Conservation Sciences of Vancouver, Canada. In her studies, Professor Simard has uncovered what she describes as “vast underground tree root systems that are kind of like giant brains.” Furthermore, she explains that when looking out upon an expanse of trees in a forest, those trees before you are connected by ancient “mother trees” for as far as the human eye can see. What was most interesting to me, however, was that this association of root systems does not discriminate between different species of trees. Instead, all of the trees are connected with each other and share resources and nutrients to help sustain one another regardless of the types of trees involved. It was the purest, most loving and unprejudiced system of life that I had ever come upon, and it became my inspiration.
“Ever been in a forest and thought you heard whispering? Maybe it wasn't in your head” by Mrill Ingram:
http://www.upworthy.com/ever-been-in-a-forest-and-thought-you-heard-whispering-maybe-it-wasnt-in-your-head
Professor Suzanne W. Simard of UBC Personal Page:
http://profiles.forestry.ubc.ca/person/suzanne-simard/
Shortly after taking stock of this interest in photographing trees, I stumbled upon an article by Mrill Ingram discussing the research of Suzanne W. Simard, professor at UBC and project leader for the Department of Forest and Conservation Sciences of Vancouver, Canada. In her studies, Professor Simard has uncovered what she describes as “vast underground tree root systems that are kind of like giant brains.” Furthermore, she explains that when looking out upon an expanse of trees in a forest, those trees before you are connected by ancient “mother trees” for as far as the human eye can see. What was most interesting to me, however, was that this association of root systems does not discriminate between different species of trees. Instead, all of the trees are connected with each other and share resources and nutrients to help sustain one another regardless of the types of trees involved. It was the purest, most loving and unprejudiced system of life that I had ever come upon, and it became my inspiration.
“Ever been in a forest and thought you heard whispering? Maybe it wasn't in your head” by Mrill Ingram:
http://www.upworthy.com/ever-been-in-a-forest-and-thought-you-heard-whispering-maybe-it-wasnt-in-your-head
Professor Suzanne W. Simard of UBC Personal Page:
http://profiles.forestry.ubc.ca/person/suzanne-simard/
Lisette Model and Street Photography
"Running Legs, Sixth Avenue" American, 1940-1941. (At Right).
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Lisette Model’s style of work, while not at all what I ordinarily photograph myself, acts as an enormous source of inspiration for me in visions I have for my own future work within the medium of photography. Lisette Model was an American photographer born in Austria in 1901. She began her involvement in the world of art on a path of not visual art, but of music, studying performance piano in Paris under the tutelage of the avant-garde composer, Arnold Schönberg. This is an aspect of Model’s life that initially interested me in her work, as I also began studying music before I discovered the world of ceramic art. Much of her life’s work and rather rapid success occurred after moving to New York.
One piece created by Model that especially speaks to me is her photograph titled “Running Legs, Sixth Avenue” dated 1940-1941 (Above). In this photograph, a pair of male legs is framed in the foreground. The man’s legs are blurry, while the lower portion of a female’s legs maintain perfect focus in the background. In order for this image to be photographed, Model would have had to use a faster shutter speed. In addition to that, she might have used a hip shot to position her camera in the center of action as this man seemingly raced down Sixth Avenue. This type of positioning of the camera was made possible by the invention of the hand-held camera within Model's lifetime. For that reason, I feel that this is one of her photographs that specifically speaks to her ability to be a street style photographer, thanks to innovations with the camera that made it possible to capture a motion as quick as a set of running legs.
Lisette Model Life and Work:
http://www.getty.edu/art/collection/artists/1521/lisette-model-american-born-austria-1901-1983/
http://www.gallery.ca/cybermuse/showcases/model/index_e.jsp
http://www.britannica.com/biography/Lisette-Model
Portrait of Lisette Model (Above):
https://www.flickr.com/photos/leica_camera/7515022876/in/photostream/
One piece created by Model that especially speaks to me is her photograph titled “Running Legs, Sixth Avenue” dated 1940-1941 (Above). In this photograph, a pair of male legs is framed in the foreground. The man’s legs are blurry, while the lower portion of a female’s legs maintain perfect focus in the background. In order for this image to be photographed, Model would have had to use a faster shutter speed. In addition to that, she might have used a hip shot to position her camera in the center of action as this man seemingly raced down Sixth Avenue. This type of positioning of the camera was made possible by the invention of the hand-held camera within Model's lifetime. For that reason, I feel that this is one of her photographs that specifically speaks to her ability to be a street style photographer, thanks to innovations with the camera that made it possible to capture a motion as quick as a set of running legs.
Lisette Model Life and Work:
http://www.getty.edu/art/collection/artists/1521/lisette-model-american-born-austria-1901-1983/
http://www.gallery.ca/cybermuse/showcases/model/index_e.jsp
http://www.britannica.com/biography/Lisette-Model
Portrait of Lisette Model (Above):
https://www.flickr.com/photos/leica_camera/7515022876/in/photostream/