Elizabeth and Eric are the first two people I photographed. I took them into the hills, made them wear certain clothes, asked them to do strange things, made them uncomfortable and comfortable with the camera, and hung around a few of their already few band practices for E Squared (in case you're wondering, this is what they sound like: http://www.myspace.com/ericdannerlovesmen).
Elizabeth and Eric, at that moment in time, were the people I saw more than anyone else. I did not realize it then, but see now how I began photography with what I knew and with what made me feel comfortable. For me, comfort meant Eric, Elizabeth, and the town we grew up in.
I began with what I knew. As I have progressed, I found a pattern in older negatives: I begin a roll with something I find comfortable, as a sort of warm-up. The rest of the frames are dedicated to experiments with filters, tilt-shift, developing, fish-eye, Polaroids, and lighting.
Elizabeth and Eric are the first two people I photographed. I took them into the hills, made them wear certain clothes, asked them to do strange things, made them uncomfortable and comfortable with the camera, and hung around a few of their already few band practices for E Squared (in case you're wondering, this is what they sound like: http://www.myspace.com/ericdannerlovesmen).
Elizabeth and Eric, at that moment in time, were the people I saw more than anyone else. I did not realize it then, but see now how I began photography with what I knew and with what made me feel comfortable. For me, comfort meant Eric, Elizabeth, and the town we grew up in.
I began with what I knew. As I have progressed, I found a pattern in older negatives: I begin a roll with something I find comfortable, as a sort of warm-up. The rest of the frames are dedicated to experiments with filters, tilt-shift, developing, fish-eye, Polaroids, and lighting.
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