No. 3 - References & How They Change
Referencing work and the photobooks that have been rotating on & off my desk
From Motion to Stills
As I’ve progressed through navigating the motion part of my career, my love for photography has also blossomed into another career avenue. This time, I would say that my approach to finding photography references feels somewhat more linear compared to how I find motion references.
Instead of initially referencing long-form work (like I did in with motion), I first noticed the editorial and commercial work of other photographers. As I began to look deeper into their work, I consistently found that quite a few had ventured into fine art—having their work displayed in galleries, exhibitions, and eventually bound monographs. Photobooks. The be-all, end-all.
Photobooks have have become an obsession for me. I use them as references for my own stills work and also as references for composition, sequencing and framing in my motion work as well. In the spirit of sharing resources and championing the work of other artists I respect, here are a handlful of photobooks that have been circulating on and off my desk for the last few months.
För by Agnieszka Sosnowska
Published by Tresspasser, Agnieszka Sosnowska’s För is
“[An] intimate portrait of the artist’s life and community in a remote corner of East Iceland. Sosnowska was born in Poland and raised in Boston. Coming of age between two countries and disparate cultural identities, she felt neither fully Polish nor American during her youth. It wasn't until adulthood that she moved to Iceland and found the place where she truly belongs … In this tight knit world, she uses a large format view camera to photograph the land and people with tenderness and unwavering commitment. Set amidst the harsh elements and rugged beauty of the Nordic landscape, För is a book of gratitude and love – a story about finding home and a chosen family that carry through the seasons of life.” — From Tresspasser
The way Sosnowska approaches landscapes, and the people and details that bring further context to them, is inspiring. Her photos have a sense of haunting beauty and intimacy that remind me of the first time I watched an Ingmar Bergman film (specifically Persona). It looks like it's currently sold out, but I’m sure you can find copies on the second-hand market.
If you’re interested in learning more about Agnieszka Sosnowska, För, and her photographic process, I highly recommend giving her episode on Ben Smith’s A Small Voice Podcast a listen.
Rotting from Within by Abdulhamid Kircher
I always think deeply personal work is the most difficult work to make universally appealing, but Kircher’s work in Rotting from Within hits hard for me.
“Rotting from Within refers to a feeling described by Abdulhamid Kircher upon the unearthing of his father’s history: the discovery of the generational trauma within the patriarchs of his family and the subsequent task of uncovering the artist’s self amongst the things passed down. Beginning at the age of seventeen with the reacquaintance of his estranged father, recently released from incarceration for selling drugs and attempted murder, Kircher’s self-led journey into photography coincided with a reflection on his past.” — From Loose Joints
While the description may seem daunting, the photos speak directly to what’s summarized above. And while everyone always has a different reaction to stories about familial dynamics and children's relationships with their parents, Kircher’s extremely personal work strikes a golden universal bell for me. The work is raw and unflinching in its honesty.
Rotting from Within was recently nominated for the Paris Photo-Aperture PhotoBook Award, as well. Best of luck to Abdulhamid at Paris Photo this upcoming December!
Dormant Season by Erinn Springer
Erinn won the Charcoal Publishing Prize in 2021 and the publishing of Dormant Season is the result of that well-earned accolade.
“Erinn Springer returned to rural Wisconsin after the loss of a close family member, hoping to reconnect with her memories of home. Created with her family and strangers, the resulting series depicts the contrasts of the modern midwest where everyday occurrences get caught between past and present.” — From Charcoal Press
The photo pictured above is the first photograph featured in the Dormant Season monograph, and it’s my favorite from the entire body of work. I liked it so much that I purchased a print from Erinn earlier this year after receiving my copy of the book. Everything I love about photography is depicted in this photo, and when you realize all of the components that had to align with her spontaneous decision to go out and shoot in a field in the early hours of the morning, it feels even more special.
Erinn has also started venturing into the music video arena. She recently directed three music videos for Bon Iver’s newly released EP, Sable,—seemingly bringing her muted, monochromatic approach from still photography into motion. Definitely worth checking out!
Judith Joy Ross: Photographs 1978–2015 by Judith Joy Ross
I was introduced to Judith Joy Ross’ work by another photographer earlier this past summer, while on a job in Seville. Ever since then I have been transfixed by her approach to making photographs, specifically portraits, of strangers. Every single image feels so lived-in and vulnerable. What makes these pictures even more impressive is that Judith used an 8x10 view camera to capture all of them.
“I have a large, beautiful wooden camera. I'm a quick talker and I can convince people in a few seconds because I'm sincerely interested in them. But I am more interested in capturing what I see in them. It's not that I want to be their friend. It's that I see their life and it's amazing. And I want to put it in an image. It's a short but deep connection. Then I go back to being alone but have one more lightning bug in a bottle. One more piece of evidence as to who we are.” -- Judith Joy Ross
What makes the experience of looking at Judith’s work even better is if you also watch and take a listen to this interview she gave at SVA, with Joshua Chuang, a few years back. It’s always fun when you can tell all the photographer truly gives a shit about are the photos.
Baldwin Lee by Baldwin Lee
In 1983, Baldwin Lee set out with a 4x5 view camera to document Black Americans across the American South, capturing them at home, at work, and in nature. This decade-long project profoundly shaped Lee’s understanding of his country and himself. Over seven years, he produced nearly 10,000 black-and-white negatives via his 4x5 view camera. Nearly four decades later, the monograph Baldwin Lee presents eighty-eight of these images, highlighting his dedication to American life and creating one of the most poignant bodies of work from that era.
I first heard Baldwin’s story on his episode of Sasha Wolf’s PhotoWork podcast and was amazed that his work had remained relatively unknown since the 1980s. I’m so glad both he and his work are finally getting the recognition they deserve.
Thanks!
If you’re thinking about diving into the expensive habit of collecting photobooks, I’d recommend checking out Charcoal Book Club. They send members a photobook each month and have exclusive access to titles that often sell out quickly.
Thanks again for stopping by for this third entry on Ground(ed) Glass! More coming soon...