PR Project

Photos for Kat's portfolio.







Marc Tasman's Flag.

Photo Essay

Ever since I was a child, I've always wanted to live in a city. Growing up in a suburb, diversity was difficult to find. Milwaukee was the closest thing to the antithesis of my childhood surroundings. I'd often venture to Milwaukee as a young teenager, but the visits were short, and they left me curious about the city.

I had always felt alienated in the suburbs, especially during my experimental years as a teenager. The city appeared offered acceptance and people even stranger than myself. Now that I live in Milwaukee, I walk the streets, socialize with the inhabitants, and brave the weather. Winter has caused my dislike for the city of Milwaukee to increase.

Over the past few years, Milwaukee has been experiencing a vast amount of deconstruction. The promise of reconstruction is what has caused so much alteration in the first place, but I've found that I can no longer stand the city. Rather than focus on the culture, I decided to highlight the desolation of the city. It sounds like an oxymoron, and it is. The irony of isolation in a city is what appealed to me.

I could never stand to photograph landscapes, but something about the ugliness of reconstruction appealed to me. I did not want people to appear in the photos, save for one photo, where the subjects are far away, almost unrecognizable. This is what it feels like to walk the streets to me. The subjects are so obviously present that their essences is disguised by the brutality of the city streets.

Strangers

Taking pictures of strangers can be an extremely rewarding experience. I've dabbled with both extremes concerning photographing people I don't know.

I've taken photos of people I don't know for things like fashion and styling shoots. These individuals model intentionally. They are aware of the fact that I am going to take photographs of them. Usually, they are comfortable with this. They should be comfortable or else they should find another line of work.

On the opposite end of the spectrum, I've gone on assignments were I am supposed to capture people in the moment. The shots are candid and there is no preparation. Typically with these shots, it's hit or miss-- you either capture the moment or you don't. These people can sometimes be unaware of the fact that a photo is being taken, and that's what I like most about candid shots. There is no prep time. There is no second chance.

It's a completely different story when it comes to approaching strangers and asking them to take a photograph of them. People are extremely cautious, and they often hesitate if they feel uncomfortable. But, as a photographer, it's part of the deal. Most people do not walk around with the expectation of being photographed. They worry about where or how their face will appear. It's funny, though, because the excuse of Oh, I'm a student. This is for a project seems to work for everything.

Apparently, students are completely harmless.

Document

This set documents the often misunderstood Blythe dolls. Are they creepy, cute, or both? The dolls can appear to be very human through expressions, styling, and motion. They can be mysterious or friendly. It's up to the viewer to decide how to interpret and interact with these quirky creatures.

People are often resistant to creative photography when it comes to dolls. Dolls can evoke and provoke just as much emotion as humans. There is no reason to avoid strange, beautiful, or controversial photography-- especially when Blythes are involved.

I have always found it difficult to photograph Blythes when the final products of my efforts are meant for people not accustomed to viewing the dolls. I am very protective of my Blythes, seeing as how I feel they are more than lifeless chunks of plastic. It's challenging to craft a method of allowing people to view Blythes without being biased by other less intimidating dolls, like Barbie or Cabbage Patch Kids. I feel a document is a successful way to go about this. This assignment allowed me to demonstrate not only the creative side of photography, but the personified aura of Blythes.

Light

My favorite time of day for taking photos is late afternoon. I think shadows are at their very best right before twilight begins to creep in. Morning shadows can be fun to work with, but I believe the sun tends to be too bright for my tastes-- not too mention the morning hours are often reserved for two things-- sleeping and large mugs of coffee. There is something relaxing and nostalgic about afternoon light that I find inspiring.

This specific photo was captured as I was staring up at the ceiling of my apartment around 4 PM, watching the flashes of light explode on my walls as cars passed by. I noticed the trees outside, which are usually home to the squirrels that sit on my windowsill, were swaying back and forth, creating this beautiful lace texture on my ceiling.