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Susan Helms • Daniel Mosher Long • Lea Sophie • Jay Sullivan
Jen Kiaba • Paula Goddard • John Glynn
We are inundated with images, photos, messages, TV, and people, on a daily basis, the steady stream of what comes into our sphere of knowing is much greater than ever before, diluting and simmering our version of the truth, in effect, the raw stuff that then translates into our stories, and our pictures. This issue of Adore Chroma has six photographers that will wow you with theirs. Each has found that unique connection to the camera wherein they find themselves through the viewfinder––looking out and finding their way back in to themselves.
Paula Goddard, our cover photographer, tells us that everything influences her, “part of my job is to weed out the influences that I do not want when creating an image.” Her images are reminiscent of beautiful, but odd, fairytales that we all have around the themes of escape and childhood. However, we all would not be able to photograph them the way she does, from paper boats that you hope float, and windows we can fly out of, Paula takes us into a world of her own, where we dream along with her.
Jay Sullivan photographs objects that are reminiscent of those his father would have used and, in doing so, tells us that he discovered the father “I had always wanted and in many ways, already had.” The worn briefcase, the empty glass of beer and most tellingly the glowing bottle of Lithium that speaks to the individual fight we all have with the world. What does it take to make it right?
Lea Sophie explores the idea of woman as model and, as she says, “I’m examining my relationship with women and with myself…I want to create images that a woman can look at and relate to.” Her ladies have beautiful up-dos as they loll around in mustard rooms, dressed in black negligees, on their own terms.
Our Chroma Highlight is Daniel Mosher Long, in his series, Miscellanea, he photographs seemingly unrelated objects into frames of beauty and congruence; essentially highlighting that life can make sense from the pieces we pull together- even when we don’t think they make sense. His fly and flower photo illuminates, for this viewer, that the open door of beauty we afford to the dying flower should also open for the fly, it’s delicate wings never quite so brilliant as they are in death, on that plate.
Susan Helms didn’t set up to have a relationship with the ocean she was intent on photographing simply for its, “form, shapes, lines, and colors,” however, after photographing it for some time, she now has “an intimate connection with the sea.” Her resulting photos capture the delicate peace the waves of the sea carry to us.
Jen Kiaba explores her connection to her upbringing through her series, Burdens of a White Dress, she tells us that “As a young woman born and raised in the Unification Church, often referred to as a cult, I was raised to completely cut off from my feelings and logical thought processes.” There is plenty of feeling in her photos; they make you, especially as a woman, reflect upon our role in society and the different ways in which this can be orchestrated.
John Glynn delves into the review of three variant movies where photojournalism is the avenue characters take to find what they are looking for. The protagonist is always looking to make a difference, a step for the world, which usually starts with steps up for themselves. He says, “It’s only after thorough reflection one realizes that so many photojournalistic inspired movies involve washed up, middle-aged men who wake up…and decide to make a difference.”
Sandra Djak Kovacs
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