I am reasonably satisfied by the trajectory my portraits are tracing so far. On one hand I am working with models who I have never met before. On another hand I am working with people with whom I have some kinship. As I follow this trajectory it becomes clearer that I must say something real and genuine through these portraits, and this real and genuine “thing” must come from me and I must project it into the portrait.
I spent a Saturday afternoon taking Aunt Carol’s portraits. We photographed outside the house in which she and many many members of her family were brought up. For generations this house was a concrete waypoint as children and grandchildren grew up through countless Christmas, Thanksgiving, and graduation ceremonies. This is Granny’s house and Granny is gone. This house will be gone too someday.
I live nowhere close to the home in India where I grew up. I have fond memories of my time living in Jacksonville in a cave of an apartment. Over time I have left these homes to build a renewed sense of home somewhere else. I have lost something in the trade but also gained something new. This was on my mind when I asked Aunt Carol for portraits. I wanted to capture this sliver of time in Aunt Carol’s life that will become a memory once she transitions into a new place of her own.
Now, on to some technical details. I shot this with Portra 160 on my Mamiya C220 medium format camera. I like the colors of this film over its 400 speed version. Choice of venue is an ingredient to which I must pay more attention. I find it is easier to establish my idea in the portrait when people are in their own familiar space. I will have to test this hypothesis before I draw any firm conclusions.
I will eventually settle down with black and white film — my new home — but I am enjoying this journey with color film while I get there.