We had the honor of asking artist and scientist Rashed Haq a few questions about his project Plausible Presidents, currently on view in our exhibition, Artificial Intelligence: Disinformation in a Post-Truth World.

Haq’s project, presents AI-generated images of the first sixteen US Presidents, most of them before the invention of photography. “The portraits, while visually plausible, are intellectually known as fabrications,” says Haq. The work “challenges viewers to confront their immediate acceptance of photographic information as factual.”

An interview with the artist follows.

Website: www.rashedhaq.com
Instagram: @rashedhaq

What is the most challenging aspect of balancing historical accuracy with artistic interpretation?

For this work, I wanted to make the type of images that I would make if I could have the Presidents in my studio, with my camera and camera lighting as I use them today. In this case, the challenge of historical accuracy was that there are no existing photographs for many of these Presidents, only paintings and sculptures, and sometimes drawings and text descriptions, exist. Part of the challenge was to understand if the available images were contemporaneous and if they were accurate representations of the individuals. 

What is the value of visual literacy in the age of AI?

Today, we are in the age of computational creativity, where we will see the proliferation of AI-generated visual media. Visual literacy—the ability to interpret, negotiate, and make meaning from information presented in the form of an image—will become even more necessary in this age. This will be necessary to contend with both the complexity of interpretation and the thread of misinformation.

Most captivating aspect of artificially generated images for you?

For me, it is probably “combinatorial creativity,” a concept where the algorithm blends diverse artistic elements to create new visual expressions. This approach uses algorithms to blend a variety of artistic elements, styles, techniques, and ideas from different art forms, art movements or historical periods, creating new visual expressions that can be both innovative and unexpected.

The one you grapple with the most, be it ethically or creatively?

One of the things that artists and others will have to grapple with is how to think about the work of art in the age of computational creativity, and the impact of this technology on our cultures and philosophies. 

How would you describe the cultural shift brought in by artificially generated images?

It is hard to tell how this will evolve, as we are only seeing the tip of the iceberg on the cultural shift. Media theorists are just getting started on understanding this change. But I suspect it will be a change greater than the camera had on our society over the last 200 years. 

What’s the most exciting aspect of this shift? The most worrisome?

The most exciting aspect is that this technology is freeing artists from the limitations of traditional camera techniques and the arduousness of photorealistic paintings, allowing artists to photograph their imagination. The worrisome aspects include both the misuse of the technology such is making disinformation more believable, but also potential inadvertent consequences that we have not even begun to think about. 

We had the opportunity to speak to Natalya Getman about her project, Sisters, recently on view in the 2024 edition Vision(ary): Portraits of Communities, Cultures and Environments. Presented as a part of Winchester Waterfield Summer Arts Festival, the installation featured more than 20 individual installations with distinct photographic styles. Vision(ary) is the Griffin Museum of Photography’s 5th Annual summer public art exhibition dedicated to the art of visual storytelling.

An interview with the artist follows.

Website: www.tuttagnutta.com
Instagram: @tutta_attut

Тutta Gnutta (Natalia Getman) is a photographer. Born and raised in Kimry (1979), lives and works in Odintsovo, Moscow Region. In her projects, Natalia Getman relies on the connection between man and nature, as an aspect of life that helps to find harmony and balance. She is interested in the topic of relationships between people, how strong connections between loved ones arise, how they develop and are maintained.

Where does your interest in photography come from?

In general, you could say that I took pictures all the time. I started taking pictures when I was still at school, first it was a Polaroid, a Zenith, my first SLR. For the most part it was amateur family photography. Then there was a break and for a few years I shot only on my phone. And then I decided to return to this hobby, and plunged headfirst into this huge photographic world.  And I love it here.

What inspired you to create this project about the friendship between your mother and aunt?

I was in photography school. I had an assignment to photograph a loved one some, one I cared about and hadn’t photographed before. I thought it was my aunt. As I was thinking about the shoot, I suddenly realized that I should shoot the two of them. They are very close, the relationship between them is unusual. The uniqueness of their relationship I didn’t realize it right away. It was ordinary and familiar to me, such an ordinary life, that you just live and don’t notice.

What role does the village setting and their upbringing play in your portrayal of their relationship?

They grew up in the village, and they keep coming back there, it is their place of strength. And, of course, village life has had a great impact on their outlook and perception of life. Constant labor, limitations and different physical work, it determines a lot of things.  I tried to shoot them in the city, but the narrative thread was already lost, and these photos were not included in the project. That’s why I do the main shooting in the countryside in the summer. When both sisters come there.

 Can you tell us more about this specific image?

This is a photo from their very first shoot together 4 years ago. I took photographs, some ordinary lifestyle shots, and we were in the village with my aunt. And suddenly she says, I forgot to rinse the clothes, they both break away and go to rinse her clothes in the pond behind the house. And this is what they are all about; this characterizes them very much. If there is something to do, get up and do it together.

 Are there specific moments or memories that stand out to you as particularly meaningful in their story?

The uniqueness of their relationship is still a mystery to me, they have never quarreled with each other once in their entire lives, although of course they quarrel with other people. They accept everything about each other unconditionally and with understanding, always agreeing. There is a picture in the project where they are cleaning mushrooms. They were preparing a table, knives, utensils, and this was such an interesting moment, the aunt brought a jacket to put on the bench to make it comfortable. Comfortable for both of them, and that’s just that invisible, caring for each other.

Finally, have you encountered any challenges in translating their story into art? How did you overcome them?

The difficulties were of course when I realized that I wanted to make it into a project, I needed to show this subtle interaction and friendship through photographs. It wasn’t easy, I had to look for metaphors and deeper meanings. Becoming an observer and noticing the usually unusual things that make up their relationships.

Last year on my mom’s birthday her husband died, and it was a very difficult summer for all of us. At the time, I already realized that this was a project and it had to go on. But, the mood was so sad that the filming didn’t really work out. At some point I got desperate and put the idea on hold. I went to study project photography to learn to understand how to tell a story through photography. For almost six months, I sorted through the archives and chose what could be included in this story to make it holistic, working on consistency.

In today’s Griffin State of Mind we speak to Erica Frisk about her project documenting the wolf sanctuary, Wolf Hollow’s in Ipswich, Masachusetts. The photographs were recently exhibited in the 2024 edition of our public outdoor exhibition, Vision(ary): Portraits of Communities, Cultures and Environments. An interview with the artist follows.

While pursuing her undergraduate degrees in photography and art history at Massachusetts College of Art & Design, Erica Frisk traveled to Guatemala to study Mayan art and architecture with researchers and historians in the field. This immersive experience sparked her love of travel and learning about unique cultures and history. After earning her BFA, she continued to travel through Central and South America, creating visual storytelling projects. Her photographs have been exhibited in solo and group art exhibitions throughout the US as well as in online & print publications. Her photographic work was also featured in the PBS Documentary: American Portrait (I Work) with a focus on labor unions. Frisk’s most recent projects explore local storytelling in New England as well as Iceland & Croatia. She has been working with youth in traditional school settings, as well as arts-based community and museum programs in Boston for over 10 years. Erica Frisk is a National Geographic Certified Instructor who aims to teach students about the world in innovative and interdisciplinary ways while cultivating the Explorer Mindset.

Website: www.ericafrisk.com

Instagram: @ericafriskphoto

What initially drew you to Wolf’s Hollow to document the story of wolves in the Northeastern United States?

As both an artist and educator, I’ve always been drawn to opportunities to combine visuals and learning, especially if it involves engaging with something in our own communities. 

I’ve led two National Geographic Photo Workshops in Yellowstone National Park for high school students where we observed and photographed wildlife in their natural habitat. The students and I observed a pack of wolves from a far while learning about their reintroduction into the park.  I was inspired by that experience to begin this project to further explore and share the significance of wolf conservation and the beauty of these remarkable creatures.

My connection with Zee Soffren, the Wolf Hollow’s owner, initially drew me in. Having known Zee for a few years and visited the sanctuary multiple times, I felt compelled to capture Wolf Hollow through my lens. The sanctuary’s unwavering dedication to educating the public and their compassionate care of these amazing creatures is truly inspiring. Wolf Hollow not only provides a safe haven for wolves but also fosters a deeper understanding of our environmental responsibilities.

Could you describe the sanctuary for us?

Wolf Hollow is a small sanctuary surrounded by fields with a backdrop of forests in the far distance. The sanctuary itself has many fences running along the front as well as in the surrounding areas as these are the wolf enclosures. It is well protected and showcases thoughtful use of the land to give enough space for each of the wolf packs. As you walk through the entrance, you have a meeting spot with education materials where the tours typically begin followed by a board walk to the enclosures. Through the fences, you’re able to see each of the wolves inside their enclosures before sitting in a covered area for the educational discussion often given by Zee Soffron along with a question and answer section of the tour.

What’s the first step you take to immerse yourself in the environment and prepare for a day of photographing these animals?

I usually arrive early and scout different scenes in each location that I am photographing. I didn’t only want to capture just the Wolf sanctuary, but also the landscape around it which gives us a greater sense of place. Ipswich is a coastal town with many wetlands as well as fields and forests. I was trying to imagine what life would be like for these wolves if they lived in this area.

Back at Wolf Hollow, Zee walked me around the sanctuary and gave me the opportunity for the wolves to get used to my presence. Wolves are very sensitive to new individuals and smell. So we wanted the wolves to get used to me moving around near the enclosures. Once that was established, I could begin photographing more up close than a typical visitor. 

What sparked your interest in exploring the significance of wolf sanctuaries, particularly their role in preserving biodiversity?

What sparked my interest with this type of work began with a deep fascination for wildlife and a growing awareness of the environmental challenges they face. Wolves, as apex predators, play a crucial role in maintaining the balance of their ecosystems. By studying and documenting sanctuaries like Wolf Hollow, I aim to highlight their importance not just as safe havens for these animals but as key players in conservation efforts. These sanctuaries help educate the public, foster a greater appreciation for wildlife, and contribute to broader initiatives to protect and restore natural habitats. Understanding the pivotal role of wolves in their ecosystems can inspire collective action to preserve biodiversity and ensure a healthier environment for all species. 

What could you tell us about the impact of their absence of wolves in the Northeast and sanctuaries in general?

The absence of wolves in the Northeast has had significant ecological impacts. Their removal from the Northeast  and the rest of the US has led to an overpopulation of deer and other herbivores, which in turn caused extensive damage to vegetation and disrupted the entire food chain. This imbalance affects not just plant life but also other animal species dependent on healthy habitats.

Sanctuaries like Wolf Hollow help address these issues by offering a refuge for wolves that have been injured,  and educating the public about their importance. They serve as living examples of how these animals contribute to ecological stability. By raising awareness and fostering a deeper understanding of wolves, sanctuaries support broader conservation efforts aimed at restoring these predators to their natural habitats. Additionally, sanctuaries play a crucial role in researching and advocating for the reintroduction of wolves into areas where they have been absent, which can ultimately help restore ecological health and resilience.

What is something that has deeply moved you about conservation efforts and human-wildlife interactions?

At sanctuary I wanted to capture portraits of each of the wolves as well as the people that engage with them each day. What is unique about Wolf Hollow is that the Zee and his team are physically present in the habitats with the animals and have developed relationships with each of the wolves. 

Because they are able to be with the wolves in their enclosures, they’re able to demonstrate many of the behaviors and physical attributes of the wolves. As visitors, they’re able to learn about the different wolf species as well as how they behave in their environments and with each other. Zee is able to create a immersive experience for the viewers while at the same time educating them on conservation and wolves as a part of a greater ecosystem. 

Finally, how has Wolf Hollow’s mission of rewilding deepened your understanding of conservation efforts?

Rewilding, as exemplified by the mission of Wolf Hollow, has profoundly deepened my understanding of conservation efforts. I see how it highlights the importance of restoring natural processes and habitats to reestablish ecological balance and biodiversity. I’ve observed how Wolf Hollow’s commitment to this concept underscored the interconnectedness of all species. This approach demonstrates that effective conservation goes beyond protecting individual species – it involves a holistic effort to revive entire ecosystems and foster a greater appreciation and respect for nature. This is deeply impactful to see happening and to be able to communicate and share with a wider audience through my photographs.

As our day at Wolf Hollow concludes, could you share a memorable encounter or discovery that has impacted your perspective on the importance of preserving wolf populations and their ecosystems?

While photographing the wolves at Wolf Hollow, I had a memorable experience with Akela, the alpha male. He approached me and positioned himself between me and the rest of the pack, a gesture Zee explained as his way of asserting dominance and “protecting his pack” from the unfamiliar presence of a visitor. 

As the photographer, this unexpected encounter offered me a unique opportunity to capture Akela up close. I was able to observe his facial expressions, the subtle movements of his ears, and the texture of his winter coat, which was in the process of shedding—a rare sight that would be difficult to encounter in the wild. Seeing Akela up close was both powerful and moving – not only his presence, but also the depth of his gaze. For me, this encounter underscored the profound power and elegance of wolves as they command both respect and admiration. 

It was truly an amazing experience photographing these wolves, ultimately creating a visual narrative that highlights their essential place in our ecosystem. My hope is that these images can inspire greater support for efforts to protect their natural habitats and ensure their continued survival. The work that Wolf Hollow does underscores the interconnectedness of our ecosystem, reminding us all of the vital role each of us plays in nurturing and protecting our natural world. 

We had the opportunity to speak to Caroline de Mauriac whose landscape photography work was recently on view in the 2024 edition of our public outdoor exhibition, Vision(ary): Portraits of Communities, Cultures and Environments. An interview with the artist follows.

Caroline de Mauriac, photographer, assemblage artist, and poet, spent her youth in New England and New York’s Hudson Valley. Following decades living in the Midwest and Rockies, she recently returned to her ancestral roots in Maine. She holds degrees in Anthropology and Museum Studies with an emphasis in Material Culture and Comparative Religion. She has a Bachelor of Science from Michigan State University and a Master of Arts from Denver University. Her professional career spanned work in museums and environmental organizations.

Although a mostly self-taught artist, Caroline has taken courses and workshops through Maine Media, Merry Meeting Community Arts Education, and with photographer Olga Merrill. She shows in galleries in Maine, including Meetinghouse Arts, The Maine Gallery, and River Arts. Her work often appears in various art and literary journals. Her images also hang in private collections in Maine, Michigan, Pennsylvania, and Kansas. Samples of her work can be viewed at www.ieye.blog and at instagram.com/caroline.de.mauriac.

The tenuous relationship between the human and the other-than-human world inhabits her photographic practice, her assemblage pieces, and her poetry. She recently published a collection of her work, Everything Breathes: An Exhibition Catalog and Chapbook.

Follow de Mauriac on Instagram: @caroline.de.mauriac

What initially drew you to document “synthetic” landscapes, as you define them, rather than more  “natural” environs? 

Much of my ‘soul feeding time’ comes when I am out in nature and being fully in its cyclical presence through  the seasons. When shooting in places impacted by humans, I frequently focus on capturing the architectural wonders of human endeavors. Having anthropological training my interests often find me in places of  archeological, historical, and cultural significance.  

Over time, I’ve started drawing a conceptual line between ancient ruins and the modern abandoned structures that have been scattered over the landscape during the last century. A lot of infrastructure has been  abandoned over the years. The remains have become regular features in the landscape with more  accumulating every day. I started experiencing them for their uncomfortable permanence in contrast to the  cyclical nature of decomposing organic debris. Human structural detritus has become a global phenomenon,  surrounding us everywhere and we barely give it a second look. We have no use for the remains, commonly  averting our eyes while they live out their existence as pernicious blights on the earth slowly leeching their  toxins and inorganic residues into the land, air, and water. The prolonged process of their dissolution  manifests across a time frame which far exceeds what will likely be the planetary reign of humans. 

Was there any sort of transition in how you started documenting human structures versus how you  photograph them now? 

I’ve shot in a range of styles and genres over the years. In the built environment, my eye is drawn to  architectural features, especially doors and windows. All the better if they are historically important or visually  interesting. 

In recent years, my visual interest has shifted to include deteriorating doors and windows because they  possess unique features that manifest in uncontrolled ways. Unpredictable forms emerge as part of the inevitable deterioration process. Doors and windows as symbols in their decomposition became entry points for me to an expanded view of omnipresence and the long-term impact of abandoned human constructions. 

Take us on a shooting day with you. What gear do you usually work with? And what are the qualities that draw you in the most when choosing a frame? 

I carry my camera (an Olympus O-5 with 12-200 mm lens – that’s it) with me every day, everywhere. Rarely do I go out with preconceived notions or pre-preparations for a “shooting” day. Intuition and spontaneity are the only rules my shooting process.

What thoughts have you grappled with when it comes to picturing the long-lasting marks left by human civilization on the planet through the impermanent and at times immaterial medium of photography? 

All things are impermanent – even things that will outlast humanity. I don’t think much about questions surrounding the impermanent nature of photography. I invest my thoughts in what am looking at vs what I see and how the sense of it is transmitted through the lens of my camera and the filter of my inner vision. 

If Beyond the Anthropocene contributes in any way to a broader human experience as to our place and role in planetary processes that enhances awareness, compassion and/or sustainability in human action and consciousness – well wouldn’t that just be something? But concerning myself with the end product’s longevity or its meaning in the future is akin for me to trying to invent a full-blown cultural myth or predict what I will dream tonight. I just don’t know what will reveal itself next. The outcome is more organic than I am able to foresee. All creative endeavors expand awareness and human consciousness – almost always in ways we cannot predict. My photographic efforts are, by and large, an organic practice with little concern for its long-term resilience in the material world. All things end, but the creative process is an incomplete and imperfect product of one’s artistic vision. There’s always the possibility of another shot that will, with luck, express another intriguing variation on a theme. 

Are there any photographers focused on human constructions and landscapes that have inspired you? 

The iconic and groundbreaking images of Stephen Shore’s work, especially in the series’ Surfaces and Uncommon Places, were among the earliest influences for me that loosened my grip and opened the possibilities of what photography can do and mean for me as an artist. 

I find Sean Kernan’s work deeply personal and moving. The Missing Pictures is not directly related to this project, but his technique and open approach to the art form speaks to me, specifically what he presents in his publication Looking into the Light. 

David Veldman’s work in abstract minimalism and architecture are some of my favorite images to consider in thinking about some of my own subject matter choices. His collection ‘Abandoned’, places the daily detritus of human habitation in the landscape in a way that is easily accessible and relatable. 

I am captivated and feel a great simpatico with Edward Burtynsky’s work, A Visual Archaeology which is his contribution to the Anthropocene Project, “a multidisciplinary body of work combining fine art photography, film, virtual reality, augmented reality, and scientific research to investigate human influence on the state, dynamic, and future of the Earth.”

Continuing our series of interviews with the artists from our annual public outdoor exhibition, Vision(ary), today we talk to Ellen Mitchell about her project, Benches of Seaside Heights. MItchell’s candid photographs document the town’s visitors, capture intriguing and humurous vignettes of human behavior, and reflect back to us the deployment of our beliefs, customs and ideologies in public space.

An interview with the artist follows.

Ellen Mitchell is an alien whose life took an unexpected turn when she was dropped from a spaceship into the vast expanse of the Atlantic Ocean. Arriving at the New Jersey Shore on a bed of seaweed, she came face to face with the human race and has tried to hide behind a camera ever since. Her photos take an often-humorous look at the peculiarities of earthly existence, serving as a silent testament to her unique extraterrestrial perspective. Her work has been exhibited in New York, Philadelphia, and Italy, and has been published in The Guardian, Lensculture, and American Illustration – American Photography (AI-AP). She has received awards from Lensculture, the New York Center for Photographic Art, and Los Angeles Center of Photography (LACP). 

Website: www.ellenmitchell.photography

Instagram: @i.ellen.m

Twitter: @i_ellen_m

You’ve lived your whole life in Jersey Shore. How has this place influenced your often-humorous approach documenting “the quirks and drama of everyday life”? 

Connection with place has always been important to me. In particular, my connection to the Jersey Shore – my home – has always been very strong. While I’ve photographed during travels, I’ve mostly returned to places with which I have some history, like Seaside Heights. Seaside is both a place and an idea to me, something half-real, half-imagined. A place I can tell a story about, rather than just document, or try to depict aesthetically. 

When I first started to work at Seaside, I didn’t have an idea of the kind of pictures I wanted to make, but I did know what interested me about the place – the diverse crowds, the architecture, the dichotomy between a very economically depressed populace (it’s consistently ranked as one of the poorest towns per capita in the state) and a vibrant beach resort. I think that, as a local, I can pick out a lot of small details that show what is interesting about the town – at the same time, I probably miss a lot because I’m so used to seeing it that I’ve become blind to it, in a way. 

What initially sparked your interest in capturing human behavior through photography? And has your practice led to any shifts in your own perspectives on social dynamics? 

I’ve always enjoyed Seaside’s spunkiness, even though some of the rougher behavior is a bit off-putting to me. I wanted to photograph some of the most colorful characters – not only because I thought they’d make compelling subjects, but because to me, they embody Seaside’s happy/scary chaos. My work is actually very much about place – even in this series, in which people are front and center, Seaside is as much a subject as the people themselves. 

Through this project, I’ve become much more aware of right-leaning political thought in my region. My photos serve up a preponderance of stridently pro-Trump t-shirt slogans (I have never seen a pro-Hillary, pro-Biden, or pro-Kamala t-shirt in Seaside). While I’ve known for years that my county is the most conservative county in NJ, I hadn’t appreciated how prevalent both conservatism and anti-left sentiment had become in my own local community in the middle of a blue state. 

Take us on a shooting day with you. What does it look like? What should we not forget as your hypothetical assistants? 

On bright summer days, I arrive at the boardwalk around 3:30-4PM. My camera is pre-focused, and set to burst mode. I walk at the same pace as the crowd, and take a few quick photos of every single occupied bench, without pausing to stop, think, or try to pick the right moment. I work for as long as the light allows – 5PM in the beginning of the summer when the days are long (after 5PM, my shadow starts to protrude into the frame), and 7PM in late summer, when the light mellows and my shadow shifts to the left. Sometimes I’ll stay afterward to have a bite to eat, and then work on a different project at night. It’s an easy shoot – it requires very little active concentration – but it can be a long, hot, and tiring day. 

As a hypothetical assistant, I’m afraid you’d be rather bored! Photography is my quiet time. I almost always go alone. I like to roam about (or walk back and forth in this case) and become lost in thought. It would be more helpful to have someone assist me after the shoot, to straighten, crop, and tease details out of those dreaded white t–shirts! But if I had a companion while shooting, I’d advise them to dress well for the weather, stay hydrated, and of course, wear comfortable shoes.

You mentioned taking candid photos without pausing to select moments. How does this spontaneous approach shape the narrative of your series? Do you believe in getting “the right shot” or is the project led greatly by chance? 

I find it much more exciting to take photos spontaneously than to meticulously plan each frame. I like to be surprised when I see the images later on. During the first year of this project, I did actively seek out compelling subjects, often circling back again and again to the same bench. But I also took some quick, almost noncommittal photos of benches that didn’t excite me quite as much. At first glance, the subjects hadn’t seemed very interesting – they were just normal people, engaged in normal activities like eating, conversing, and staring out into space. But that very ordinariness made the photos feel more true and universal to me. Now I purposely try to minimize my own role in determining who or what comes into the frame – I look just enough to ensure that I have a clear shot, but not closely enough to tell, for instance, whether a person is applying deodorant or stretching. I photograph everything, without distinction, and choose the strongest photos later on when editing. I think that in this case, having a spontaneous approach helps the project more authentically represent a certain moment in time. It really does feel as if I (or the viewer) were actually on one of my walks and just happened to look over at a bench at some arbitrary instant. 

When photographing people in public settings, how do you navigate ethical considerations regarding privacy and consent? 

First, I believe that it’s crucial for candid photos to be taken. If hypothetically I were able to see photos from times before photography existed, of course I’d want to see portraits and documentary work, but I’d also want to see snapshots of everyday life that feel – and are – unscripted and spontaneous, literal snapshots of life as it unfolds. As historical documents, candid ‘street’ photographs have a heightened sense of authenticity and immediacy. So I think it’s very important for those kinds of images to exist. 

I don’t really feel like these photographs constitute an invasion of privacy, since the boardwalk is a very crowded public venue – a time-honored place to people-watch. What’s in my photos is exactly what any passer-by would see. Where I struggle more is deciding which photos to publish. For instance, just because someone looks hilarious when photographed mid-yawn or mid-pizza-chew doesn’t mean that I should post it just for the giggle factor, or even that it’s a

good photo. If there’s no additional level of interest, such photos only point out the vagaries of haphazard timing, which (to me) makes them gratuitous and not very interesting. I do sometimes embrace the silliness that appears in my images, but I’m not trying to make fun of anybody. I’ve also hesitated to post photos of obviously intoxicated people. That feels a bit mean. I don’t necessarily disagree with photographers who’d consider the aforementioned images fair game, and I’ve admired some work in that vein by other artists. I just do what feels right to me at the time. I try to be respectful while also keeping the project truthful, informative, and entertaining. 

I also think that intention matters. I consider ‘Benches’ to be a project about contemporary life and human behavior. My desire is to depict humanity rather than individual people; parenthood rather than parents, childhood rather than children. I don’t wish to single anybody out as much as I want to illustrate truths and trends. 

You mentioned intending to continue this series indefinitely. How do you foresee the project evolving over time? Are there specific themes or changes in the community you hope to document? 

I’m not sure how the project will evolve over time, but I look forward to seeing how these photos are perceived when they are decades old. My hope is that ‘Benches’ will be a window in time to be enjoyed by both current and future viewers – a body of work that’s both fun and informative to look at. 

I saw the town change a lot in a short time, particularly after Superstorm Sandy, and then again in 2016 (Seaside’s conservatism became rather strident and bombastic post-2016). I realized things would keep changing much more quickly than I realized. And that these changes told a story I did not yet understand but might understand later, with time and perspective. I wanted to document those changes before I was even aware of their significance. 

You mentioned that many details in your photos only become apparent during editing. Can you share some memorable surprises or discoveries that have shaped your perception of the project? What is your editing process like? 

I work quickly, so I don’t see much at the time of capture. I notice the small details later on, when editing. I feel like facial expressions in particular are important to the success of certain images, and it’s impossible for me to predict how they will appear in a photo (if a subject literally blinks, it can change the entire image). Other small details jump out at me during editing because they tell stories. It feels important (to me) that an elderly woman is wearing a ‘World’s Best Grandma’ t-shirt and a beaded name bracelet made by a child; that a wife is giving her husband a mean side eye; that two proselytizers engaging in an animated discussion are wearing t-shirts that say ‘Why is the world so divided?”; that a big tough muscled man has a huge tattoo of an infant’s head on his right bicep. It’s also interesting to see how many people wear gold cross necklaces, or Yankees baseball caps (a lot!!).

I edit for content – if something in a photo strikes a chord with me, I will keep it. It could be a funny facial expression, a touching moment between parent and child (or husband and wife), a slogan on a t-shirt. Anything that interests me now, or that I think might interest a future viewer – as a human (in the case of facial expressions) or historically (in the case of political t-shirt slogans, or fashion trends). 

Finally, what advice would you give to emerging photographers who are interested in developing long-term documentary projects? 

If you feel strongly drawn to a subject, trust that feeling. Even if you start to doubt that you’re on the right path, continue to make work. Your project might fall into place, or it might not – but even failed photos keep you out on the street – or wherever – honing your skills, and engaging with subject matter that inspires you to create. That will eventually lead you to the work you want to make.