Sophia & Chris, married (extended version)

in

My working method while photographing a wedding is deliberately documentary: observe a scene—its action, subjects, background—compose, make some frames, wait, make more, repeat. A wedding has many ‘peak’ moments, but I’ve always found more interest and joy in making photographs of ‘in-between’ moments, when (seemingly) nothing of importance is occurring. But catching an expression, a glance, a gesture—these are the moments I seek.

Because a wedding day’s activities are ordered by a schedule, however, my ability to enter deeply into such a practice is limited. Furthermore, such photographs are usually relegated to the genre of ‘street’ photography (in quotes because Garry Winogrand despised the term). But this wedding, as I discovered during the editing process, was full of these moments. Some I saw as I made them; others were a surprise seen later. They comprised a large enough set to be given their own space and are presented below. They are truly some of my favorites of the day.

Fr Peter Guerin, OSB

in

Fr Peter Guerin, OSB, of Saint Anselm Abbey, died on July 9, 2021. I only remembered last night (over two weeks later) that I had made portraits of the monks of the Abbey about 10 years ago. (The diocese was compiling a new directory of religious, which included photos, and the monastery hired me for theirs.)

Fr Peter served the Saint Anselm College community in various ways throughout his long life. While I was a student there, he was Dean of the College. He was always warm and friendly, and I recall many little interactions. Just before I graduated, he said to me, 'If you ever want a job here, let me know.' By the time I finished my graduate school coursework five years later, he had moved to the College’s Campus Ministry, but I contacted his successor, and I soon began my teaching career.

Requiescat in pace, Pater.

FrPeter_by_Lomanno_009.jpg

a Bear Brook funeral

in

The Bear Brook murders were an unsolved mystery—not only the perpetrator, but even some of the victims—for over 30 years. Thanks to advances in genetic technology and some tireless individuals in law enforcement, geneology, and journalism, many answers to longheld questions have been recently discovered. (To learn about all elements of the case, listen to the excellent Bear Brook Podcast.)

I attended the funeral to respect and honor the victims, and I decided to bring my camera. I remained at a distance (mostly) and moved lightly, careful to avoid the other photographers (who were on assignment). The results are just a handful of photographs, but I think they reflect the ceremony well.

Emily & Jake, married

in

I’ve known Emily and Jake since their time as undergraduates at Saint Anselm College, where they were both involved in the college’s Abbey Players theater group—of which I am the photographer. I was thriled when they asked me to photograph their summer wedding. The Catholic ceremony took place in the Abbey Church, and the reception was held at LaBelle Winery, complete with fireworks and plenty of dancing.

Sarah & Ryan, married

in

When Ryan contacted me a couple years ago, he mentioned that he had originally seen my documentary work about Catholic hospitals in NH in Dappled Things. Certainly a pleasant surprise! Fast forward to last month, when I photographed he and Sarah marry in a Catholic ceremony at Saint Stanislaus Basilica—but not before beginning the festivities at the Hotel Northampton’s pub for the rehearsal dinner. We returned there after the ceremony for the reception, as well.

Sarah and Ryan are wonderful, loving couple with welcoming friends and family. I was so glad to have ended 2018 with their joyful wedding.

celebrating documentary photography

in

I’ve worked with Glenn Ruga of SocialDocumentary.net for years and in a number of capacities: editing email newletters, hanging art exhibitions, photographing events and lectures. This time, in celebration of their 10th anniversary, I was honored to be included in their exhibition at the Bronx Documentary Center in NYC. In addition, Glenn asked me to photograph the opening festivities.

I met some wonderful photographers and supporters of photography. Glenn and his team have built an extraordinary international community around documentary photography. I’m grateful to be counted among them.

Jim Prendergast of Mill Pond Music Studios

in ,

I recently remembered this little 2013 excursion, when friend and musician Joe Deleault invited me to join him in the studio for a record he was producing. He, musician Andrew Sterling (who's in the final photo), and I trekked to Mill Pond Music Studio in Portsmouth, NH, to spend the day with owner Jim Prendergast. Prior to establishing this recording studio, Jim was a full-time session guitarist (and more) in Nashville. He still travels there regularly, when not in the studio (as a musician, producer, or engineer) or performing with bands locally.

Natural, indirect light illuminates his studio, thanks to large windows along one wall (extending through multiple rooms)—a photographer's dream. I exposed three or four rolls of film, allowing myself to enjoy observing Jim's process of music-making, not the least of which involves an analog tape deck for audio capture. Brilliant.

And yes, it was just as relaxing and comfortable being there as it looks in the photos.

The Farmer's Dinner at Generation Farm

in

Between photographing the culinary results of The Farmer's Dinner; enjoying those same results; and, on this particular day, checking in with three of my children, who were among the dinner guests at Generation Farm (and entertaining them with aplomb); I greatly enjoy observing and photographing the process of making these rather remarkable courses. A professional kitchen is a maelstrom of activity; in the case of an outdoor improvised one, it can be trecherous. But achieving a photograph during those few moments where all of the elements converge is compelling to the point of obsession, comparable to a chef's plating a single course.

a concert in the park

in

We were already planning to attend The Ballroom Thieves' concert at Prescott Park in Portsmouth, NH, having known the band for almost five years now and seeing them perform at least annually, as well as photographing them. So when I let them know that we were looking forward to attending, they invited me backstage after the soundcheck to hang out and photograph. (I had my small camera kit with me, fortunately.)

The situation became even more exciting when they mentioned that Gentle Temper, the opening band (one of whose members is a sibling to a Thief), needed a photographer for their show. Their manager (whom I also know) and I quickly made logistical arrangements, and we were set.

The evening couldn't have been better, with perfect weather, great seats, wonderful music, and even some artmaking.

(Two galleries below: first, Gentle Temper; second, The Ballroom Thieves.)

Sophia & Andrew, married

in

I’ve made photographs for Northeast Catholic College for many years now, so I know many of the students (and the grounds) fairly well. Sophia and Andrew, both alumni, asked me to photograph their wedding ceremony, performed by the college chaplain and accompanied by the school choir. They were married in the campus chapel last month on a chilly spring morning.

Kate and Orla: a photo essay about pet therapy

in

This post is a long overdue: I recently realized that, despite being created and published in 2016, I had never posted the work here. My words here will be minimal, mostly limited to background and logistics, since my brief essay and captions are better read with the photos, as published (link below).

I received this assignment from Parable Magazine to create a photo essay about Kate and her dog, Orla, both of who had been working in pet therapy (via the national organization Pet Partners) for some time. Kate, a practicing Catholic, recognizes this ministry as a way to serve and comfort the sick.

One of the challenges for creating the work was that their schedule only saw them serving once per month: to observe and understand them sufficiently—and to create a body of work broad enough to fill the pages—required planning and working together over four months. Each visit, though, was entirely unique: a private home, a nursing home (in fact, two, but one was visiting individual patients while the other was a group therapy session), and visiting Kate and Orla at home (which is where the final photographs and the cover were made).

These two make an incredibly kind and caring team. I can say easily that I've never met a more gentle and trusting dog than Orla, who knew me and was comfortable with me from our first meeting. That speaks volumes about Kate.

My photographs and words were the cover story for that issue of Parable and can be seen in the magazine's online version. In 2017, the Catholic Press Association gave the work five awards (ranging from the cover and individual photos to the entire published set)—truly a wonderful honor.

I am tremendously grateful to Kate, Orla, and the families and individuals who allowed me to create during these very special moments.

sculptor Emile Birch for New Hampshire Magazine

in

I have a great love of photographing artists at work, if only to observe their process, which is invariably unique. So when I received an assignment to photograph Emile Birch, who is one of New Hampshire's preeminent sculptors, I was grateful for the opportunity. His public monuments and work in schools had earned him a feature in New Hampshire Magazine exactly six years prior; this time, however, the circumstances were different. Emile had begun suffering from dementia, and this article would confront that issue directly.

Editor Rick Broussard sent me an advance copy of writer Karen Jamrog's article to help me prepare. Rick, creative director Chip Allen, and I decided the photography would require two stages: first, him working in his home studio; second, a portrait at one of his public sculptures. I would coordinate with his wife, Cynthia, whom he relies upon for appointments, transportation, et al.

The studio visit was scheduled first. I traveled west early on a Saturday morning, enjoyed brief introductions and a tour, and watched as he touched up some paint on a few of his new wooden pieces. (He's now limited to small-scale productions, which fill his studio.)

Although I knew another session for the portrait would occur, when I saw Emile step into the doorway to his studio towards the end of my time there, I couldn't help but ask him to pause while I made a series of photographs. As it happens, the magazine chose this portrait as the opening photograph (rather than the location one, as initially planned).

For the location portrait, we decided to use a lesser known work of his but one on prominent display in the capitol: The Eternal Shield, which was commissioned to memorialize the state's fallen firefighters. We met there a few weeks later around dusk to make the portraits. We lingered a bit (and enjoyed a coffee in a local shop) to allow darkness to fall in hopes that the statue's installed lighting (in the "flame") would illuminate; when that didn't happen, we said our goodbyes.

Karen's article about Emile, his legacy, and his current condition are well worth reading. I'm honored and grateful to illustrate a very small part of his life and work.

Ashley & Mark, married

in

Ashley and Mark began and ended their wedding day at the Bedford Village Inn; in between, they were married at Saint Anselm College's Abbey Church. I know the latter especially well,  being an alumnus (like the bride and groom) of the college, having photographed there many times, and having been married there.

The fall weather was perfect for these two lovely people and their family and friends to celebrate—which they did well into the night, indoors and out. The day couldn't have been better.

in memory of Charlie Hunt

in

When I speak to people about my work, they are occasionally surprised when I mention that the majority of my subjects are strangers. We meet once, perhaps twice, make photographs, and are unlikely to see each other again. The act of creating portraits—which is so intimate, requiring my subjects to allow me, if not into their environment, at least to be quickly at ease before my camera—becomes a fleeting interaction of two independent lives. This is not desirable, but it is simply a reality of life. Despite the brevity of our time together, I am always grateful of their time and trust, and I consider them to be friends.

Words are not sufficient to express the sorrow that one such friend has left us. When I was assigned to photograph Charlie Hunt and his family almost six years ago, he was a very young man recovering from brain cancer. His spirit was not diminished, however, and we chatted and made photographs at his home for a couple hours. My visual memory of our session—him playing his guitar, his siblings, his parents—remains quite vivid.

As the cancer returned over the years past, his diagnosis and circumstances were no doubt a great struggle both for him and his family. Charlie died on Wednesday, December 13, 2017. I have on occasion encountered his parents, for which I grateful; but I shall always regret not seeing him again.

Requiescat in pace, Charlie.

behind the stage for Ballet Misha's "Nutcracker"

in ,

I've been photographing the stage production of Ballet Misha's Nutcracker for a few years. Last year, in addition to the performance, I wanted something different, so I asked their artistic director, Amy Fortier,  whether I could photograph what happens beyond the stage. She agreed and gave me full license to explore and visually document.

Given my other photographic duties (i.e., the performances), this work only shows the moments of backstage life before and in between shows. It ignores the hundreds of hours of planning, preparations, rehearsals, costume fittings, moving and setting props, et al.; as well as the general chaos that occurs everywhere outside those few hundred square feet of stage floor during the performances.

As in any performing art, however, the vast majority of work happens off the stage, and here is a tiny glimpse of that life.

PS: Their 2017 production is December 16 & 17.

Hannah & Jim, married

in

These two enjoyed a rather perfect summer wedding day. After a traditional Catholic marriage ceremony and Mass at Saint Patrick Church, we returned to Dexter's Inn for the reception and frivolity. The entire grounds were available to guests, so I could wander around freely to create photographic moments in a variety of settings and activities. 

Usually, once the formal reception begins, I remain focused on speeches, reactions, faces, dancing, et al. Imagine my surprise when, after I finished my time for the day, I found a group of guests who couldn't be confined by a tent and decided to enjoy the pool. Brilliant! A visual feast at the end of an already wonderful day.

Deciduous Brewing celebration

in

I'm always grateful to be hired by friends for photography work, but when the owners of Deciduous Brewing asked me to photograph their second anniversary party, well, that was something else. I've known Frank and Maryann Zagami since elementary school. They've built a wonderful business with a supportive, friendly community in a beautiful space. Of course, their beers are absolutely amazing, full-flavored brews.

They gave me complete freedom to photograph as I wished—a dream! The colors of their beers demand that a few not appear in black & white.

Ingbretson atelier: IV. abstractions

in

My previous post about this atelier project concerned the Ingbretson Studio as object: the artists' tools, their materials, and the space itself. This final post is related but dedicated to non-descriptive compositions; that is, the studio remains the subject matter, but the resulting photographs provide little to no visual information about it (and thus were kept from the photographic essay proper—the tragedy of page limits!). They are small sensual joys—found abstractions that demand nothing of me as creator or as viewer besides their aesthetic quality.