I’ve noticed that certain photographer see and make work that feels cinematic in tone and content. Kaitlin Jencso, is one of those art makers. I’m curious as to what makes an image seem like it’s a still out of a movie. What characteristics do these pictures possess that others don’t? Here, is it the dark, cold tones and her father’s mid-gesture expression? Or is it the understated details in the frame—the subtle glimpse of the dirt road, or the yellow leash around his shoulder while the scene is absent of dogs or other animals? It’s ultimately the photographer’s eye that creates the narrative by how she frames the milieu in front of her.
This week we’ve travelled to early 80’s Baltimore, encountering the transgressive mindset of John Waters’ campy films. Photographer Kaitlin Jencso frames the back-alley of a city synonymous with Waters in a manner that emulates the grunge and harshness of the filmmaker, showcasing the city’s intriguing and alluring grit.
I realized I don’t feature traditional style portraits very often. But when I see a gorgeous image on my screen sometimes it changes my whole Monday In Frame plan. In James Jackson’s image, the woman’s coy expression, and the way in which her hair falls softly with slight movement, embodies a demure moment in a somewhat gritty scene. It creates a cinematic quality that makes me want to know more about this ingénue.