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.
When photographs reveal the existing landscape of common sites as anything but ordinary and completely askew, I am happy to see our weird world. Kaitlin Jencso‘s image of seemingly conflicting angles and a combination of odd textures makes me think, “wait, what?”
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.
This portrait by photographer Kaitlin Jencso is a wonderful example of how to use odd lighting. The harsh overhead shed light creates a gorgeous mixture of highlights and shadows. It is highly contrasted but in parts the glow falls off her brother gradually.
Great framing by Kaitlin Jencso in this very meta and slightly creepy image, creating tension and interest with the use of negative space and patches of contrasting colors.