We discovered Callie through some stunning photos taken at
the National Palace of Queluz… Beyond her incredible talent,
her kindness truly won us over, and this interview will win your hearts too!
Hi Callie! To start, tell us a little about your professional journey. How did your passion for photography begin, and at what moment did you realize this would be your path?
“Hi! I fell in love with photography pretty early on actually! When I was growing up, I found my older siblings' abandoned film cameras and very quickly began experimenting. I loved learning to shoot those old point-and-shoot film cameras and proudly taking my film rolls to the local drug store to get developed. Then once I got into High School, I signed up for every photography class that was available. I had a great teacher who really encouraged me to think outside the box and play with different kinds of film. I spent hours in that school dark room learning to process my negatives, and watching my vision, that had previously only lived in my head--come to life and slowly appear on the paper felt nothing short of magical.
When I went off to University I considered studying photography full time and declaring it as my major. However I also loved English and writing, and had a parent who was quite concerned about the financial opportunities for a photography graduate ... *cough* thanks for the vote of confidence, dad! *cough* ... so I played to my other strength and graduated with a Bachelors of Fine Arts in English Language and Editing. I worked as a Managing Copyeditor for a few years after graduating, but I always continued my photography on the side as a personal hobby.
It was around the time that I got married that my photography hobby turned from simply capturing life's moments to setting up shoots with my friends and begging them to model for me so I could experiment and really dive into portraiture. At this time I had been shooting digital photography for a while and trying to stay up-to-date with all the latest Photoshop actions and filters. And as I learned more and became more skilled, my friends started asking me to take their photos. Around this time I also had my first baby, and returning to an office job felt too challenging (and a little soul sucking, if I'm being honest, I was not made for a normal 9-5!). So considering all of these factors, this is when I decided to take the leap and focus on my photography professionally.
Right from the start my calendar filled up quickly with portrait sessions and I got a lot of experience very fast. I wasn't charging nearly enough for my services, especially considering how much I was working, and I really yearned to be photographing weddings and couples instead of primarily families and babies (which is what I was doing at the time). I was also struggling with finding my "style" and my "voice" in my work. Once I was proficient with the technique of photography, I felt like there was a real disconnect between what I was producing and what I wanted to create. This is when film finally made her grand entrance back into my life! I was messaging another photographer to compliment her colors and ask about her editing when she dropped the term, "fuji 400h" into the conversation. It was a lightbulb moment for me! How had I forgotten about film?! I had been so caught up in digital photography and keeping up with the latest editing presets that I didn't realize professionals still used film. None of the photographers I had worked with up to that point used it, so it never crossed my mind as an option. But have you ever had the experience where after someone says, "red cars are everywhere" you suddenly start seeing red cars everywhere?! That's how it was for me with film. Once the lightbulb turned on, suddenly all the photographers I admired so much were, in fact, film photographers, and everything started clicking in place.
This is when I decided to invest in myself and my business and I made 3 very intentional decisions:
1) I went to several wedding-focused fine art workshops; 2) I spent the time and money to plan my own wedding editorials; and 3) I paid for one-on-one mentorships from fine art wedding photographers I really admired. I'm telling you, over the course of a very short amount of time, I went all in! And I really contribute my quick success to this decision. Instead of spending years photographing just anything, I quickly targeted who and what I wanted to be photographing, and made the investment to get me there. I learned so much during this time, and very intentionally made the switch back to film photography and honed in on my craft. Shooting film felt like someone had finally given me glasses and I hadn't realized I'd been walking around with fuzzy vision before then. Finally I felt connected to my photography and what I had envisioned in my head I was able to create and film was the answer. It allowed me to slow down, focus on my art, perfect my craft, and deliver the tones and colors that I had been dreaming of. I'm very proud to say that in my first year shooting film (2016), I was named the Top Emerging Film Photographer of the Year by Belle Lumiere. That ignited my fire and passion for film even more, and I have not looked back since.”
Your work is recognized for its editorial and timeless aesthetic, with a unique combination of film and digital photography. What attracts you to this balance, and how do you decide when to use each format?
“That is such a great question! Because yes, I am very much an editorial photographer, but I love to strike a balance between not only my formats (digital and film) but also the posed with the candid; the high-fashion moments with the joyful emotive moments; and the "checklist" photos with the "spur-of-the-moment" ones. This is what I believe makes my style so timeless. I'm not chasing trends or changing my style depending on what others are doing. Instead, I am a storyteller through and through and I do that by showing the balance of everything on my client's wedding days. Yes, there are times I can play the art director and photograph my couples in my favorite editorial-inspired poses; but there are also so many times where I need to photograph the moments as they happen, without interfering. And it is in striking this balance that I'm able to create images with depth and meaning. These are the galleries that are truly timeless; because they show the full array of emotion and the full story of a wedding day. “
Your work is recognized for its editorial and timeless aesthetic, with a unique combination of film and digital photography. What attracts you to this balance, and how do you decide when to use each format?
“Before moving to Charlottesville (which was fairly recently), I hadn't photographed a "local" wedding in almost 10 years! My dive into destination weddings happened pretty naturally, as my family and I knew we'd be moving around at regular intervals for the next several years (mainly due to my husband's career, but a little in part to my never-fully-satisfied wanderlust). And since wedding clients often book me years in advance, I knew that by the time the wedding arrived, I would have already moved away from that city. So why limit myself to marketing to that one city If I would be travelling back for their wedding regardless? Thus, I decided to change my pricing structure and widen my market to include anywhere and everywhere!
There are so many things I love about destination weddings, but my favorite aspect is how much I'm able to flex my creativity when shooting in new places. It might seem like a negative to hire a photographer that hasn't worked at your wedding venue before; but in my case, it's the exact opposite. In these situations I plan better, I think faster, and I feel truly inspired by each new setting. As an artist, it is the best situation I can hope for because it allows my creativity to flow and ultimately I produce better photos for my clients! Some of my proudest work has been captured while shooting destination events, especially when I'm in a new country and experiencing a new culture. Some favorites that come to mind are: Portugal (of course!); Santorini, Greece; and Venice, Italy.”
You had the opportunity to photograph in Portugal, at the iconic Palácio Nacional de Queluz. How was that experience, and what impressed you the most about this location?
“How much time do you have? ;-) I could go on and on about the amazing experience of photographing at the beautiful Palácio Nacional de Queluz! The staff were so kind and easy to work with, and all communication with them was seamless.The Palacio is an incredibly inspiring location, and it is so gorgeous from literally every angle. Even after the sun set and it was getting dark, I did not want to stop!”
What was it like working in a space with so much history and striking architecture? What extra care do you take when photographing in historic venues rich in detail?
“I'm always very careful of my surroundings, but that is especially true when photographing in/around historic venues. I try to be very aware of what is "in bounds" and what is "out of bounds" so I never cross that line. I want to respect the location, since it's a real privilege to be allowed into such a historical place. I also want that respect to show in my images by beautifully capturing the architecture and incorporating the location and grounds into the overall storyline of the shoot.”
When photographing outside your country, how do you adapt to new cultures, teams, and local vendors?
“One of the most beautiful things I've learned from traveling is despite being from different countries, being raised in different cultures, or even speaking different languages, at the heart of it we are all really the same. And when I remember that, it makes it much easier to ingratiate myself to the people around me. I talked to my couple in Lisbon about rising home prices, just like I would to a friend back home. I had a conversation with my couple in Venice about the challenges of a long-distance romantic relationship; a cross-cultural struggle that we can all relate to! I listened as my couple in Greece told me how they first met, just like I've asked every couple I've ever worked with. Now I'm not trying to sound naive, of course there are differences when working in different countries, but mostly my experiences have all been quite similar, I get to work with people in love, all over the world, and capture their joy and vulnerabilities. It's such an honor, and a fantastic reminder that we're all just people, living a lot of the same experiences, and trying to do our best.”
What was the most memorable moment from that assignment in Portugal? Is there an image or detail you hold especially dear?
“The honest answer is the most memorable moment was when the Palácio had closed without us knowing, because we were on the backside and no one had alerted us of the time and there were no announcements made. So we were just in our happy little bubble, photographing away, when a security guard came rushing out in a panic to say the gates had closed and they didn't know anyone was still inside! Luckily he had seen us from a window, or we might have been sleeping there overnight!”
In your work, how do you balance capturing spontaneous, natural moments with the artistic direction needed to create editorial-worthy compositions?
“This is another fantastic question! And it's a technique that I learned from photographing families actually, back when I first started my business. When shooting film, you can't just hold down the shutter and fire away. Or, I guess you could, but you'd waste a lot of money! So I have learned to set up the shot, and create the environment, and then simply wait. If you want to capture true genuine emotion then it can't be contrived. But it can be anticipated! The trick is to set up the shot first, so I get the more directed/editorial posing first, and then wait and be ready for when that magical moment of natural chemistry unfolds (and it always does!).”
What role do empathy and connection with the couple play in achieving photographs that convey true emotion?
“Oh this is everything! Working with a model to achieve high-fashion or editorial inspired posing is a completely different game to working with a real couple and capturing their true emotion. This is why it's so important to me to establish real, meaningful connections with my couples. I get to know them so they feel very comfortable around me. I want my couples to be vulnerable and open up and not feel awkward or worry about how they look. The magic happens when they have established that trust in me as an artist and they simply let the moment happen.”
Who are your biggest inspirations in the wedding photography world, and how do they influence your style?
“There are so many celebrated photographers that I could name, because there are so many that I admire! But truly, my biggest inspiration actually comes from artists outside the wedding photography world. I really love following artists of any sector/medium who are genuinely so enamored with their craft and you can just tell they put their heart into what they create. I find when I'm really struck by something, enough to hit that little save icon and put it in my "inspiration" folder, it is most often from different art forms. The inspiration comes from the feeling I get when seeing the art, not necessarily the art itself. I never want to recreate another artist's work, but instead I'm constantly seeking to capture that *feeling*; that little flutter in my heart that tells me "this is special". My greatest achievement will be when/if my photography ever does that for another person.
And since I know you're probably curious, a few of the artists that I'm referring to are (in no particular order): Amanda Gorman (poet), Koketit/Shira Barzilay (minimalist artist), Emily Jeffords (painter), Seth Pitt (illustrator), Jamie Lee Reardin (fashion illustrator), Sister Golden (flower art), Bach Films (videographer), Millia London (fashion designer), BD White (stencil artist), Whitney Hanson (poet), Fulton Lee (musician), Khaleesi Isaa (makeup artist), and Marcus Cederberg (minimalist photographer).”
What projects or destinations are still on your wish list as a photographer?
“Do you know, I still can't believe I haven't photographed an event in Paris yet, so that is definitely on my wish list! I also have been dreaming up an under-water photoshoot for a long time and someday, somehow, I'm going to make that happen! And lastly, I lived in Hawaii for two years during University and have been dreaming about going back there to photograph a wedding or editorial!”
Finally, Callie, we loved seeing your work in Portugal! Can we expect you to return for more weddings and editorials here? Is there any Portuguese location you dream of photographing?
“Oh absolutely!! I'll definitely be back. When I lived in Spain during my Sophomore year of University, I visited the Palácio Nacional de Sintra as a guest. I was absolutely blown away with it and have always wanted to go back and photograph an event there. So it will likely be there, or returning to the Azores for another shoot, because one was not enough!”