A Two-year journey combining fine art photography and poetry into one beautiful package.
Founder and Managing Editor
Jennifer Drucker has been a fine art photographer, marketing and creative director for over 25 years.
She holds an MFA in Photography and has exhibited her work internationally.
Wanting to bring together her passion for photography and poetry with her skills in marketing and design, Light was born. "It was time," notes Jennifer. "time to curate amazing photography combined with poetic verse. I am excited to begin this journey and share it with all of the photographers and poets that will become part of it."
On the subject of combining photography and poetry.
In all of the research I have done, there are extreme differences in opinion about combining these two artistic worlds. The reason I have chosen to do so in Light is two-fold. First, I have a deep love of both photography and poetry. Second, I am accepting a challenge to combine both mediums in a way that emotionally immerses the viewer. Probably the biggest argument made is the attempt by some to force the words and images to work together as a pair. I agree. While there may be times when a photograph lends itself to a particular poem, or vice versa, I do not expect that to be the norm. Therefore, the two artistic expressions, while combined within the pages of Light may not be shown on the same page or opposite each other unless they align artistically. When the alignment is not there, the photographs and poems will remain on separate pages to enjoy as such.
Combining photographs and poetry has been done quite successfully. My favorite example, perhaps more from the photographers' point of view, is a book published by Aperture called A couple ways of doing something which contains the photographs of artist Chuck Close and the poems of Bob Holman.
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Manny Blacksher is a freelance editor, copy writer, and researcher. Over sixty of his poems have been printed by publications that include Poetry Ireland Review, The Guardian’s Online Poetry Workshop, Measure, Unsplendid, and Works & Days Quarterly.
He’s a long-time enthusiast of the history of printing and mechanically reproduced illustration. He looks forward to discovering how Light’s contributors remake relationships between text and photographic imagery.
Recently, he was struck by John Berger’s observations about the peculiar differences between reading print and seeing photos. Berger notes that, when we’re engrossed in reading printed texts, “we hold the pages very still”: only firm-handed security allows us to “travel” anywhere instantaneously. By contrast, we’ve become lazier spectators of photography since photorealistic images became ubiquitous and disposable. We’re don’t look at photos with the same attention when they appear in a magazine or on a billboard: when they’re in a cheap color circular blown down a street or flashed for five seconds in the margin of a computer screen. Photos transport us automatically, but we don’t have to handle them with any care to see where they want us to go. Commenting on the canniness of André Kertész’s photographs of modern readers, obliviously engrossed in their books, Berger exhorts us with exasperation and wonder to think seriously about “The volatile act of reading!”
That’s the sort of revelation that Light hopes to instigate. Not just writing and photographs that send us to faraway places with devastating speed (Berger reminds us that a “missile” can mean a written letter as well as a deadly projectile). It’s work that shoves us out of our routines, that makes us look longer and hold a page more steadily, so we can arrive where the artist designs to take us.