Lois Greenfield
Lois Greenfield - PhotographerThe photography of Lois Greenfield is an exploration of time as well as stunning images of dance. Performers frozen in space preserve a moment, and lead the viewer to ponder the moments before and after the slice of time captured by her camera. Greenfield's work inspires us to re-evaluate how we see the world, and movement, in particular.
"When I started taking photographs during the late 60s, my dream was to be a National Geographic photographer sparked by my travels and community service projects I did during my summers in college. After graduating from Brandeis University in 1970, I started freelancing for Boston's counter cultural newspapers, photographing everything from maximum security prisons to rock concerts. I had majored in anthropology and filmaking, but having never studied photography, I learned as I went along.
When I was assigned to cover a dance concert, I didn't have a clue as to how to photograph movement. Nor did I know anything about the dance world. It took me a little while to get the hang of photographing people moving unpredictably in rapidly changing lighting conditions on the stage. By the time I moved back home to NYC in 1973, however, I had not only mastered the technique, but found myself very intrigued by the subject matter. I also felt a sense of relief that dance photographs, unlike the rest of my photojournalistic assignments, only had to be interesting visually. They didn't have to express an editorial point of view."...
"When I started taking photographs during the late 60s, my dream was to be a National Geographic photographer sparked by my travels and community service projects I did during my summers in college. After graduating from Brandeis University in 1970, I started freelancing for Boston's counter cultural newspapers, photographing everything from maximum security prisons to rock concerts. I had majored in anthropology and filmaking, but having never studied photography, I learned as I went along.When I was assigned to cover a dance concert, I didn't have a clue as to how to photograph movement. Nor did I know anything about the dance world. It took me a little while to get the hang of photographing people moving unpredictably in rapidly changing lighting conditions on the stage. By the time I moved back home to NYC in 1973, however, I had not only mastered the technique, but found myself very intrigued by the subject matter. I also felt a sense of relief that dance photographs, unlike the rest of my photojournalistic assignments, only had to be interesting visually. They didn't have to express an editorial point of view."...

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