Last October, after looking at all the work of the past few years on my Diaspora/Dream project, I realized I had gaps in the the overall story. One was the lack of brit milah photos. Now I have too many to choose from, and narrowing it down has become very difficult. The photo story has to be told in twenty images, so I don't have the luxury of several photos of the same subject. I have thirteen 'finals' to choose from, and as I'm writing this entry and listing the photos the stronger ones are becoming more obvious to me, but here they all are arranged by event.
I like this series of three photos because they have the intimacy of being in a private home. And the family and community are average mainstream middle-class Jews. The first is of the father holding his son before the ceremony:
I have a special feeling about this last shot because of the view of the wine cup and the rabbi holding the baby. It's technically not great, but that's the problem when, as a photographer I become attached for emotional reasons to an image.
I like this series of three photos because they have the intimacy of being in a private home. And the family and community are average mainstream middle-class Jews. The first is of the father holding his son before the ceremony:
The paternal grandfather holding the baby:
Looking on while the mohel does the circumcision:
Another home setting with the paternal grandfather, baby, and mohel:
The next two were taken at Chabad World Headquarters in Brooklyn, NY.
The last set were taken in a restored synagogue on Manhattan's Lower East Side. The first two are of the father holding the baby. They're very similar and each has it's strengths and weaknesses.
I have a special feeling about this last shot because of the view of the wine cup and the rabbi holding the baby. It's technically not great, but that's the problem when, as a photographer I become attached for emotional reasons to an image.
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