Fstop:
First let me say that I really like these photos! How many photographers were involved in this project?
Milbert Brown:
There were 58 photographers involved in the project. Some of the photographers contributed a lot for the "Journey" project, and some were only able to have a few photographs in the project.
Chica Jess:
Is this your full time job or a side passion?
Milbert Brown:
My full time job is being a photojournalist for The Chicago Tribune. I have been a photojournalist for 25 years. "The Journey" and the Chicago African-American Alliance is certainly a passion (I was one of the founders) I feel very involved and interested in.
Bungee:
What photo tips can you provide from your experience in this project?
Milbert Brown:
One of the photo tips I can give is to learn the surroundings of your community. That community could be your block or household. Learn to define what's important to you as a photographer, and that will develop a love and force for photography.
Katie Beth:
How do you translate the sense of intimacy between subjects into a moving photograph?
Milbert Brown:
The photograph that's on now, of Jason and his wife, is a photograph that's primarily a portrait. There's a sense of intimacy between these two people, and sometimes there's an intimate relationship between two people in a photograph or between the subject and the photographer. These people are looking straight into the photograph, and it becomes very moving with the shadows and light and composition. This next one--Donnie Seals took this photograph, moments into the new century. The picture is so strong because it's so simple. It's in a dark room with just enough light to hit the young lady's face. It seems like you could feel her hands gripping her father's arms. Just a quick picture to read. The emphasis of light and shadows is always what makes a photograph different. The highlight and shadow and contrast. The person's face and a certain mood.
Valerie:
Is there one picture that stands out above the rest in terms of symbolizing exactly what you hoped to accomplish in "The Journey?"
Milbert Brown:
I feel that all the photographs do that in a certain aesthetic way. I'd hate to just point out one picture. The photograph with Donnie Seals is quite different in relationship to the Jesse Jackson shot. I think what makes this project work as a body is that the pictures have a certain glow to them. It emphasizes to the viewer a certain story. It's like a book--you always read the second chapter, the third and then the final chapter. You need all the pictures together to tell the story and the progression of African-American culture in the new century.
Photo Student:
It looks like you like interesting lighting effects in your work. Do you specifically look for interesting lighting situations when you shoot?
Milbert Brown:
Yes, I do look for very different lighting situations when I shoot. I tend to look where the highlight-to-shadow ratio is dramatic. I think these two elements make a photograph more dramatic. Of course it can't happen for every picture, but I do emphasize light. Light is very important in terms of the development of the photograph.
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