Still Life | Caleb Gaskins

Whether it's objects or images, I've always been most drawn to those that leave a strong emotional impression on me. 

Artists who capture the beauty of human emotion and intention rather than objective thoughts tend to stay with me over time rather than fall from my mind within minutes.

And most recently, it's the moments captured by Portland photographer Caleb Gaskins that have left a standing impact on me. From portraiture and weddings to still lifes and landscapes, his portfolio of work effortlessly takes stock of the subtleties and depth of human expression.

In this specific portfolio of work, it's the humble everyday objects made by man. It's the object's fragility, the movement of natural materials, and the slight expression from the artist's hands embued on its surface. 

It's the perfect ratio of half vessel and half white space. Instead of filling the image with just his own thoughts, he shows restraint and leaves space for the viewer to add their own.

The object itself contains no comment, no inate self-expression, but seems only to contain its maker and the human world it inhabits.

To have this collection of work captured by Caleb and the opportunity to share them with you here first is a true honor. Please take the time to read our short interview with Caleb below and follow his work on Instagram and at calebgaskins.co

Hello Caleb! Could you tell our readers a bit about how you got started with photography?

I’ve always been interested in photography—even as a kid—but I’ll spare you what would most likely have been a long-winded story that doesn’t actually get to the point. I just know the interest has always been there. It wasn’t until I took a college course on photography that I really became enamored with it. The course was split into two semesters: the first covered the history of photography, studying some of the legends who established it as a legitimate art form and pioneered a new way of seeing and interacting with the world. The second semester focused on photo projects, all done on film with a $20 Holga 120. I spent countless hours in the darkroom developing and printing my work. I loved being in that dingy, makeshift darkroom. Unfortunately, I think it’s since been shut down for health code and safety violations.

What influences play a role in your photography? How has it changed over the years?

I have to thank Professor Martins for giving me a solid foundation in photography. He introduced me to Henri Cartier-Bresson (we talked a lot about the “decisive moment”), Robert Frank, William Eggleston, Vivian Maier, Susan Sontag, and Diane Arbus. But I think my biggest inspiration was—and still is—Eggleston. He had a way of capturing the most ordinary subjects and environments that no one else could have photographed. His mundane seemed extraordinary. One time, he was asked to photograph a wedding, and he ended up only taking photographs of the sky because he thought it was more interesting. I think about that all the time.

We love how heavily your portfolio leans towards film photography. What draws you most to film as a medium?

Film is definitely a choice nowadays, and not an economical one. Sometimes, it’s hard to describe why you do something, and maybe film is that for me. I could say all the cliché axioms about shooting film, but ultimately, it just scratches an itch in my brain. While I’m not a digital hater (I still shoot digital), I think the constraints film offers help flex and strengthen certain creative muscles. Daniel Arnold, a photographer in New York, says film is a conversation with failure, and I think he’s right.

You have two distinct types of portfolio work: more portraiture/still lifes and weddings. How does each fulfill you as an artist? 

I’m not going to have a good answer for this one. They are all challenging and creatively fulfilling in their own way. A camera gives me some permission to be in the world, and a lot of the time, I just want to see what the world looks like in a photograph. Life is so weird and fun and beautiful and tragic, and I think people are incredibly resilient to the powers at play. The fact that we find things we love and people we love in the chaos gives me reason to pick up a camera. I don’t hold a lot of hope in myself, so I have to look for it elsewhere.

From idea to fruition, walk us through your creative process. 

I’m sure I have a creative process, but I don’t really think about it. I would say a lot of my work is reactionary. When I’m shooting on the streets or photographing a wedding, I don’t know what I’m looking for until I see it. I’m constantly in my head, so I’m more interested in cultivating my own awareness and anticipation—bringing myself back into my body. For the majority of my work, if I’m not present, I quite literally miss it. The moment is gone. With portraits and still life, there’s a little more forethought involved. I think social media, for better or worse, has changed how we engage with creative work—photographs in particular. While social media and online consumption have their place, I try to make photographs I’d like to see printed or in a book.

How do you want to influence people’s lives as a photographer? What feelings do you wish to illicit with your work?

Oh, I’m not trying to influence anyone. For me, photography is a kind of uncovering, a process of self-discovery. So if any influence is happening, it’s on me. Most days, I feel small and say, “Look, world, do you like it? Do you love me?”

Name a few photographers and artists that are influential to your work. What initially drew you to them?

There are so many, so I will just list a few here: William Eggleston, Vivian Maier, Naomi Goggins, Garry Winogrand, Richard Avedon, Tom Craig, Olivia Bee.

This is a diabolical question, but if you had to choose between shooting only in color or black, which would you choose?

This is actually diabolical. I don’t think I can answer that, but I will say my soul says black and white, and my heart says color.

What other passions and interests do you have beyond photography? 

I love to surf and go on runs—both force me to be away from screens and outdoors. I recently moved into a new photo studio, so I’ve been trying my hand at interior design, balancing aesthetics and functionality. Some people really have an eye for it, but for me, it’s a lot of trial and error.

Think of an object in your home that is most significant to you. Could you share with us what it is and the memory behind it?

My grandad played baseball for the University of Alabama, and when he passed away, my grandma gave me his team cardigan. It’s a beautiful crimson red cardigan with the letter “A” embroidered on the left side. It fits me perfectly. I wore it to my great-grandmother’s funeral. It’s been hanging in my closet for some time now, but I’d like to get it framed and put it up in the studio.

Lastly, what can we expect from you next? Where do you see your work going in the future?

With the new studio space, I have the bandwidth to do more portrait and still life work (I took a long break for a while), so I’m excited to see where that leads. I also go to NYC a couple of times a year to do street photography, and I’m slowly building up a portfolio that might be book-worthy one day. I’m also interested in photographing cool interior and design spaces. The older I get, the more I appreciate thoughtful design and the people who create it.