Joshua and Imogene + Willie have very similar aesthetics. Carrie and I recognized that the first time we saw his work. His photographs have a very gritty, yet simplistic, honest view of his subject, and that comes out in Joshua’s photography. Whether he’s taking a picture of a burlesque dancer or yours truly for Free & Easy magazine, Joshua makes his subject feel not only comfortable in the process, but relaxed. That’s a big part of how he accomplishes such great photos.
Joshua has a strong following in the music industry. He’s shot everyone from The Black Keys to Justin Townes Earle, whom I think he shoots exclusively. Joshua has apprenticed for a lot of different photographers in town, which I think may be why his work is sometimes more highly sought-after than some of the people for whom he apprenticed.
I believe it was (Nashville photographer) Thomas Petillo introduced us to Joshua and his work. Almost three years later, we look forward to getting the book that Joshua puts out every year as soon as it comes out. For Carrie and me, it’s become a collector’s item.
By the time I was shooting professionally, almost everyone was using digital cameras. The few photographers that DID shoot film still used polaroids but they became used as final prints. Then Polaroid went away. So the few of us that hoarded and bought up the remaining boxes would shoot the film sparingly and purposefully.
Fuji still makes large format instant film, and I use it often. Almost every one of my shoots involve “polaroids” to some degree, and although they rarely get used in the final product (magazine covers, album packages, ad jobs) the “polaroids” are often my favorite images from the shoot.
Without getting too deep and philosophical, I like these polaroids for what they are not. They are not digital photographs. There is no megapixels. The only time Photoshop touches these is simply for resizing them. They are perfect.
-Joshua Black Wilkins