By Clara Chalmers
I would like you to meet my mum; Bee Chalmers. To me, she is embodied by the sound of a shutter - a camera obscuring her face as she surreptitiously attempts to take my photo whilst we talk, or walk, or when I imagine myself to be alone. By the irate words we exchange when I complain about this intrusion of privacy - the laugh she uses to get me to smile for the camera. This is the picture I hold of her in my mind.
To her (abundant) Instagram followers, this picture is constructed by her posts; images of her dog, children, surroundings, all the components of Bee’s life except, of course, Bee herself. Bee Chalmers lives behind the lens. Like other artists, she is doomed to a faceless legacy - defined by her photographs and subjects they feature. Besides, Bee hates her photograph taken.
In this interview - I seek to regard Bee with fresh eyes. The picture of Bee seen here is not one of an intrusive mother with a camera - nor a composite of Bee’s photographs, but rather, of an artist.
These “fresh eyes” are an imperative tool of photographers. Bee, like her favourite poet, Mary Oliver, strives to “stay amazed.” Her images feature similar subjects; families, engaging in routines rubbed dull with repetition.
Yet Bee’s photographs are meant to amaze. To be gazed at for great lengths; packed, as they are, with all the intensity of stories condensed into one image. She compares her style to “magical realism.” Like this genre, her photos weave together the humdrum with the extraordinary. She reminds her viewer that the in-between moments - tying shoelaces in the mudroom, walking to school, coaxing the dog into the backseat of the car - are to be revelled in. Bee unearths the beauty in the mundane.
This level of appreciation for the ordinary allows Bee to take an average of 100 photos a day. Bee, further, does not mind sharing the source of her unending well of inspiration with readers. She loves to share.
We have our interview in the woods. Bee walks here every morning yet still maintains a mein of bright-eyed amazement; scanning her surroundings for interesting light and branches that create a perfect frame - of which she beckons me to stand in between and “gaze off into the distance.”
I do so.
“But more naturally,” she adds.
Bee detests posing her subjects. To her, the most interesting photographs are spontaneous - and occur in the moments before, or after, her subjects have arranged their faces for the camera. However, Bee is also happy to “gently guide” her subjects.
“I prompt them…” asking such questions as: “How would you hold your baby? What's her favourite game? Can you touch noses?”
“Just pretend I am a friend,” she advises her clients. Armed with her sociability, Bee easily merges from photographer to walking companion or wedding guest; someone you can laugh with, or commiserate with - of whom happens to be carrying a camera.
Bee has been interviewed many times in the past. Her work is featured in Cottage Life, Click, and other prestigious magazines. The questions I ask are thus familiar to Bee - Can you describe your process? What advice do you have for aspiring photographers? - with answers likely to be long rehearsed and long since staled. Yet Bee considers each of my queries carefully. Her words tumble forth; a deluge of stories, ideas, and musings.
I ask her what type of artist she is. She hesitates; searching for the perfect words:
Bee is predominantly a family photographer. She also documents weddings, gatherings, and “people in their natural environment.” Her style may be summed up as “candid” and “authentic.”
Bee, however, deems this a “boring” way to describe what she does:
“I capture memories.”
Her photographs elicit an emotion in the viewers. Although unmarked by a signature or date - her work is easily recognized, demarcated by nostalgia. Viewers are meant to regard her photographs and recollect a certain memory; remembering not merely what transpired in that moment, but what they felt. Bee seeks to make such emotion evident in her photographs. A mini-shoot lasts 30 minutes - but is liable to seep overtime, so Bee may capture the moments she seeks. Bee is not overly concerned with quantity. When she culls a shoot - she gives her clients enough photos to tell a story.
Bee is inspired by old snapshots; and often uses Black and White Presets to achieve a timeless effect. Bee’s editing process is otherwise light. She seeks to preserve truth, rather than obscure it. The sun flares, scowling expressions, and messy backgrounds thus remain intact.
Bee is akin to a magician in this way; her images are enchanting - yet familiar. An effect achieved not by props, nor meticulous editing. The magic rests, rather, in her eye.
Bee regards the world through rosy-hued spectacles; hunting for emotion in all circumstances. Her favorite emotion to capture is joy. But Bee also finds beauty in the chaos; in the nosebleeds, the bee stings, and the milk spills.
Because Bee aims to capture the accidents, and the spontaneity of day to day life, she must be eternally diligent. Her camera is thus affixed to a side. As we walk, this battered Canon sways from her shoulder, narrowly avoiding bushes, and splatters of mud from our boots. Bar a few nicks, and a broken button, her camera has persevered through the extreme sport of photography.
Similarly, Bee has managed to survive the growing up of her children.
Bee began taking photos in order to document her young children; who, in typical toddler fashion, were soft, and malleable, brimming with smiles, willing to pose and cooperate. Teenagers do not possess such inclinations. But Bee evolves.
She now captures the angst. The scowls. The awkwardness. The elements integral to adolescence. Although her photographs ooze idiosyncrasy - featuring certain people, and backgrounds - they also appeal universally. Bee wants strangers to look at her images and be reminded of their own happy toddlers, or angsty teens - of their own childhood, and own experiences.
This style of photography, although popular today, was thought experimental when Bee first set out. While in university, Bee worked at an image bank - becoming besotted with photographers such as John Dolan, Sally Mann, and Cindy Sherman. Their images were “weird,” but, to Bee, “magical.” Similarly, she is inspired by contemporary photographers such as Barb Uil, who hosted a workshop at Bee’s cottage, lending Bee the confidence to pursue photography professionally.
The real root of her inspiration rests, however, in her own family. Bee is sentimental; rich with childhood memories nourished by her mother’s snapshots and father’s stories. Bee believes that art plays a large role in grounding us; in connecting individuals to their youth and families, and in breeding compassion.
The fact that Bee’s parents and siblings were each storytellers in their own right allows her to maintain a powerful connection to her past. As such, Bee believes all families, regardless of economic status, should have access to family photos. She aspires to gift shoots to families unable to afford the luxury.
“I want to be more involved in charity.”
After our interview concludes, Bee continues to list similar aspirations.
“I also am writing a book….”
Bee has a new dream every day. A new method she wishes to try. An image - or a quote - that inspires her. I ask her if she has any advice for aspiring artists - she hems, and haws - then declares that a photographer is someone who is driven not by trends, but rather, is uptaken by their own passion. They photograph what they want to capture - rather than what will win an award.
Finally, her deluge of words having slowed to a trickle - we try to put together a small selection of her work. Bee’s portfolio is a mess. Photographs seep out from untitled folders; splattered across her desktop in no particular order. This chaos, however, contains a message. Bee takes photos unabashedly; undeterred by rainy days, by scowling children, by the fact she already has over a million photographs tucked in various obscure folders and memory cards. When without her camera, she uses her phone. Bee is not stifled by convention, by the fear her photographs will not please her clients - she is unbound by any ideas that apply to the term “artist” or “photographer.”
Bee, thus, cannot be constrained by any of the perspectives laid out in this article - like her photographs, she is not to be captured in a single feature - a single click. Looking at her images, viewers are invited to imagine what story is being told beyond the frame.
This article is a mere snapshot of Bee Chalmers - a fragment of a story aimed to draw you in, to seek Bee and her work out yourself, and unearth more about this extraordinary artist. Bee loves to talk - and will be happy to answer any more questions. For now, she reminds you:
Be confident. Be engaged. Be amazed.
@Beechalmers
I would like you to meet my mum; Bee Chalmers. To me, she is embodied by the sound of a shutter - a camera obscuring her face as she surreptitiously attempts to take my photo whilst we talk, or walk, or when I imagine myself to be alone. By the irate words we exchange when I complain about this intrusion of privacy - the laugh she uses to get me to smile for the camera. This is the picture I hold of her in my mind.
To her (abundant) Instagram followers, this picture is constructed by her posts; images of her dog, children, surroundings, all the components of Bee’s life except, of course, Bee herself. Bee Chalmers lives behind the lens. Like other artists, she is doomed to a faceless legacy - defined by her photographs and subjects they feature. Besides, Bee hates her photograph taken.
In this interview - I seek to regard Bee with fresh eyes. The picture of Bee seen here is not one of an intrusive mother with a camera - nor a composite of Bee’s photographs, but rather, of an artist.
These “fresh eyes” are an imperative tool of photographers. Bee, like her favourite poet, Mary Oliver, strives to “stay amazed.” Her images feature similar subjects; families, engaging in routines rubbed dull with repetition.
Yet Bee’s photographs are meant to amaze. To be gazed at for great lengths; packed, as they are, with all the intensity of stories condensed into one image. She compares her style to “magical realism.” Like this genre, her photos weave together the humdrum with the extraordinary. She reminds her viewer that the in-between moments - tying shoelaces in the mudroom, walking to school, coaxing the dog into the backseat of the car - are to be revelled in. Bee unearths the beauty in the mundane.
This level of appreciation for the ordinary allows Bee to take an average of 100 photos a day. Bee, further, does not mind sharing the source of her unending well of inspiration with readers. She loves to share.
We have our interview in the woods. Bee walks here every morning yet still maintains a mein of bright-eyed amazement; scanning her surroundings for interesting light and branches that create a perfect frame - of which she beckons me to stand in between and “gaze off into the distance.”
I do so.
“But more naturally,” she adds.
Bee detests posing her subjects. To her, the most interesting photographs are spontaneous - and occur in the moments before, or after, her subjects have arranged their faces for the camera. However, Bee is also happy to “gently guide” her subjects.
“I prompt them…” asking such questions as: “How would you hold your baby? What's her favourite game? Can you touch noses?”
“Just pretend I am a friend,” she advises her clients. Armed with her sociability, Bee easily merges from photographer to walking companion or wedding guest; someone you can laugh with, or commiserate with - of whom happens to be carrying a camera.
Bee has been interviewed many times in the past. Her work is featured in Cottage Life, Click, and other prestigious magazines. The questions I ask are thus familiar to Bee - Can you describe your process? What advice do you have for aspiring photographers? - with answers likely to be long rehearsed and long since staled. Yet Bee considers each of my queries carefully. Her words tumble forth; a deluge of stories, ideas, and musings.
I ask her what type of artist she is. She hesitates; searching for the perfect words:
Bee is predominantly a family photographer. She also documents weddings, gatherings, and “people in their natural environment.” Her style may be summed up as “candid” and “authentic.”
Bee, however, deems this a “boring” way to describe what she does:
“I capture memories.”
Her photographs elicit an emotion in the viewers. Although unmarked by a signature or date - her work is easily recognized, demarcated by nostalgia. Viewers are meant to regard her photographs and recollect a certain memory; remembering not merely what transpired in that moment, but what they felt. Bee seeks to make such emotion evident in her photographs. A mini-shoot lasts 30 minutes - but is liable to seep overtime, so Bee may capture the moments she seeks. Bee is not overly concerned with quantity. When she culls a shoot - she gives her clients enough photos to tell a story.
Bee is inspired by old snapshots; and often uses Black and White Presets to achieve a timeless effect. Bee’s editing process is otherwise light. She seeks to preserve truth, rather than obscure it. The sun flares, scowling expressions, and messy backgrounds thus remain intact.
Bee is akin to a magician in this way; her images are enchanting - yet familiar. An effect achieved not by props, nor meticulous editing. The magic rests, rather, in her eye.
Bee regards the world through rosy-hued spectacles; hunting for emotion in all circumstances. Her favorite emotion to capture is joy. But Bee also finds beauty in the chaos; in the nosebleeds, the bee stings, and the milk spills.
Because Bee aims to capture the accidents, and the spontaneity of day to day life, she must be eternally diligent. Her camera is thus affixed to a side. As we walk, this battered Canon sways from her shoulder, narrowly avoiding bushes, and splatters of mud from our boots. Bar a few nicks, and a broken button, her camera has persevered through the extreme sport of photography.
Similarly, Bee has managed to survive the growing up of her children.
Bee began taking photos in order to document her young children; who, in typical toddler fashion, were soft, and malleable, brimming with smiles, willing to pose and cooperate. Teenagers do not possess such inclinations. But Bee evolves.
She now captures the angst. The scowls. The awkwardness. The elements integral to adolescence. Although her photographs ooze idiosyncrasy - featuring certain people, and backgrounds - they also appeal universally. Bee wants strangers to look at her images and be reminded of their own happy toddlers, or angsty teens - of their own childhood, and own experiences.
This style of photography, although popular today, was thought experimental when Bee first set out. While in university, Bee worked at an image bank - becoming besotted with photographers such as John Dolan, Sally Mann, and Cindy Sherman. Their images were “weird,” but, to Bee, “magical.” Similarly, she is inspired by contemporary photographers such as Barb Uil, who hosted a workshop at Bee’s cottage, lending Bee the confidence to pursue photography professionally.
The real root of her inspiration rests, however, in her own family. Bee is sentimental; rich with childhood memories nourished by her mother’s snapshots and father’s stories. Bee believes that art plays a large role in grounding us; in connecting individuals to their youth and families, and in breeding compassion.
The fact that Bee’s parents and siblings were each storytellers in their own right allows her to maintain a powerful connection to her past. As such, Bee believes all families, regardless of economic status, should have access to family photos. She aspires to gift shoots to families unable to afford the luxury.
“I want to be more involved in charity.”
After our interview concludes, Bee continues to list similar aspirations.
“I also am writing a book….”
Bee has a new dream every day. A new method she wishes to try. An image - or a quote - that inspires her. I ask her if she has any advice for aspiring artists - she hems, and haws - then declares that a photographer is someone who is driven not by trends, but rather, is uptaken by their own passion. They photograph what they want to capture - rather than what will win an award.
Finally, her deluge of words having slowed to a trickle - we try to put together a small selection of her work. Bee’s portfolio is a mess. Photographs seep out from untitled folders; splattered across her desktop in no particular order. This chaos, however, contains a message. Bee takes photos unabashedly; undeterred by rainy days, by scowling children, by the fact she already has over a million photographs tucked in various obscure folders and memory cards. When without her camera, she uses her phone. Bee is not stifled by convention, by the fear her photographs will not please her clients - she is unbound by any ideas that apply to the term “artist” or “photographer.”
Bee, thus, cannot be constrained by any of the perspectives laid out in this article - like her photographs, she is not to be captured in a single feature - a single click. Looking at her images, viewers are invited to imagine what story is being told beyond the frame.
This article is a mere snapshot of Bee Chalmers - a fragment of a story aimed to draw you in, to seek Bee and her work out yourself, and unearth more about this extraordinary artist. Bee loves to talk - and will be happy to answer any more questions. For now, she reminds you:
Be confident. Be engaged. Be amazed.
@Beechalmers
