Fine Art Photography and Ethereal Self Portraiture

By: Emeri Glen | Photos by: Ashlee Glen

Lillian Merritt works in avenues of redemption, but this may not be evident upon first glancing at her work. Filled with beautifully rich tones, breathtaking scenery, and packed with ample opportunity for different interpretations, Merritt’s fine art photography exists to create shared meaning.

Merritt grew up in the small military town of Eden, Oklahoma, with an older sister, two scientifically inclined parents, and a love for the arts. At the surprisingly young age of two, Merritt was already learning ballet at a studio, and it was at this establishment that she was first exposed to photography at the age of eleven.

For Merritt, photography just clicked.

“I was just like, this is it. This is what I [want to] do long-term,” she said.

Merritt began to explore the different avenues of photography and eventually landed on self-portraiture with a twist; she added the component of fine art-style post-editing to create something ethereal.

“I instantly fell into this other-worldly, fanciful style,” she remembered. “I’d never seen it anywhere before.”

Encouraged by her ballet studio’s photographer and an online teacher (who Merritt has since met and worked with), Merritt began to flourish in her newfound venture.

In an almost eerie way, Merritt’s pieces often have subtle connections to her childhood. One piece, “Jadis,” is based off of the popular Chronicles of Narnia book series. The picture portrays a white dress-clad Merritt trapped and suspended behind a fractured pane of ice. The whole piece is a chilling blue, much like the environment of The Lion, the Witch, and the Wardrobe. Merritt excitedly reminisced about how she grew up listening to her mother read the books in the series.

“The books are amazing. … Edmund is my favorite,” she said. “There is a special place in my heart for people who are like the black sheep, the people who need extra love and saving.”

Merritt and her family have lived in the Lynchburg area since 2015, and it was around this time that she truly began to invest in her natural talent.

By 2017, Merritt had gained the opportunity to send her art to a gallery in The Louvre. While she wasn’t able to travel with her art that year, she has since visited France, England, several states in the U.S. (her favorite is Montana), and several other countries. On each trip, she’s made sure to add to her photo reserves.

Merritt’s artistic process begins with coming up with a theme, envisioning what she wants to communicate through her art, packing up her tripod, camera, and any props that she may need, and setting off for her shoot location. After the shoot, which typically takes thirty minutes or so, Merritt heads back to her studio and resizes her photos to fit her standard template. Then comes the fun part, where Merritt plays with light and magic in the colors and landscape of her photos.

When she’s not creating with her camera and laptop, working her day job, seeking out new shoot locations, or choreographing for a production, Merritt is planning her next steps. Her love for “black sheep” and the Edmunds of the world has played a part in her vision for redeeming things very near and dear to her heart: Old abandoned homes.

“I’ve always loved the surrealness about abandoned properties,” she said. “I’ve always wanted to restore them. They need—they deserve—a second chance at life.”

Merritt hopes to start a nonprofit in the near future where she redeems these old homes (she’s already purchased her first and is ecstatic) and creates an environment for other artists to thrive and grow in. Its name? “Restory.”

To contact or learn more about Merritt and the stories that she tells through her work, visit her website (www.strengthofatlantis.com) or
Instagram account (@strengthofatlantis).

Laura Beth Davidson’s Refreshing Approach to Photography

In theory, photography is the only art form that allows us to capture a moment as it actually exists, but in practice, the staging that often occurs before a photograph is taken can undermine that innate authenticity. Of course, photographs serve a variety of different purposes—educational, promotional, and commemorative, among others—and sometimes staging is needed to
convey certain information, advertise a specific product, or properly honor an occasion or
person. Staged photography also ensures that documentation occurs at all; in our fast-paced, productivity-obsessed society, we can tend to forget that moments become memories unless we schedule a time to remember. That said, how magical would it be if that feeling you get when you think back on what once was—that poignant nostalgia, that kinetic pull toward what was real and true—was encapsulated in your photographs? The work of local photographer Laura Beth Davidson proves that this kind of magic is possible.

Davidson refers to herself as a “visual storyteller,” a title that speaks to her abilities to closely observe, thoughtfully capture, and artfully relay the authentic narrative unfolding around her rather than a desire to control and direct the narrative. After starting her photography journey in 2012, she wasn’t sure if her introverted personality would allow her to turn her talent into a successful business.

“In 2012, I stumbled upon ‘Clickin’ Moms,’ an online community for photographers that offered virtual workshops and a forum for sharing photos and feedback,” Davidson recalled. “After I took the first class, I was hooked, and I knew I had found something that would be part of my life forever.
I’ve always been a bit of an entrepreneur, and once I felt confident in my ability to take good photographs, it seemed like a natural next step to find a way to make my hobby profitable. Unfortunately, I’m an extreme introvert, and the thought of being face-to-face with clients who expected me to pose and direct them made me really uncomfortable. I couldn’t figure out a way to make photography into a business that wouldn’t give me a chronic stomachache.”

Shortly thereafter, however, Davidson learned about documentary-style photoshoots and realized that both her personality and her longstanding love of storytelling parlayed perfectly into that approach to photography.

“I heard a couple of different podcast interviews with photographers who offered in-home documentary photography sessions,” she noted. “As an English major and literature lover, I relished the idea of becoming a visual storyteller who could offer families an alternative to typical photos—and as an introvert, I breathed a sigh of relief that I could work for families while letting them carry on with their everyday lives instead of stepping in and bossing them around.”

Before starting her business, Laura Beth Davidson Photography, in 2017, Davidson took additional classes and honed her craft by taking documentary-style photos of her own growing family. 

“I fell in love with the idea of capturing our real life through little details, gestures, and moments that ran the gamut of emotion,” she said.

In fact, such was Davidson’s passion and commitment to her craft that she took on a year-long photo project entitled “29 & Counting” in 2013.

“The day I turned 29, I decided to take one photo every day until my next birthday: I would mark my 30th year with 365 photos that would document my life that year,” she recalled. “My daughter had just turned two, we were in the process of selling our house and buying another that we would be renovating, and my husband and I were planning to have a second child. All of those big life events unfolded over the course of the year as I steadily honed my skills and my eye. The resulting book of photos is one of my favorite possessions.”

This April, Davidson will have completed her current year-long photo project, “39 & Counting,” and she says the experience has been just as rewarding as her previous year-long venture and has given her even more perspective on the importance of documenting the small moments—which are, in fact, the big moments—of everyday life.

“Some days, I forget to take a picture until very late in the day and have to scramble to find something vaguely worth documenting; some days I take so many photos that it’s hard to choose just one,” she noted.

“My subjects range from members of my family to our new dog, from beautiful light to a random plant that catches my eye.

For this project, I’ve learned to not expect to create something amazing every day, but that the effort of pushing myself to create something daily is never a wasted effort.”

When it comes to taking photos for clients, Davidson is flexible, open-minded, and committed to capturing and conveying the unique narrative of a family’s day together.

“I offer day-in-the-life photo sessions that I have designed to make the process as simple as possible,” she remarked.

“My clients are a lot like me: we’re busy and a little stressed, we’re sleep-deprived and tired of making decisions at every turn. I want my clients to only have to choose which day and how long they want me to come, and then let me do everything else. I emphasize that I don’t expect any kind of coordination of outfits or activities and that I want people to pretend I’m not even there.”

Davidson spends anywhere from three to 12 hours with a family as they do everyday things like go grocery shopping, play outside, cook dinner, and get ready for bed. She then edits the photos down to a collection that “tells a strong story of the day” before laying out and printing a photo book that is included in every package. 

“I want the time I spend with a family to be recorded as it happens and then preserved in a way that will last for generations,” she said.

In the future, Davidson hopes to continue to photograph families across the country—and perhaps even around the world—and has a specific goal to photograph a specific family.

“My big dream is to pursue a job as a White House photographer,” she remarked. “To me, that experience—especially if I could have the opportunity to work for a President with a young family—would be the ultimate opportunity for visual storytelling.”

No matter what comes next for Davidson, her work—and the work of all photographers and artists who strive for authenticity in capturing and expressing the human experience—can help us remember that there is magic in the mundane, perfection in imperfection, and a memory worth holding onto in each moment.  

To learn more about Laura Beth Davidson Photography, visit laurabethdavidson.com.

Age: 70
Title: Fine Arts Photographer

Take us back to when you moved to Lynchburg after college. This was when you really started focusing on art?
I came to Lynchburg in the early ’70s with my husband and our two small children. I had graduated from Duke University as an English major but didn’t know what to do next. Lynchburg was smaller then, and opportunities at first seemed limited. Then I discovered the Lynchburg Fine Arts Center.

I had always loved to draw, so I started taking classes in the evenings. I knew I had a knack for capturing a likeness, so I concentrated on portraits and actually wound up teaching portrait drawing at the Art Center for a couple of years.

And working with clients on portraits is what opened the door to photography?
I soon realized I needed to take my own photographs of children in order to have the right information for portraits, so I signed up for a photography course at Central Virginia Community College. I remember how nervous I was the first time I developed film! But I soon fell hopelessly in love with the medium. I took all the photography classes, then printmaking, drawing, design, computer graphics—and before I knew it, I was finishing the commercial art degree.

Where did your career take you next?
While finishing that degree, I took on an internship at Lovern Advertising, Inc. I managed to progress from accidentally dropping phone calls in the early days to ultimately doing most of the design work. Eventually I became the agency’s art director and did photography as well. Later on, I took a job as coordinator of marketing and public relations at CVCC. I also served as curator for what was then the CVCC Merritt Hall Gallery and continued to do some part-time work for the agency.

How would you define yourself as an artist now?
I definitely consider myself a street photographer. I enjoy venturing out into the large, visually chaotic world and selecting elements that cohere into a pleasing or compelling composition. I am interested in a photograph’s ability to freeze a moment in time and remove it from context, and I prefer photographs with people or evidence of people in them. Street photography suggests a narrative, and I leave the interpretation of that story up to the viewer. I always hope for a little bit of mystery in the image.

When did you start becoming interested in this niche of photography?
For a few years I was doing photographic silkscreens, a complicated process, and my subjects stayed still: architecture and objects. Then, around 2000, some photographers had rented a studio in town and wanted a number of us to join them in a larger organization—which became the Blue Ridge Photographic Arts Society. The great bonding moment for some of us came when we roamed the streets of New York City soon after 9/11. That’s when I realized I could do street photography—and that it was terribly exciting! Since then I’ve done a great deal of traveling, and I love getting out on the streets of some major cities with my camera.

Since taking classes at CVCC, you’ve seen a lot of changes in the photography world. Has it ever been difficult to adapt?
I know some people regret the transition from film to digital—after all, the darkroom was a magical place!—but I’ve wholly embraced digital photography. Most everything you can do in a darkroom you can do on a computer. However, I’m not interested in morphing a photograph into something entirely different from the original, although there are fine artists who do very creative digital work.

With smartphones and social media sites such as Instagram, anyone can be an amateur photographer these days. Do you think that is making artistic photography any less special?
Oh, you can always spot the artist who has a sense of composition, who knows the elements of design—someone with depth of feeling, understanding, self-expression—that doesn’t change. I know a photographer who works strictly with cellphone apps. In the hands of the right person, it is brilliant. I even tried my own hand at it with an exhibit of iPhone tintypes at Magnolia Foods not long ago.

One of your photographs really caught some attention in Lynchburg recently.
I won first place in the Georgia Morgan Show at the Lynchburg Art Club. I was surprised because I think of it as a painter’s show, and there was some lovely work. My piece was titled “An Afternoon with Madame X,” and it was a large color image of a young family in a gallery with John Singer Sargent’s portrait of “Madame X.”

In March, I had a two-person show with John Shuptrine at the Lynchburg Art Club. John’s work was color, and mine was black and white, so we called it “Seeing Differently.”

Did you choose black and white photos for any particular reason?
I’ve always loved the black and white photography of Henri Cartier-Bresson, Walker Evans, Helen Levitt, to name only a few. So much of the exciting history of photography is in black and white. So, although I have been moving to color in recent years, this show was a wonderful opportunity to revisit black and white as an interesting contrast to John’s fine color work.

Where are some of your favorite places to get photographs in Lynchburg?
Downtown Lynchburg provides excellent opportunities for street photography, and wandering down Main Street at night is especially good. The estate stores are a lot of fun for photographers, and our BRPAS group enjoys forays to Old City Cemetery and Kemper Street Station.

What types of scenes or people inspire you?
I often like to capture the single figure in a setting, standing alone in a composition that appeals to me, especially if there are strong tones, strong shapes and shadows.

I like humor. If there is an amusing interaction, I am thrilled! I like repetition, echoes: someone accidentally adopts the pose of a nearby statue, or two figures provide counterpoint to one another without realizing it. I also like lights, mystery, and any unanticipated magic.

You’ve been a part of the Lynchburg arts scene for a while now. What would you like to see in the area moving forward?
We have a number of wonderful arts organizations and a lot of very talented artists in this area. I would like to see the organizations thrive and grow, of course. I would like to see increased connection, more awareness. I’m a docent at the Maier Museum, and I think every artist in town should be visiting the Maier’s wonderful annual show of contemporary art. It is too easy to be limited to one organization, to stay rooted in one spot. I also think First Friday, which encourages people to visit a number of venues in one night, is fabulous.

What advice do you have for aspiring street photographers and other artists?
Probably the same advice everyone gives them: Do the work! Don’t sit around and think about it. Don’t wait for grand inspiration. Just do what you love—get moving. And while you are at it, notice what others are doing and know the history of your medium.

Do you have any big plans for the future?
I am going to France again in May. I’ve photographed in Paris a number of times, but this time I will visit the Dordogne for the very first time with some wonderful friends.

How can readers get in touch with you?
I’m very easy to contact. I’m on Facebook, which is a good place to message me, and my email address is ridiculously easy: kcudlin@aol.com.