Jaclyn Vosburg

"I do primarily work with close up shots of one object and I do this because I love detail. I always have, and it's the aspect of my artistry that I pride myself on."

 

A 'Secret Garden' ambiance transcends through the variety of media in which Jaclyn Vosburg works, specifically digital photography and event invitation design. The swirls and curls that compromise the ephemeral subject matter within her images also make an appearance among the clean and elegant designs found in her invitation material. In viewing her work the audience quickly comes to understand the key elements important to the artist: romance and attention to detail.

 

GE: Would it be satisfying for you to be a commercial photographer? Or do you think you would feel limited?
JV: I think there can be limitation in any line of work I would choose, but I don't think that limitation is always a bad thing. I think I would enjoy the experience of working in a new mindset, especially one that is not entirely determined by myself. I find that sometimes when I'm working for myself I can lose direction, so commercial photography might give me some insight to a new subject area to explore on my own as well.

GE: Many of your images are up-close shots of the object you're capturing. What is it about highlighting the details that is important to you? What other elements do you look for to create a successful photo?

JV: When I'm shooting I look for subjects which have small areas of interest that might be overlooked upon first glance. I suppose I look for elements such as detail, line and texture to determine first, if it is a suitable subject and second, how I want to use it in my photograph. Composition is something that can always be rendered later on in the image correcting process but, it is something I try to master while I'm shooting and I'm meticulous about it. I have a hard time cropping my photographs to fit standard size mats and frames because of this, so sometimes I also take the same shot from farther away in case I see something later that I wanted to include. But I do primarily work with close up shots of one object and I do this because I love detail. I always have, and it's the aspect of my artistry that I pride myself on. I have always been a technical artist because of this and as such, abstraction has been my challenge. This is true of any work I create but I think it is easier for me to let go when working with graphic design. I'm still very particular about certain details, but not about everything. But in my photography I like to capture an object in such a way that will really make people look at it and see just how intricate a subject can be.

GE: Is there a time of day that you prefer to shoot?
JV: I shoot a lot of landscape and architecture, so the time of day matters depending on the kind of look I'm going for. I like night photography and the colors that are produced by the lack of light, but I prefer early morning and late day. The sun is in the perfect spot in the sky to produce the lighting I'm looking for. I love naturally backlit scenes in nature; the subject is so beautifully outlined in a halo of light and it gives the image an ethereal quality. I also enjoy these times of day because I feel like nature is wonderfully peaceful at dawn and sunset, whereas midday can seem a bit more hectic and midnight is almost too quiet. I guess I like the romantic quality that low lighting, or warm lighting, can create. 

GE: Considering you work in Fine Arts as well as in Graphic Design, do you believe there is a difference in definition between 'artist' and 'designer'?
JV: I do. I think the two can work in synergy of course, but there is a difference to me. When creating studio work I use a different mindset. In design I find that there are a lot of guidelines to follow, especially because the work being produced won't necessarily be for my personal use but it will be for a client who has specific wants and needs which differ from my own opinions. I do believe, however, that designers are artists and artists are designers, I just think that there is a very fine line that separates the two depending on the kind of work that is being produced. Sometimes I don't feel like a designer and sometimes I don't feel like an artist and I know it is because of what I have been working on.

GE: An observer can tell you have a passion for designing invitations and event associated material. What is it about this type of work that interests you?
JV: There is a need for it, which is appealing, but it's mostly because I like to please people. People put a lot of thought and effort into the kind of invitations and announcements they send out, to reflect their personal needs and interests. Similarly, I put a lot of thought and effort into creating them. On a more basic level, I enjoy designing space that is comprised of text and images, much like magazines and posters, but with stationary there is a simplicity to my designs that gives me endless possibilities to create. There is also the opportunity to make something really special for someone during an important time in their lives. It brings a personal level to the work I create that I really enjoy.

GE: Do you want to scream when you see a bad design?
JV: I definitely voice my opinion if anyone will listen, but I try not to be too harsh with my criticism because I always have that little voice in the back of mind asking me: how I would feel if it were my design? I try to remember that everyone has a different style and different interests. I put emphasis on 'try' because it's very easy to forget myself and let out my raw opinion without filtering it first.