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Turning Poetry Into Photos Turning Poetry Into Photos
(about 3 hours later)
This summer, for the second year in a row, we selected poems by six poets and presented each one to a different photographer. Their challenge was to interpret the poetry in images. This assignment was about freedom; we wanted photographers to find inspiration in language — a single word, a phrase, the rhythm of verse.This summer, for the second year in a row, we selected poems by six poets and presented each one to a different photographer. Their challenge was to interpret the poetry in images. This assignment was about freedom; we wanted photographers to find inspiration in language — a single word, a phrase, the rhythm of verse.
And so they did. In these poems our photographers felt the passing of time. The everyday. The power and fury of nature.And so they did. In these poems our photographers felt the passing of time. The everyday. The power and fury of nature.
[See all of the poems and photos here.]
A poem is personal. Its meaning can shift as a reader changes and grows. One of our photographers felt a connection to the poem she read right away. Another felt conflicted; while some words and phrases felt familiar to her, she was resistant to others. All of the photographers immersed themselves in the poetry. “I read the poem aloud to several people over the course of the two weeks I worked on this project,” writes Anjali Pinto. “My sister and I spoke about it on a long car ride and that’s when the meaning shifted for me.”A poem is personal. Its meaning can shift as a reader changes and grows. One of our photographers felt a connection to the poem she read right away. Another felt conflicted; while some words and phrases felt familiar to her, she was resistant to others. All of the photographers immersed themselves in the poetry. “I read the poem aloud to several people over the course of the two weeks I worked on this project,” writes Anjali Pinto. “My sister and I spoke about it on a long car ride and that’s when the meaning shifted for me.”
One theme that arises throughout this work is collaboration. Maddie McGarvey and Annie Flanagan worked together to shoot a series of composite images, exploring the ways in which people might feel confined by their bodies and society. Nydia Blas worked with a group of teenagers in Ithaca, N.Y., to create what she calls a “disjointed magical narrative.” And Cig Harvey photographed her daughter, both a subject and a collaborator.One theme that arises throughout this work is collaboration. Maddie McGarvey and Annie Flanagan worked together to shoot a series of composite images, exploring the ways in which people might feel confined by their bodies and society. Nydia Blas worked with a group of teenagers in Ithaca, N.Y., to create what she calls a “disjointed magical narrative.” And Cig Harvey photographed her daughter, both a subject and a collaborator.
There is no right or wrong in these images. As Tonya Ingram writes: “i am building my poem in this here heart. all of it is a working title.” When Erika P. Rodriguez first read Ms. Ingram’s poem, she felt “permission to accept that nothing is perfect, that life is made by experiences of love and of hurt, but that it is important to live it — to feel it and to remember that we are all ‘a working title.’”There is no right or wrong in these images. As Tonya Ingram writes: “i am building my poem in this here heart. all of it is a working title.” When Erika P. Rodriguez first read Ms. Ingram’s poem, she felt “permission to accept that nothing is perfect, that life is made by experiences of love and of hurt, but that it is important to live it — to feel it and to remember that we are all ‘a working title.’”
Here, all of our photographers explain how they interpreted the poems they were assigned. Their responses have been condensed and edited.Here, all of our photographers explain how they interpreted the poems they were assigned. Their responses have been condensed and edited.
Ms. Harvey, who is based in Maine, photographed her daughter for this series. Her photos are about “that sensation of ingesting the wind and time passing.”Ms. Harvey, who is based in Maine, photographed her daughter for this series. Her photos are about “that sensation of ingesting the wind and time passing.”
The poem “Edge” reminds me of the everyday. An elevated everyday. As if Layli Long Soldier took all my daily car rides with my daughter Scout and distilled them into nine lines. In our cars we are our own planets. I ask questions. She says things. I search the rearview mirror for gestures and expressions.The poem “Edge” reminds me of the everyday. An elevated everyday. As if Layli Long Soldier took all my daily car rides with my daughter Scout and distilled them into nine lines. In our cars we are our own planets. I ask questions. She says things. I search the rearview mirror for gestures and expressions.
Last winter: I watch from the rearview mirror as she sticks her head out the window to catch snowflakes on her tongue, eyes closed to feel the wind. It jolts something in me. Senses and intuition alive. Like the air itself is a feast.Last winter: I watch from the rearview mirror as she sticks her head out the window to catch snowflakes on her tongue, eyes closed to feel the wind. It jolts something in me. Senses and intuition alive. Like the air itself is a feast.
To make these pictures I borrowed vintage cars and trucks from friends. We used the fields at a neighbor’s farm as our roads. The images are about that sensation of ingesting the wind and time passing.To make these pictures I borrowed vintage cars and trucks from friends. We used the fields at a neighbor’s farm as our roads. The images are about that sensation of ingesting the wind and time passing.
Ms. Pinto, who is based in Chicago, photographed “resilient, confident and beautiful” women.Ms. Pinto, who is based in Chicago, photographed “resilient, confident and beautiful” women.
I read “The Winter’s Wife” over and over, finding many meanings all at once. I found myself imagining visuals right away, and felt immediately I wanted my images to be outdoors. I love the way she used nature to symbolize personal growth. I knew I wanted to use harsh summer sunlight, a mix of grit and beauty, and create intrigue rather than providing all the answers.I read “The Winter’s Wife” over and over, finding many meanings all at once. I found myself imagining visuals right away, and felt immediately I wanted my images to be outdoors. I love the way she used nature to symbolize personal growth. I knew I wanted to use harsh summer sunlight, a mix of grit and beauty, and create intrigue rather than providing all the answers.
I photographed a few women who are at the far edges of my friend group — women I have known but do not know deeply. To me, they are resilient, confident and beautiful. I wanted to use them to represent some of the themes I took away from the poem — the expectations women have for themselves, the pain and longing from unmet dreams, and the confidence and self-assuredness that comes with age and perspective.I photographed a few women who are at the far edges of my friend group — women I have known but do not know deeply. To me, they are resilient, confident and beautiful. I wanted to use them to represent some of the themes I took away from the poem — the expectations women have for themselves, the pain and longing from unmet dreams, and the confidence and self-assuredness that comes with age and perspective.
I read the poem aloud to several people over the course of the two weeks I worked on this project. My sister and I spoke about it on a long car ride and that’s when the meaning shifted for me. My initial impression was that the poem was focused on disappointment — the not being and not seeing everything the author imagined for herself. But after further discussion and by focusing on the opening line, I realized that the voice was speaking in a way to show how the passing of time has allowed for shift in perspective.I read the poem aloud to several people over the course of the two weeks I worked on this project. My sister and I spoke about it on a long car ride and that’s when the meaning shifted for me. My initial impression was that the poem was focused on disappointment — the not being and not seeing everything the author imagined for herself. But after further discussion and by focusing on the opening line, I realized that the voice was speaking in a way to show how the passing of time has allowed for shift in perspective.
My read is that although life can feel in the moment — so difficult and uncertain — it will take time to realize that those struggles are the foundation for who we truly are.My read is that although life can feel in the moment — so difficult and uncertain — it will take time to realize that those struggles are the foundation for who we truly are.
Ms. Fremson, a New York Times staff photographer, immersed herself in nature in Washington State, where she is based.Ms. Fremson, a New York Times staff photographer, immersed herself in nature in Washington State, where she is based.
My initial reaction to “Praise the Rain” was that it is about gratitude and honoring our creator, whoever that may be for each of us. Joy Harjo’s words are strikingly visual and Native American symbols are threaded throughout her poem. That resonated instantly with my own belief that nature has immense spiritual power and that human beings are inextricably connected to it.My initial reaction to “Praise the Rain” was that it is about gratitude and honoring our creator, whoever that may be for each of us. Joy Harjo’s words are strikingly visual and Native American symbols are threaded throughout her poem. That resonated instantly with my own belief that nature has immense spiritual power and that human beings are inextricably connected to it.
“Praise crazy. Praise sad.“Praise crazy. Praise sad.
Praise the path on which we’re led. ...Praise the path on which we’re led. ...
Praise beginnings; praise the end.”Praise beginnings; praise the end.”
The lines above speak directly to my experience of leaving the extreme urban environment of New York and moving to the Pacific Northwest, a temperate rain forest, three years ago.The lines above speak directly to my experience of leaving the extreme urban environment of New York and moving to the Pacific Northwest, a temperate rain forest, three years ago.
My intention was to create a series of images that honor Harjo’s words, the Pacific Northwest Native American culture that I have been slowly learning about, and my own transition to a new chapter in my life.My intention was to create a series of images that honor Harjo’s words, the Pacific Northwest Native American culture that I have been slowly learning about, and my own transition to a new chapter in my life.
Being among old growth trees feels as sacred as any cathedral, so I revisited places in Washington State that I have been to — the Hoh Rain Forest, North Cascades National Park, Olympic National Park, and the upper Skagit Valley — and let them lead me to new parts I hadn’t seen before.Being among old growth trees feels as sacred as any cathedral, so I revisited places in Washington State that I have been to — the Hoh Rain Forest, North Cascades National Park, Olympic National Park, and the upper Skagit Valley — and let them lead me to new parts I hadn’t seen before.
Along the way I tried to convey that while nature has power and fury and should always be respected, she can also be funny, elegant and whimsical.Along the way I tried to convey that while nature has power and fury and should always be respected, she can also be funny, elegant and whimsical.
The two photographers created composite images, a creative project they’ve worked on together for years. Ms. Flanagan is based in New Orleans; Ms. McGarvey is based in Columbus, Ohio.The two photographers created composite images, a creative project they’ve worked on together for years. Ms. Flanagan is based in New Orleans; Ms. McGarvey is based in Columbus, Ohio.
Ms. McGarvey: This poem can be interpreted in many ways, depending on how you feel about your own womanhood or gender. There is so much pressure in society to be a certain type of person or female, and not everyone feels like they fit that mold. This poem to me exemplified the frustrations of being put into a certain type of box.Ms. McGarvey: This poem can be interpreted in many ways, depending on how you feel about your own womanhood or gender. There is so much pressure in society to be a certain type of person or female, and not everyone feels like they fit that mold. This poem to me exemplified the frustrations of being put into a certain type of box.
Ms. Flanagan: These last few months in particular, for whatever reason, I have felt pretty bonkers in my mind and my body. Which happens. And impacted my interpretation of this poem. It felt urgent to create work with Maddie as we sorted through traumatic experiences, consequences of our bodies, that we’ve stored away and internalized.Ms. Flanagan: These last few months in particular, for whatever reason, I have felt pretty bonkers in my mind and my body. Which happens. And impacted my interpretation of this poem. It felt urgent to create work with Maddie as we sorted through traumatic experiences, consequences of our bodies, that we’ve stored away and internalized.
Ms. McGarvey: These images are a combination of so many factors of both of our lives. Annie and I have been doing these mash-ups for about four years. They combine photos of our friends, people we meet on the street, our daily surroundings, our exes and ourselves. We both typically work on long-term documentary projects and assignment work, and these mash-ups are a rare and much-needed exercise to stop and think about our own lives. We’ve always interpreted writings and poetry, and it’s a nice way to slow down from the chaos of life.Ms. McGarvey: These images are a combination of so many factors of both of our lives. Annie and I have been doing these mash-ups for about four years. They combine photos of our friends, people we meet on the street, our daily surroundings, our exes and ourselves. We both typically work on long-term documentary projects and assignment work, and these mash-ups are a rare and much-needed exercise to stop and think about our own lives. We’ve always interpreted writings and poetry, and it’s a nice way to slow down from the chaos of life.
Ms. Flanagan: This kind of work is an attempt at understanding our experiences as they are meshed and connected with writing. This has been a way to process what we’ve been through, keep in touch and be creative in our long-distance friendship.Ms. Flanagan: This kind of work is an attempt at understanding our experiences as they are meshed and connected with writing. This has been a way to process what we’ve been through, keep in touch and be creative in our long-distance friendship.
Ms. McGarvey: With this poem, we explored different ways people might feel confined in their own bodies, or dealing with expectations set by society. Whether that was through a preteen girl and a broken window, an aging woman surrounded by both a riot scene and a peaceful willow, or a transgender woman with birds flying everywhere. We photographed each other with a dark mask of fire embers and rain with leaves.Ms. McGarvey: With this poem, we explored different ways people might feel confined in their own bodies, or dealing with expectations set by society. Whether that was through a preteen girl and a broken window, an aging woman surrounded by both a riot scene and a peaceful willow, or a transgender woman with birds flying everywhere. We photographed each other with a dark mask of fire embers and rain with leaves.
Ms. Flanagan: In the end, we wanted the images to reflect the darker side of womanhood, and what that might mean to people individually.Ms. Flanagan: In the end, we wanted the images to reflect the darker side of womanhood, and what that might mean to people individually.
Ms. Blas, a visual artist who is based in Ithaca, N.Y., worked with a group of local teenagers to create “a disjointed magical narrative.”Ms. Blas, a visual artist who is based in Ithaca, N.Y., worked with a group of local teenagers to create “a disjointed magical narrative.”
My response to this poem was very visceral, very sensory. Immediately images, scenes and scents came to me in a way that made me want to respond. I felt an overall sense of calm and excitement. Certain phrases and words stood out, and I attached myself to them: gospel, Stevie Wonder, that girl-next-door, extensions of nails and lashes. The color pink became important to me.My response to this poem was very visceral, very sensory. Immediately images, scenes and scents came to me in a way that made me want to respond. I felt an overall sense of calm and excitement. Certain phrases and words stood out, and I attached myself to them: gospel, Stevie Wonder, that girl-next-door, extensions of nails and lashes. The color pink became important to me.
Other things I was resistant to: a breezy fall of bangs, Faye Dunaway and Doris Day. The images I conjured from these words did not remind me of my normal subjects: black girls and women.Other things I was resistant to: a breezy fall of bangs, Faye Dunaway and Doris Day. The images I conjured from these words did not remind me of my normal subjects: black girls and women.
I worked with a group of local teenagers that I have known for years to make these images. We brought props and clothing to the photo shoot location and worked together to make some of my ideas come to fruition. Additionally, we worked intuitively and tried new concepts as we progressed. I was thinking about the notion of conjuring — to call upon a spirit or ghost to appear, by means of a magic ritual — and scent or smell as a means to do this. The idea that smell can connect us to memory. The result is a bit of a disjointed magical narrative.I worked with a group of local teenagers that I have known for years to make these images. We brought props and clothing to the photo shoot location and worked together to make some of my ideas come to fruition. Additionally, we worked intuitively and tried new concepts as we progressed. I was thinking about the notion of conjuring — to call upon a spirit or ghost to appear, by means of a magic ritual — and scent or smell as a means to do this. The idea that smell can connect us to memory. The result is a bit of a disjointed magical narrative.
Through the process, the meaning of the poem didn’t change or shift. Rather, I think that in some little way I made it my own. Or maybe I disregarded it, after letting it lead me.Through the process, the meaning of the poem didn’t change or shift. Rather, I think that in some little way I made it my own. Or maybe I disregarded it, after letting it lead me.
Ms. Rodriguez, a freelance photographer who covers Puerto Rico for The New York Times, “searched for something else” in familiar places.Ms. Rodriguez, a freelance photographer who covers Puerto Rico for The New York Times, “searched for something else” in familiar places.
When I first read the poem, I felt like it was both a reminder and permission to see the beauty in life, something I feel I had forgotten after covering and living the aftermath of Hurricane Maria in Puerto Rico. The disaster left me in some ways hopeless. I felt it was a permission to accept that nothing is perfect, that life is made by experiences of love and of hurt, but that it is important to live it — to feel it and to remember that we are all “a working title.”When I first read the poem, I felt like it was both a reminder and permission to see the beauty in life, something I feel I had forgotten after covering and living the aftermath of Hurricane Maria in Puerto Rico. The disaster left me in some ways hopeless. I felt it was a permission to accept that nothing is perfect, that life is made by experiences of love and of hurt, but that it is important to live it — to feel it and to remember that we are all “a working title.”
I went to photograph familiar places where I usually look for images that speak to the economic crisis or the disaster, and I searched for something else. I wanted to avoid repeating the visuals that have become the representation of my homeland in the past years. We are more than the crisis.I went to photograph familiar places where I usually look for images that speak to the economic crisis or the disaster, and I searched for something else. I wanted to avoid repeating the visuals that have become the representation of my homeland in the past years. We are more than the crisis.
I photographed the ocean with a little palm tree in the corner. I come from three generations of people from islands — in Puerto Rico, Cuba and Spain. The ocean is part of who I am. I photographed in Old San Juan, searching for daily moments and color, life. I photographed in Cayey, the town where my family is from. And I photographed my grandmother, because life is deeply connected to ancestry and the experiences of love and hurt by those that came before me. She did not want to have her photo taken because she had not dyed her hair and she said did not look “beautiful” — so I photographed her hidden white hair, her years, her wisdom.I photographed the ocean with a little palm tree in the corner. I come from three generations of people from islands — in Puerto Rico, Cuba and Spain. The ocean is part of who I am. I photographed in Old San Juan, searching for daily moments and color, life. I photographed in Cayey, the town where my family is from. And I photographed my grandmother, because life is deeply connected to ancestry and the experiences of love and hurt by those that came before me. She did not want to have her photo taken because she had not dyed her hair and she said did not look “beautiful” — so I photographed her hidden white hair, her years, her wisdom.
In Comerío, a town affected by the storm, I photographed the remnants, the life, the faith, the hope, a hammock in an unconventional place that seemed like a beautiful place to rest. The floor base of what was once someone’s home and was taken by Maria last September. An image of Christ placed outside, near a big Puerto Rican flag painted on a rock.In Comerío, a town affected by the storm, I photographed the remnants, the life, the faith, the hope, a hammock in an unconventional place that seemed like a beautiful place to rest. The floor base of what was once someone’s home and was taken by Maria last September. An image of Christ placed outside, near a big Puerto Rican flag painted on a rock.
It was, personally, a challenge to say: How can I photograph there places that have formed me with the core of what I felt from the poem in mind — that sense of life and complexity of being?It was, personally, a challenge to say: How can I photograph there places that have formed me with the core of what I felt from the poem in mind — that sense of life and complexity of being?
I put the poem in the lock screen of my phone for the days I was shooting, so I was constantly thinking about it. I think it changed as I went out to shoot and gave myself permission to see my surroundings with more care and love, and with less pain and hopelessness.I put the poem in the lock screen of my phone for the days I was shooting, so I was constantly thinking about it. I think it changed as I went out to shoot and gave myself permission to see my surroundings with more care and love, and with less pain and hopelessness.