Ronan Callahan
Photography plays a vital role today by revealing scenes and perspectives beyond our daily experience. As a photographer, I recognise my responsibility to portray people and places respectfully, always seeking permission and consent. I value collaboration with my subjects, aiming to create images that reflect both our perspectives. My approach adapts to the situation, whether shooting portraits in the studio or capturing landscapes in the field. I strive to make my subjects comfortable, lightening the mood with music or ensuring a relaxed, fun atmosphere. Understanding the pressure of being in front of the camera, I prioritise a joint effort in creating art. I take my time with images, reflecting on their meaning to present them thoughtfully.
Some photographers that I often look to for inspiration and influence are Larry Sultan, Steve Pyke, Willem Verbeeck, Robert Frank and Alec Soth.
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My Fondest Memory of School Was When it Was Finally Over
I am delving into the intricate relationship between Irish male subjects and school, addressing the profound impact a school has to shape perspective on the world and emotional development. In this ongoing photographic project, I explore the divergent paths that these individuals have taken, breaking away from the ideas and morals instilled in them by their schools. The project navigates the evolution of the subjects' beliefs and career choices, highlighting the ways in which they have strayed from the norms imposed during their formative years.
Employing a range of mixed media, the project seeks to go beyond traditional boundaries, capturing the essence of the subjects' metamorphosis. One feature of this endeavour lies in the amalgamation of archival images, interwoven to create a visual dialogue. This juxtaposition contrasts the innocence of the subjects before their immersion into a rigid schooling system against their present-day realities. Whether it be their residences, workplaces, daily commutes, or cherished pastimes, the project casts a spotlight on the multifaceted aspects of these mens’ lives. Through this lens, it privileges their personal narratives but equally invites contemplation on the enduring influence of all our educational experiences, prompting the viewer to reflect on the imprint of their own schooling and how it has shaped their identities.
The Important Thing is Not to Win
The Important Thing Is Not To Win is a photobook about the intimate journey of male subjects within the vulnerable confines of a photographic studio. Challenging societal expectations and stereotypes surrounding masculinity, the images depict the self-discovery of the subjects through their journey of stepping into the photographic studio, offering a fresh perspective that celebrates vulnerability as strength. The essence of this project is encapsulated within the title, ‘the important thing is not to win’, it is about being present and taking part in something outside of your comfort zone and being open with your true self. The most important part of this project was gaining the trust of the subjects to show off their vulnerability and their confidence throughout the process of our shoots.
This project was inspired by some of my previous work recreating portrait paintings; I looked to 17th century Dutch painting and techniques used by artists such as Leonardo da Vinci and Rembrandt, analysing their mastery of lighting and posing in their work. While the images I have made for this project do not directly imitate theirs, my process heavily relies on the way they sat, posed, and lit their subjects. The images I drew the most inspiration from have been included in a grid towards the end of this book.