How would you describe your photography in one sentence?

My photography could be described as boring, but I like to think of it as quietly taking photographs of the moments we miss, while making sure to include some surprises along the way.

What initially drew you to Camera of the Month Club?

I am always looking for community in my art. A place for my work to be reviewed and creative envy stoked. CMC is a welcome space for people of all artistic backgrounds and experience levels, so we see a lot of different work. I find the variety inspiring. I love the jealous feeling I get when I see exciting new work at the critique table; I immediately head home and instinctively pick up the work I had last put down. I feel alive and invigorated to push through my creative rut by trying something different.

I also wanted more people to walk with in my free time. Documentary photography is a very lonely pursuit and projects can consist of focusing on one subject for many years. Exploring the vast and ever changing metropolis is much better enjoyed with company. CMC has allowed me to form bonds with a variety of artists, to teach and learn as we walk, and to see the city through another’s eyes in real time.

What’s something you’ve learned about your photography since becoming a director?

I have so much more to learn lol. Being part of this collective for a while now has allowed my work to evolve and reflect upon itself. I have been taking photographs for half my life now, but being part of a collective has given me the permission to explore different forms of photography. To place new definitions or restrictions on my process. Experiencing the different perspectives or artistic goals of the members has led to new pathways in my work.

Are you more instinct-driven or concept-driven when you shoot? Why?

I have always been more instinct driven as a photographer. My discovering and admiration of Garry Winogrand’s process at a young age, distinctly shaped my vision. I often take photos with a 42mm equivalent lens so that I’m able to capture everything around me as naturally as my eyes see it. I like to be in the crowd or walking against the flow of foot traffic to give the viewer a distinct sense of place within a city. I love a good crosswalk in Manhattan.

I’ve been consuming a lot of photo books lately. 2025 changed my perspective after I read Art Work by Sally Mann and picked up a copy of Partners Issue 3 - Why Be Together?. I had been a collector of life on film, but not a creator of art. Reading Mann’s words and struggles with her process really helped me to imagine the photographs I would like to be taking. Partners magazine helped me reimagine what the physical manifestation of a human bond could look like and how community could be represented.

I decided to sell my film camera and commit to digital with a fully manual lens for 2026. I need to take more photos without being restricted by cost. I’ll come back to film, but probably with something bigger than 35mm. I am working on a family project and taking notes on how I want to photograph my loved ones. I’m experimenting with flash and self portraiture.

Share 5–10 images from your archive that excite you right now. What connects them?

These images are all film. Since this year is all about digital for me, I’m experimenting with how images feel, rather than the content. Does the light feel present? Are these people friends, lovers, family? Does this image feel like real life - I want these questions to come up and I want to have fun as I answer them. I’ll probably focus mostly on creating black and white images, but I’d like to find some settings that produce pleasing colors, reminiscent of my film photography. These images serve as a reminder or maybe a goal post.

Member Spotlight: Ashton Gooding, Co-Director