“can i take a pic of you naked?” - A Chat With Photographer Camille Harvell
In hopes of starting a discussion about the nature of intimacy, Camille Harvell’s latest photography collection, “can i take a pic of you naked?” is a candid and poignant depiction of emotional vulnerability, in spite of her own self-description of herself as an “emotionally reserved” person. Throughout the course of her young career, Harvell has gained experience as a freelance photographer and creative, while simultaneously featuring as a Podcast Co-Host for A Little Louder Co., a company designed to amplify the voices and stories of women of colour. Now, she hopes to inspire others with her signature visual romanticism, New York locale, and genuine appreciation for the little things.
Late in February, Editor Caitlin Andrews was given the chance to speak with Camille about her recent photography release, and how her experiences as a woman of colour have shaped her creative journey. Periphery Magazine was also given the lovely opportunity to publish some of Camille’s photography, which you can find here. Read on for more.
Caitlin Andrews: Hi Camille! How are you doing?
Camille Harvell: “Hi! I’m doing good! Hope your day is going well.”
CA: What were your earliest experiences of taking photographs? What interested you in photography specifically?
CH: “Photography has been part of my life for a while. I remember when I was around twelve years old, I got my first Apple product: an iPod Touch. One day it snowed, which isn’t normal where I’m from, and I ran down my cul-de-sac and took a picture of my house at the end of the street. I put some filters on it and adjusted the light and everything, and I remember being really proud of myself. So, I guess my iPod was my first camera. Then, in high school I decided to take a photography class because I needed an elective and I thought it’d be easy. What was really cool was that we had a darkroom and only SLRs, so I really learned the photography basics there and just fell in love with the process. Since then, I’ve continued to create my own projects and just shoot when I have the time.”
CA: Your most recent photo series, “can i take a pic of you naked?” was a black and white collection of naked or partially undressed young people. What was your motivation behind releasing this series? Were there any emotions or messages you were specifically trying to convey throughout the work?
CH: ““can i take a pic of you naked?” is the first project I’ve done since November 2020. I was inspired to do it because I was in a relationship where I felt extremely comfortable with my body, to the point where I thought, “I could probably walk around naked in front of my friends and not care.” But then I sat with that thought and realized how afraid I’d actually feel in that moment, and I began to ask myself why. Of course, the answer had to do with my own insecurities, but I also realized that I couldn’t be vulnerable with my friends here in New York. So, my motivation was to break down a barrier with my friends, who are the subjects of this series, and see how vulnerable we could be with each other. I allowed them to choose one article of clothing to wear, because I also wanted to see what they would cover up. The boys chose to wear their boxers, one girl wore a very large shirt, and another was butt naked. It’s really interesting to see what people are afraid to share because in a way, for me at least, it makes them feel more human when you realize they are just as uncomfortable about certain parts of themselves as you.”
CA: What’s been your most difficult moment while shooting? What’s been the most satisfying?
CH: “It’s difficult shooting someone that obviously isn’t comfortable in front of the camera, but it is extremely satisfying when you get them to loosen up and then one of those photos is your best.”
CA: The culture of your New York seems to feature prominently in your work, from both the physical scenery to the people you photograph on the street. Do you think living in NY has had any effect on the photography you produce, or your motivations for doing so?
CH: “Slightly? I’m actually not sure. I was fascinated by New York City when I was younger, so I definitely romanticize it in some of my photos.”
CA: Who would you consider the photographers that have influenced you the most? Are there any specific works that have had a significant impact on your creative vision?
CH: “I love all of Diane Arbus’ work. I think she was a genius. There’s a softness to her work that I really love and hope to capture in my own work. Recently, I saw “Woman with a locket necklace in Washington” at a gallery and was just entranced by the photo. I’m not really good at describing why I love certain things, so I’m sorry that’s all I have to say, but I love her.”
CA: Based on your love for black and white photography and depictions of candid humanity, your work usually contains a nostalgic, affectionate feel. Would you consider yourself a nostalgic person? How would you describe yourself?
CH: “Thank you for describing my work in this way! I wouldn’t consider myself a nostalgic person, but I wish I could. I’m more of a daydreamer. I romanticize a LOT of things and I imagine myself in so many different scenarios. I’m not sure if that’s good or not, but it’s something I do. I’d describe myself as emotionally reserved, passionate, ambitious, and someone who has a lot of love to give.”
CA: Is there one photo that means something really special to you? Can you walk us through a few of your favourite photographs, and how you managed to capture them so successfully?
CH: “So I haven’t named my photos, but I’ll try to describe them the best way I can. My favorite and most special photo is one from my series, “III,” (named after the Walt Whitman poem) where my partner at the time has a pillowcase tied around her head and she’s sitting upright on a bed with her hands holding her breasts. I think it’s the best photo I’ve taken, yet it’s so difficult for me to describe because this project was so personal for me. It was my first time sharing the fact that I was dating a woman and I actually presented it in my class and CRIED. This photo in particular was just so special because I concealed her identity and I think I did it because with the new relationship, I felt like I lost who I thought I was, but that was actually a good thing for me. What matters is that I put a lot of love into that photo and into that project. It’s my favorite series and I hope to see some of the photos hanging in a gallery one day. As for some of my other photos, any of the photos I took during my time in Italy are also my favorite. I captured them so successfully because I wasn’t concerned with being perfect. I saw light hit something in a cool way and then I snapped. Also, a lot of my subjects from the Italy photos are strangers and it was really fun to just see someone, go up to them and be like, “Hey, do you mind if I take your photo?” and then capture a great moment.”
CA: In reference to your photo series “Black Girls,” how do you think your experiences as a woman of colour have affected your photography? Are there any women of colour who have inspired your process, directly or indirectly?
CH: “My experience as a woman of color has made me really self-conscious about sharing my work. I always feel like I have something to prove, when really, these photos are for me. Regarding “Black Girls,” I did that with my mom and sister because I realized I wanted to clearly represent myself. It was a weird project though, because I put myself in front of the camera, and just made me never want to do that again. The women of color who have inspired my process are the women in “Black Girls”—my mom, my sister, and myself. We’re all the same: independent, daydreamers, wanting more. They definitely influence and indirectly inspire some of my work.”
CA: How does dividing your photography work? Do you usually come up with a theme for your photo series ahead of time, or does the theme find you when all the photographs have been taken?
CH: “Both have happened before actually. When it comes to thinking of a theme ahead of time, I like to give myself some time. I’m not that worried about putting too much pressure on myself to shoot a project, so I just let it come to me. And then, there are times when I’m editing photos and I realize they work together really well and can go into a series.”
CA: What’s the most recent photograph you’ve captured? Do you have any upcoming work you’re planning to publish or exhibit in 2022?
CH: “The most recent photo I captured was for my photography class. I’m back on an SLR, working with black and white film (yay!), and I took some practice photos to get a feel for my camera, so nothing interesting yet. I don’t have any upcoming work that I’m planning on publishing yet, but I have been reaching out to people and small galleries for representation.”
CA: Any closing comments, fun facts, or words of advice for budding photographers?
CH: “I feel like everyone tells budding photographers to shoot daily and as much as you can. I think that’s a good strategy for when you’re ready to make it into a career, but if you’re just starting out and you really want to understand the medium, I say take your time and shoot when your heart desires. For me, sometimes that’s every day, and then it’s also once a month. Take your time with your work and put a lot of love into it because these photos are a reflection of you and they are for you.”
CA: Where can our Periphery friends find you?
CH: “My Instagram is @camilleharv and my photography Instagram is @camillehphotos! Thank you :)))))”
Periphery Magazine thanks Camille Harvell for her contribution, and wishes her luck with future exhibitions!
Cover Photo by Camille Harvell. Edited by Caitlin Andrews.
