My father, John A. Rehor, author of The Nickel Plate Story, The Berkshire Era, and photographer for Trains Magazine, used his photographic skills as a train accident investigator for The National Transportation Safety Board in Washington DC. He encouraged me to take up photography at an early age and I had access to his home darkroom. My mother, Shirley Cunningham Rehor, was a dance instructor in Roanoke, Virginia, who raised me and was influential to my method of craft and vision. I initially enrolled in the art program of Virginia Commonwealth University, Richmond, Virginia, but after five semesters transferred to The Corcoran School of Art, George Washington University, Washington DC and earned a BFA in photography in 1994. I received my first professional photography assignment in 1995 and started shooting full time in 1999, working for magazines, corporate clients, educational institutions and creative agencies, specializing in environmental portraiture. In the last 24 years, I have been based out of Denver, Chicago, Baltimore and Washington DC.
I have recently started teaching photography workshops and I am involved with artistic as well as commercial projects. I am working towards my MFA in photography for the purpose of teaching and I am also in the process of writing a book about experiencing how the final phase of the film era transitioned into the “digital revolution.” There have been some amazing technological advances and conveniences to be gained, but it hasn’t all been hearts and flowers. In fact, the field has been wrought with turmoil, from the demise of Kodak and the pro lab, to the serious decline of the local industry and the professional camera shop. Hopefully I can help contribute a new chapter to the history of the medium and perhaps shed some light on the subject.
My influences include Man Ray, Clarence John Laughlin, William Christenberry, Harry Callahan, Joyce Tenneson, among many others. I prefer quiet and abandoned locations to photograph, in the late evening or “magic hour” when I can control the lighting. My most creative work involves capturing the essence of a subject appearing like they were neither here nor there, an apparition, subtly fading into the background. Sometimes the environment or an object becomes the apparition.
I think the photographic medium is ideal to convey both realism and the poetic spirit: a marriage of reverie and substance.