Features

Raising Snively: Construction of Snively Arena, 1960. Photo by John P. Adams, University Archives

I trace my appreciation for and love of photography to a summer job I had 30 years ago at the Manchester Historic Association. One of my responsibilities was to make contact prints from the glass-negative collection documenting the city of Manchester and the Amoskeag Manufacturing Company. This extensive archive of prints and negatives impressed upon me the importance of photography as a tool for sharing history with a wide audience.

After graduating from Franklin Institute in Boston in 1971, I came to the university as the photo lab technician under Jack Adams. In 1974, I began producing films and exhibitions on New Hampshire history and culture. It was during this period that I came to appreciate the importance of creating and preserving photographic collections for future generations. When I became the university photographer after Adams retired, I fully understood the significance of the collection of images that I and the rest of the photo staff were compiling. Every year, the staff photographer—Ronald Bergeron, Douglas Prince, Lisa Nugent and I—create thousands of images of university life, which must be available for immediate use by the rest of the university. Outdated negatives are moved to Special Collections for preservation.

Fire! Fighting the horsebarn fire, 1961. Photo by Richard Merritt, University Archives

Recording university life on film has changed dramatically since Moran began his study in 1914. Today, the university's teaching and research extend to all parts of the globe, and recent assignments have taken staff members to Washington, D.C., Anaheim and Belize. Each week, assignments take us to all parts of New Hampshire. Although we continue to use the view camera to make archival black-and-white photographs of traditional subjects, increasingly the demand for color imagery in digital form for Web and print use has reshaped the way we take photographs. Ironically, with all the technological advances of photography and digital imaging, Moran's beautiful black-and-white fiberbase prints may very well outlast the color images we are creating with current technology.

My personal approach to photography is not unlike Moran's. I want to create a comprehensive pictorial history of the university and to document the people and culture of New Hampshire. I see the process of creating a portrait as a collaboration between myself and the subject in the subject's familiar environment. That environment is an instrumental part of the portrait, revealing a facet of the subject's character. While I set up my camera, I try to draw the subject out in conversation and the ensuing dialogue will shape my portrayal of the individual. And like Moran, I prefer using a view camera and black-and-white film to capture subtle nuances of tone and character.

Outstanding Professor: Sarah Way Sherman, winner, 1989 Oustanding Assistant Professor Award, photographed at the Sarah Orne Jewett house, South Berwick, Maine. Photo by Gary Samson, UNH Photographic Services

The story of the university is complex and ever evolving. Visualizing that story photographically presents new challenges—both artistic and technical—on a daily basis. Knowing that we are contributing to the rich legacy begun by Clement Moran 86 years ago makes those challenges a worthwhile and gratifying experience. ~

Gary Samson is an award-winning filmmaker and photographer. His work is in private and public collections including the Currier Gallery of Art and the State of New Hampshire. He is the author of three books on New Hampshire history.

 Easy to print version