As a wedding and portrait photographer I was keeping myself busy and really getting the hang of my craft. Looking at other photography to study light and posing, I realized I loved the fashion world because the set and clothing were so film like. I longed for something similar to those works of art.

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I wanted to do a more personal project; one that I could tell a personal story with.  A story that wouldn’t just be one couple’s story, but a story that would resonate with every couple that will and has said, “I do.”  And around Christmas 2010, I came up with the idea for Ball and Chain.

Like all of my work, my standards were high.  I contacted actress Kelly D’Ambroiso and pitched her the idea. She was immediately on board.  Like most brides, my project needed “the dress.”  I searched the Internet for hours.  At this point Lile Sizemore had partnered with me to work with wardrobe and art design.  We began exchanging ideas through email and finally found the right look and a seamstress to create the dress through Etsy.  The dress arrived in less than a month and it was more wonderful than I had imagined. 

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Then there was the location.  My research started through the Virginia Film Office, but unsatisfied, my eyes were searching everywhere that I went. The location became the biggest challenge and was keeping the project form moving forward.  A tip from Coralee Roasles led me to an old country store on her neighbor’s property. 

Once we had permission, we stopped by to see if this would be the place.  I wasn’t happy at all with what I saw through the front windows.  I thought for sure that I would still be stuck.  We headed to the back entrance.  As soon as I opened the door I had found my room.

There was so much depth staring at me through the doorway, and the staircase was perfect.  I had my reservations at first because the room was so small, but after a test shoot I knew that we had our space and we were ready to move forward. 

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Now where was I going to get a ball and chain with a key and shackles?  Barry and Molly Keller pitched in with their artistic craftsmanship and made the props just like I had envisioned.

For the day of the project I had a few assistants and a photographer documenting the project.  Laura Swift was able to capture us working which was such a blessing to have. My husband Joseph Caldwell was key in helping walk me through the story of all the shots. Allison Keys and Allison Laster both helped moving lights around and helping the models. Kim Bonner was also supportive in so many ways. Donna Hicks, my wonderful mother, was there and supporting me as well. The shoot went smooth and the photos where a great starting point.

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After the shoot, I needed to find which pictures best told the story.  Twelve pictures finally stood out.  I digitally processed the images and then my some enhancements in Photoshop.

Now what?  I had a beautifully completed project, but was unsure what to do with it.   And I didn’t want to just stop here.  Other stories related to the topic of marriage and families are waiting to be told.

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I shared Ball and Chain with a few close friends and worked on having the photos published in a book.  I explored other options but never was at peace with what to do with this project.  I wrestled with my choices; a year had passed, and now two. 

During a restless night, I questioned myself, yet again, with what I was going to do with Ball and Chain.  I had looked to hosting them as their own stand-alone art show, but the cost was out of my reach.  And what is to be said about the timing?  Has it been too long?  Regardless of time, what is art if no one has seen it? 

 

Marriage is about trust, and for me, this project is now about trust.  I have stepped into a place of trust with the Lord to release Ball and Chain to the public on a website for everyone and anyone to experience.