Welcome to this edition of [book spotlight]. Today, we uncover the layers of 'Off Days,' by Tatum Shaw. We'd love to read your comments below about these insights and ideas behind the artist's work.

In the realm of visual storytelling, Tatum Shaw stands out with his distinctive blend of personal and observational photography. Based in both Portland, OR, and Atlanta, GA, Shaw has carved a niche in capturing the essence of the mundane and the extraordinary through his lens. The "Off Days" series, a project that began almost inadvertently, offers a window into Shaw's introspective and nuanced view of the world around him. In this interview, Shaw delves into the accidental origins of the series, its evolution amidst global upheaval, and the introspective journey it represents, both for the artist and the audience.

What inspired you to start the "Off Days" series, and how did your approach to documenting daily life change as the project evolved, especially during the pandemic? What do you hope viewers take away from "Off Days"? Is there a particular feeling or message you aim to convey through these images?

I didn’t really intend to start anything. I had worked in color 35mm up until 2017, before switching to digital for a new project. But my digital camera was so big and conspicuous that I realized I missed how easy the rangefinder was. So picked it back up when I wasn’t working on my new project and popped in a roll of b&w just for fun. I had no intention behind what I was shooting at all. It was sort of lazily shooting off images in my free time. But after a few years of that, around 2021, I realized there was something to these photographs. They had a sort of droll feeling that matched what was going on in my head at the time. Plus they were drained of color, which felt appropriate given how subdued life was then.

What do I hope viewers take away from the images? That’s hard to say. There’s not really a message.This is not a documentary project about life during quarantine or anything like that. I thought it could be for a minute there, but that is just so boring and not my style so I quickly snapped out of it. This is more about a feeling and immersing the viewer in a crafted world. To me, this world is at times funny, confusing, and a bit ominous. If the viewer feels that as well, then I suppose I’ve succeeded.

Dual Meanings: "Off Days" carries a dual meaning, initially referring to the images being secondary to your color projects and later resonating with the pandemic's impact. How did this shift in perspective influence your selection and presentation of the photographs in the series?

Well it definitely didn’t help. because once I settle on the theme of a project, I tend to pre-edit what I photograph. Like “Hmm, but is this that thing I’m after?” Which is the worst thing you can do. Plus once it starts to feel like an assignment, it feels like work. And that’s no fun. That’s how my lazy brain operates.

Daily Life and Global Events: Your series offers a window into your life during a tumultuous period. How do you balance the personal narrative with the collective experience of the pandemic and social unrest?

I might’ve answered this in the previous question. But all my work is a personal narrative. I could’ve gone out to rallies and marches, but that is just not my beat. The closest I came to getting a glimpse of the social unrest in the work was the image of the Qanon billboard. I have a fascination with that just because of how ludicrous it is, and the fact that it has roped in a few of my family members.

The Southern United States: Much of your work is set in the Southern United States. How do regional culture and landscapes inform your approach to capturing "Off Days"? Do you see the South as a character within your work?

That’s a good question. I guess it could be thought of in that way. The south has my favorite light out of anywhere I’ve ever shot. The runner up being Los Angeles. The shapes of the clouds and the moisture in the atmosphere give the light such an otherworldly quality. So I think it helps set a surreal mood when I’m shooting. It really does 80% of the work for me. I must say, though, I was hoping Off Days could be seen as its own place, in a way. I shot in Cape Town, Portland, Hawaii, Los Angeles, with the South covering about 60% of the remaining locations. But I guess it makes an impression.

Documentary vs. Personal Photography: You blend elements of documentary photography with personal exploration. How do you navigate the line between these two, particularly when documenting sensitive or private moments?

That’s always a tough thing to figure out. If I were more bold, I’d probably photograph a lot more sensitive moments. I’ve definitely missed some great images in an effort to be polite. You just have to consider whether or not it’s worth it in the long run. I do have one photo from a funeral, but I still feel bad about it. I’m also really sensitive about bugging people, so I almost never ask strangers if I can take their photo.

Film Photography in a Digital Age: You've expressed a preference for the lightweight ease of shooting film on a rangefinder. In an era dominated by digital technology, what do you feel film photography captures that digital does not?

Maybe it’s because I’m middle aged, but it has a nostalgia that is hard to argue with. It can just be a simple aesthetic preference, which is enough of a reason for me. For Off Days I did like the idea of shooting only on 100 ISO to make the images a little older, under exposed in some cases. I like the idea of these looking like a book of found photos in a thrift shop, someone’s memories, which you can’t really do with digital.

The Role of an Advertising Copywriter: As someone who also works in advertising, how does your professional experience shape your photographic projects? Do you find that the principles of advertising influence your storytelling or aesthetic choices in photography?

I think being an ad copywriter helps me with concepts and ideas. It definitely helps with sequencing a book, in that I think of it like editing a montage and using color or visual themes to give the works some kind of structure or narrative thread. I’ve been lucky enough to work under some really smart, conceptual craftsmen, whether it be creative directors, film directors, cinematographers, editors, or wardrobe stylists. Agency life was sort of my art school in that way.

Future Projects and Evolving Themes: How has working on "Off Days" influenced your approach to future projects? Are there themes or techniques from this series that you plan to explore further?

Off Days influenced my next project in that I want to do something with a different aesthetic. That’s always the case with me. I think I have a theme I can’t ever quite escape from, which is this mix of anxiety and nostalgia. So that will likely always be there. It was there in full color with my project Plusgood!, which preceded Off Days, and it’s there in my next project as well.

To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here.

Tatum Shaw (Website, Instagram) is a photographer and advertising copywriter based in Portland, Oregon, and Atlanta, Georgia. Renowned for his ability to intertwine personal exploration with documentary photography, Shaw captures the subtleties of everyday life through his lens. His series "Off Days" delves into the mundane yet profound aspects of daily existence, reflecting a unique blend of humor, confusion, and a touch of the ominous. Shaw's work, deeply influenced by the southern United States' culture and landscapes, offers a surreal perspective on the ordinary, inviting viewers into a meticulously crafted world.

We'd love to read your comments below, sharing your thoughts and insights on the artist's work. Looking forward to welcoming you back for our next [book spotlight]. See you then!