You may have noticed the work of Sam Chinigo displayed in the windows of his New London studio at 170 State Street. It's difficult to walk past his photographs and not take a moment to appreciate their beauty. Chinigo's main focus over the years has been wedding photography, but he has certainly made it into his own art. His distinctive style has been defined as "candid, photojournalistic and cinematic" and has earned him an array of awards. He's received 2007's and 2009's International "Best of Weddings" award. In 2009, he was awarded a "Court of Honor" award by the Professional Photographers Association of Rhode Island. In 2007, 2008, 2009, and most recently 2010, Chinigo won the title of "Wedding Photographer of the Year" and received a Fuji Masterpiece Award from the Connecticut Professional Photographers Association.

Recently, Main Street Intern Tiffany Rich, a photography student at The New England Institute of Art in Boston, had the opportunity to interview Sam.

TR: How long have you been in the New London Area?
SC: Actually, I just got here a few minutes ago. Sorry I'm late. Seriously though, I opened the studio here in 2008 at The Crocker House. I had a large space in the building, and am currently moving into smaller space there.

TR: So you usually don't shoot in the studio?
SC: I prefer to do most sessions "on location" as it allows me to get more creative with the surroundings. But having the studio is great when a more controlled lighting scenario is necessary such as with maternity sessions, babies, etc., and it serves as a "home base" to meet before going out to Harkness Park or around the city.

TR: I saw some of the urban session portraits - they are great! The photos with the little boy, he seemed like he had a blast!
SC: Yeah, I took those in October of little Cory who goes to school with my daughter. His mom asked me to take the photos and really loved the images. I produced a coffee table book for her. I really enjoyed it, and I will be trying to market the "Urban Session" in the coming months.

TR: So, how did you get your start in Photography? When did that begin?
SC: I actually always had an interest in photography, but just like so many other people, I went around snapshooting without knowing what I was doing. One year my wife bought me a single-lens reflex (SLR) camera for Christmas, and I figured I should probably learn how to use it. I took an adult education class on basic photography, and that's when my fascination began. There is so much to it - I'm still learning and growing as a photographer and artist. But it really took me over. I actually ended up working at the studio where I was taking the class. After the course was over, I expressed my interest in shooting weddings, and the owner/photographer let me assist him at a few.

TR: It's one of those things you really have to be involved in to be great at.
SC: Honestly, you really have to live it. And it is an evolving art form. For me, it was just one of those things that felt natural. Up until that point, I was going through life working in corporate America, in advertising agencies, design studios, etc. Then the light bulb went on, and it became clear to me that "This is what I'm supposed to be doing". I really never fit into the corporate mold. I guess I "march to my own beat" as they say.

TR: So working with the other photographer as an assistant - is that what led you into wedding photography?
SC: It gave me the opportunity to discover my passion and pursue it, but I actually only assisted him twice. After that, he was booking me out on my own. Looking back, it was totally insane, but I was all gung-ho and confident so I went for it. I kind of jumped in the water and figured out how to swim once I was there. And fear is a great motivator. I didn't want to screw something up. I would read every book, attend every seminar, and do anything I could to prepare myself and get better, as fast as possible.

After that I kind of became the "wedding guy" at the studio. I was doing more creative things, and people seemed to be drawn to it. Brides started to request me. A few years later, I'm out on my own and trying to make a life out of it. It's still unbelievable to me at times. It's funny how your whole life can change directions so quickly. For me, it changed Christmas morning 1999.

TR: So how did you develop your unique style? Was there anyone who was a particular inspiration?
SC: My interest in wedding photography goes back to when I would attend the Woodstock Fair and view the work of photographer Guy Grube. He was a master photographer with full control of every aspect of the craft. He showed me that wedding photography wasn't all stiff cheesy posing and that there could be a creative aspect to it. He was a storyteller, and his images had a dramatic aspect to them. His influence is pretty evident in my imagery. I still feel like a cheap knock off of the original sometimes.

I just had never seen wedding photography like that. It totally inspired me. But at that point in my life, being a photographer seemed like a farfetched idea. Something I "should have" done with my life instead of something I "could do". My wife and I still kid around about how I would drag her over (with her eyes rolling) with me to his display every year. Years later when I started shooting, it really bled into my style. People were comparing my work to his, which was a huge compliment for me. He's since retired and now actually he refers people to me! It's like the torch has been passed. I never dreamt that I would go this far with it.

TR: So you started in film - are you shooting in digital now?
SC: Yes, but even when I was shooting film I had all my negatives scanned into digital files so I could work with them after. So, I guess I was never solely a film photographer. The good thing about shooting film was that you had to learn exposure. You couldn't look at the back of the camera, evaluate the image, then adjust and re-shoot. You had to get it right the first time. And, you only had so much film to use. The more you shot, the more you had to pay to have the lab develop. It was a good time to learn. Switching to digital was a little challenging because the exposure latitude wasn't as forgiving. However, digital lets you adjust things easily.

TR: Would you ever go back to film?
SC: No way. Digital is awesome. Just creatively, it has opened up a whole new world of possibilities. It has allowed me to stretch artistically. It gives freedom to experiment and push the boundaries in ways we would have never been able to.

TR: So you spend a lot of time in post-production? You do all your post-production yourself?
SC: Yes and Yes. That's been my niche, from day one. Most people weren't doing that when I started this. Now everybody's doing it. Photoshop has become more advanced, and there is an abundance of post-production programs, photoshop actions, and plug-ins that will do the work for you.

And, there's so much more information out there for photographers to learn from now. Everyone goes on others' websites & blogs to see what everyone is doing. We're all connected via Facebook, Blogs, etc. There are speakers going around giving lessons and workshops. Everyone's teaching image manipulation, and it's gotten to be mainstream. When I started, I had only seen it in work like Guy Grube's, but now it's everywhere. When I started, people were looking at me like an artistic genius or something, but I was just doing what I thought improved the feel of image. The problem is, with all of the access to education and inspiration out there, everyone's work is starting to look the same. If you like someone's style, it's not too hard to mimic it.

TR: Has the New London area had any impact on your work?
SC: I love the location. I love the urban aspect, and it's close to the water. I deliberately located here because New London really has a lot going for it. It's a multi-faceted environment. I can do urban sessions, I can go down to the ocean, the parks, everything, it's all here. The whole city is my studio.

TR: Have your clients ever made comments about the New London area itself?
SC: I've received a lot of positive feedback. I cover such a broad area, Massachusetts, Connecticut, Rhode Island, some New York, so many of my clients are coming here for the first time. And then there are the others who remember the "old" New London - the bad elements. They're delightfully surprised to see all the restaurants, shops and galleries. It has really transformed into an arts community and has a great local music scene. I do what I can to show people the "new New London". I love the location, love being here, and love that there's a conscious, concerted effort for improvement. There's a direction. Hopefully it continues, as it brings more people in. It's infectious. I think it has a lot going for it and its still growing in many ways.

TR: In the business aspect, what was the hardest part about getting your business going?
SC: For me, it actually wasn't too difficult getting my wedding business off the ground. It really took me by surprise. I went out there, did a bridal show at Mohegan Sun to get my name out there and booked 20-25 weddings in my first year. I took every job that came my way. Then I was knee-deep in post-production work. I got more business every year, and the backlog of production work kept getting worse. I was also working a full-time job. Between the two jobs, I think I was putting in about 90 hours a week. I just figured it out as I went along. I never really "set up" my business, because I was always in a reactionary mode, just trying to catch up. It sort of "happened" to me. I am just now getting to a place where I can focus on other aspects of the business, thanks to my graphic designer & friend, Michele. If it wasn't for her taking care of my album designs, I'd still be insane. By the way, I'm not claiming to be totally sane here.

Taking care of business isn't what I want to be doing; I need to be focusing on the creative aspect. I'm pretty good in marketing, as I worked in graphic design and marketing and advertising for a lot of years. It's really never been about the business for me. It's a necessity, but I've never had to be a shrewd businessperson. It's getting tougher though, because we're all fighting for our piece of the pie. And when it comes to photography in particular, the value is being lost. With the cameras getting better and soccer moms with digital SLRs, everyone is a "photographer". It takes a discerning eye to see professional work these days. I think we are so bombarded by imagery everyday, that we are becoming numb.

TR: Do you have any plans to grow your business?
SC: Initially when I moved here, I rented a large space because I wanted to grow into something bigger than myself. I wanted to have a staff of photographers and do every type of photography. There would be an office manager, editors, etc. But then it occurred to me about a year ago, that I was moving away from what I really loved to do. I really love doing the weddings and being involved. I kind of took a u-turn and decided, as long as I can provide for my family and have time to spend with them while doing what I love, that's enough. That's success.

I had a vision that when I decided to stop doing this, I would have a business that would still support me, but I doubt I ever will get to that point. There are also more headaches involved in having a staff, having to train people, deal with turnover, human resources, etc. It's hard to find someone that will stick with you for the long haul. Right now, I am fortunate to have good friends and family helping me out.

And, really, art is a personal expression of who we are individually. Our one strength as photographers and artists is our vision. And our personal experiences help to mold that vision. Thinking someone else is going to see things the same way is unrealistic. But that's a good thing.

TR: Do you shoot specifically for contests and awards?
SC: No. I know plenty of photographers that do that, and then have others finish the images and prints. But I've never done it. It wouldn't feel right to give someone an image and ask them to turn it into a masterpiece for me. I shoot for myself, and for my clients. I didn't even compete until 2007. I didn't think my work was good enough. In my first competition, I took Best in Show, which gave me a taste. Then I took home Best in Show in every following competition that year. Then I won an international competition. I set the bar pretty high for myself that year. Now if I don't do well, I feel like I'm going backwards. But the whole process is so subjective, that I try not to take it too seriously. A print that does well in one competition can totally flop in another and vice versa. I question why I stress over some award I'll throw in my spare room. It's a good marketing tool, as it sometimes validates my work or pricing to people. But I still wonder why I put myself through it at times.

TR: How do you feel though, winning a title of the Best Wedding Photographer?
SC: It doesn't feel real. I still don't understand or even know how it happened - 3 times! Honestly, there are plenty of people that are better than me. It's funny, I see their work and feel like maybe I should be shooting more like them, but they probably look at my work and think the same way. Who knows? All you can do is do your best and put it out there. It's all a little surreal at times. The international award was weird. They had sent me a notification that I was a finalist, which was really my goal. But when I won the grand prize, it was unbelievable. You enter those things thinking you really don't have a shot, out of the hundreds or thousands of entries. But you just never know how much impact a piece is going to have on the viewer. It's kind of like with my clients. I'll show them the proofs, and sometimes they'll love one of the least artistic shots. It might be because of the subject, the emotion, or something specific they relate to within it. Art should move you in one way or another. You can try to steer the viewer, but you never really know what they will connect with, and that's what its about. It's a personal thing. But I don't feel like I've done my best if I haven't provided them with some masterpieces, or what I call "The Incredible Sam Wow" shots. Keep an eye out for the infomercial.

TR: Do you have any words of advice for anyone that is trying to get into the deep part of photography?
SC: Go back now while you still can. Get a real career. Seriously though, it's about trusting your vision. Your vision is your strength. Be inspired by others, but don't copy them. I'm very inspired by other people's work, but I don't like to mimic. I may love a concept or a lighting situation, but I try to put my own flavor into it and make it my own. My mind is always trying to figure out how to take it to the next level creatively. Anyone can learn photography; few are artists. That is the only way to succeed in the market now. I guess the best piece of advice I can give - what has worked for me - trust yourself, be true to yourself, because it's always easier to be you than to be someone else. There's no right or wrong, it's all up to interpretation. It's an art form. Know the rules, know when to break them and when not to.

Sam Chinigo's work can be viewed on his website www.samchinigo.com or on his blog at http://samchinigo.blogspot.com/. If you wish to contact Sam, please do so through his contact form on his website or email him at sam@samchinigo.com.