- jennyhutchinsonart
- Mar 20
- 3 min read
Something really special occurred in the art studio this March (2026).
Last spring, I received an inquiry from well-respected photographer Jim McLaughlin asking me if I would be interested in a long-exposure photography series of artists in their studios. Though my natural tendency prefers to avoid the camera, this seemed really interesting so I delightfully accepted.
Timing initially was not to our favor as the majority of my artwork was away at a show until summer. I invited Jim to see the work in-person and he graciously accepted by visiting my artist talk. At the talk, I shared my recent preoccupation with fluorescent paper, colored pencil, or paint in my work and how I am exploring new techniques to amplify their unique effects. Additionally, the idea of illumination or depicting light in vibrant and purposeful ways both in concept and material was a central theme. As I looked into the crowd, I observed a smile on Jim’s face and knew he understood what I was describing. The vision to translate my fluorescent and colorful palette was born -a perfect compliment to long-exposure photography.
Plans continued to be delayed, summer came and the sun would be up too late into the day given the amount of windows in my studio. By fall my work would be away again at another exhibition. Followed by holidays, schedules, the new year, and life.
Finally timing aligned.
While photos documenting artists in their studios is social media digital oxygen and synonymous with history. What occurred felt entirely unique and special.
Firstly, I did not know what to expect, and did my best to resist my curator tendencies and not pre-set the space. I was also very nervous about my own photogenic capabilities, when placing myself in front of a camera all of a sudden, my face and body no longer move in ways that are natural. Many fellow camera shy people can likely relate to the ‘Franken-face’ that no longer feels like your own and instead a mix-match of independently moving parts. Like a young child when asked to smile, your face forgets the movement somehow and you just awkwardly bare your teeth. Regardless, I was greatly relieved to have the guidance of an expert and support of friendly assistants that helped placate my anxieties
When they arrived, we broke the ice by introducing the newest element to the studio: a small wall space carved out for my husband - often jokingly dubbed my “art manager”- for his own creative pursuits. Jim’s partner had visited the space 2 years prior when we had just finished building it, though truthfully projects like a barn art studio are never finished. We joked our new shared space is the ultimate test to our marriage- especially since like most artists, I’m quite territorial about my workspace.
After some quick tests, everything just ‘clicked’, the process felt effortless under Jim’s adept eye and guidance. The session also became a delightful team effort, a masterfully crafted orchestra of elements conducted by Jim. With one person on the shutter, Jim painting the scene with light, and another person directed to light specific parts of the scene, the studio transformed.
Though my “art manager” had initially intended on staying fully behind the scenes as the light assistant and ‘face positioner (j/k)’, Jim’s vision eventually drew him into the frame. Those images turned out to be some of my most favorite images.
Out of the darkness, the artist, tools, and works were revealed. It resulted in imagery that feels more closely aligned with my intent than anything I’ve seen before. We were so invigorated by the experimentation that we could have likely kept working through the evening. Later sleep was impossible that night and I was still buzzing throughout the next. I didn’t have to wait long however, a series of messages arrived by the next evening, the images were ready.
The photography expertly captured the essence of the artist, artwork, and environment. A typical studio with artist, artwork, and materials transformed into something more. Even with the color and scene shifts, the core intent of my work remained intact. The images with “art manager” accurately reflect our shared space and relationship as well. A creative sanctuary where feedback is exchanged and a relationship where we do our best to support and empower one another. Overall these images mirror themes in my work - environments in active states of becoming, spaces that provide connection and foster inevitable change.
Jim is continuing to build the long-exposure photography series and has already photographed multiple creatives and other scenes throughout the region, with more planned. I’m very much moved by this project and work and cannot wait to see where it leads. I’m so very honored and thankful to have been invited to be part of it. My sincere gratitude to Jim.
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