Willis with the show, ©Rikii Altamirano, 2025
Blending Documentary Realism with Narrative Fiction in Photography
By Rikii Altamirano, July 2025.
Introduction
In an age where photography is often defined by instant sharing and algorithmic appeal, emerging photographer Willis Gent has carved a more considered path, one rooted in observation, patience, and storytelling. This article explores Gent’s journey through university, his evolving visual language, and the philosophies that guide his work. From technical discipline to creative spontaneity, his reflections offer insight into what it means to build a photographic voice in today’s ever-shifting visual culture.
One of Willis’s key decisions was rejecting a larger wall in favour of a more intimate setting. His reasoning?
"The natural, diffused lighting in the smaller space was perfect: no harsh reflections, just clean, even illumination. It complemented my work far better."
His prints, framed with standard glass, avoided disruptive glare, a feat he jokingly attributed to luck rather than technique.
Three Years of Evolution: From Doubt to Confidence
Reflecting on his academic journey, Willis acknowledged his growth:
"This final year, I proved to myself that I could create work I was truly proud of. I pushed harder than ever. That’s not to say I didn’t give my all in earlier years, but this time, I left nothing to chance."
While he has no immediate plans for a master’s degree, he remains open to future opportunities. For now, he is focused on personal projects and professional work, eager to explore life beyond formal education.
Defining His Style: Documentary Meets Storytelling
Willis describes his work as:
"A balance between documentary truth and constructed narrative. The images are real, unedited, and raw but the sequencing and presentation invite viewers to question the story behind them."
This approach aligns with Martha Rosler’s (2004) exploration of documentary photography as a medium that "negotiates truth rather than dictates it" (Rosler, Decoys and Disruptions). Similarly, David Campany (2020) argues that "the best documentary work leaves room for the viewer’s imagination" (On Photographs), a principle Willis instinctively embraces.
Gear, Process, and the Trials of Film
Willis relied on a Nikon D850 with a 35mm lens, ensuring consistency. Every shot was taken on a tripod, eliminating focus errors.
His brief foray into film photography, however, was less successful:
"I fell out of love with it. My film camera kept malfunctioning, mimicking the shutter sound but producing blank rolls. It was infuriating."
This experience echoes Stephen Shore’s (2007) observation in "The Nature of Photographs" that "technical limitations can either stifle creativity or force innovation", a dilemma Willis navigated by returning to digital.
The Power of Exploration and Serendipity
A key piece of advice from Willis for aspiring photographers?
"Don’t overthink it; just go outside. Walk, observe, and let the environment guide you. Some of my best ideas came from random conversations in pubs."
His projects often revolve around geographical paths, using them as frameworks rather than literal subjects. This method resonates with Alec Soth’s (2004) concept in “Sleeping by the Mississippi” that caring tripod with camera 8x10, “rather than narrate a specific story, Mr. Soth uses his 8″ × 10″ camera to photograph a distinct feeling which speaks to a particularly American understanding of freedom”, (Milo, 2025).
Influences: Jem Southam and the Art of Subtle Storytelling
Willis cites Jem Southam and Matthew Genitempo as major influences, admiring their ability to blend documentary with poetic ambiguity.
"Their work isn’t loud or aggressive; it’s quiet, deliberate, and leaves space for interpretation."
This aligns with John Szarkowski’s (1966) seminal idea in The Photographer’s Eye that "a photograph is as much about what it excludes as what it includes."
What’s Next for Willis Gent?
With his degree completed, Willis is ready to embrace the next chapter, whether in freelance photography, exhibitions, or unexpected ventures. His keen eye for narrative and commitment to authenticity will undoubtedly shape his future work.
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Willis Gent’s journey exemplifies how technical skill, creative vision, and perseverance converge in compelling photography. His work is a testament to the power of documentary storytelling, a medium that, as Susan Sontag (1977) noted in On Photography, "invents as much as it records."
For students and enthusiasts, Willis’s insights offer practical wisdom and artistic inspiration, making this interview a valuable resource in the ever-evolving world of photography.
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Academic References Supporting Willis’s Approach
- Company, D. (2020). On Photographs. MIT Press.
- Rosler, M. (2004). Decoys and Disruptions: Selected Writings, 1975–2001. MIT Press.
- Shore, S. (2007). The Nature of Photographs. Phaidon.
- Solnit, R. (2000). Wanderlust: A History of Walking. Penguin.
- Szarkowski, J. (1966). The Photographer’s Eye. MoMA.
- Milo, Y. (2025). Alec Soth: Sleeping by the Mississippi | March 12 - April 24, 2004. [online] Yossi Milo. Available at: https://yossimilo.com/exhibitions/160-alec-soth-sleeping-by-the-mississippi/press_release_text/ [Accessed 23 May 2025].
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© 2025 Rikii Altamirano. All rights reserved.
This article, including all text, interview content, and photographs, was independently conducted, written, and photographed by Rikii Altamirano, with full acknowledgement and informed consent of the interviewee.
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This article, including all text, interview content, and photographs, was independently conducted, written, and photographed by Rikii Altamirano, with full acknowledgement and informed consent of the interviewee.
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