Many people have asserted that a portrait says as much about the photographer as it does about the subject. Looking at Catherine Hall鈥檚 evocative images, it鈥檚 easy to see what they mean. Despite the diversity of her subjects, from upscale New York City brides to underprivileged Appalachian children, Catherine鈥檚 images reflect a consistency of vision that arises from her empathetic approach to photography as a whole and to her subjects as individuals.
The ability to make this kind of connection is often an overlooked asset, especially among photojournalistic approaches that encourage photographers to remain detached observers. For Catherine, the objective stance has its moment, but i
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