I’m Sarah and I’m the photo artist behind Schwab Photog.
My medium is photography but writing, performance and collaboration are other methods I use to communicate.
Nothing fulfills me more than chasing that good light and connecting with people.
I received an Associate’s degree in Applied Science in Professional Photography from Colorado Mountain College in Glenwood Springs, Colorado in 2010. I’d say this gave me a foundation in the technical training of photography. From 2011-2013 I worked at Anderson Ranch Arts Center in Snowmass Colorado, absorbing the many artists and ideas that flowed through. Time spent at AR woke the artist within.
Alignment is achieved when my photography mixes with active lifestyles, outdoor adventure, social justice, creative individuals and groups.
Primarily I am photographer but video holds opportunity as well. Two international documentaries have my contributions. The first made in Nepal to share the work of a non-profit, One Heart World Wide. The filming was done under the direction of Phil Borges and it centered on the work One Heart has done equipping local Nepalese people with safe natal care practices.
The second film, Siglo A Century in the Soil is an ongoing field project. Made in Guatemala, the footage has been used to provide incentives for sustainable coffee industry practices. Devon Barker directs, produces and presents this information to leaders of the coffee world.
Many other projects and day to day experience contribute to who I am as a photographer and is constantly re-shaping my “frame” of mind.
Overall, my photography is about the sense of wonderment, delight and the adventure life can hold.
Recently I’ve taken to teaching workshops based in photography. I focus on the intent or motivation behind image making. These workshops focus less on technical aspects and more on the why of photography. Why are we taking pictures when we travel? What is our intent? How do you build a sincere connection with the subject of your interest. What are our responsibilities as visitors to other cultures and landscapes? How can our imagery be a voice for the voiceless, an advocate for conservation? This might be where my most important work stems from.