The more of these events I do the more I come to realize they all take on their own personalities regarding my images and what subjects I’m drawn to. For Brooklyn it was most definitely candid portraits and street scenes. I did capture compelling images of the battle and retreat, but in post-production I was drawn to the faces of this event. Please see my Battle of Brooklyn Gallery for the complete set of images.

The Commander's Intent for this project says the goal is to reveal the human continuity between past and present. Where my eye goes is the seam between the two — the place where the eighteenth century and the twenty-first are pressed together hard enough that you can see the join.

Most photographers at these events are shooting the reenactment. I've gotten more interested in the collision.

The Village interprets the years 1790 to 1840, and its living history program is built around the 1830s. This is a world on the cusp of the industrial revolution, a rural economy tilting toward industry — a world that arrived a full half-century after Lexington Green. The museum opened in 1946 and now covers more than two hundred acres, with roughly forty antique buildings relocated from towns across New England and upstate New York, three water-powered mills, and a working farm.

Nothing about that description is Revolutionary. The men who fought at Concord would have been old men here, if they were alive at all.

In the early morning light before the June Putnam Heroes event in Carmel, New York, two reenactors walked quietly through the dew-covered grass, discussing how they expected the day to unfold. In that quiet moment, the 250th anniversary felt less like commemoration and more like continuation. This is the essence of my Rev 250 project: capturing the moments that connect 1776 to 2026 through candid observational photography.