Welcome back to our ongoing series featuring the staff and volunteer who work here at the CHC! This post introduces our photography consultant/photograph archives assistant, John Dalterio.
My name is Louis Dalterio, but everyone calls me by my middle name, John. I grew up in between Massachusetts and Connecticut with my mother, who was raising me on her own at the time. I was trained as an electrician in trade school, but upon graduating I discovered that I found no passion in that line of work. Instead, I wanted to be a film director.
All throughout high school I made skateboarding videos with my friends and consumed every film that the local Blockbuster sold as it went out of business. When I turned twenty I decided to attend community college to study film-making. A few months after enrolling, I attempted to make my first film with some Kickstarter funding and a small cast and crew from my local area. We discovered then that a Hollywood vision without Hollywood’s resources was nearly impossible to produce. After much deliberation, I decided to take the pragmatic route and shift my focus to a more simple and solitary art practice – photography.
In the Spring of 2012 I transferred to the Art Institute of Boston to fully pursue my interest in photography. The cityscape, chaotic and congested, could not be more different from the environment of my backwoods New England upbringing. For all its chaos, though, the city was rife with subject matter for the camera lens. Immediately I began wandering through side streets and back allies, searching for great moments to capture or interesting people to meet and make portraits of. After a few years of doing this while earning my bachelor’s degree, I had produced three photo series and two photobooks, which I am still fond of today: “Almagest,” and “Nayara.” Flipping through the pages of the image laden books, I recalled the excitement I felt when I first watched the dailies from the failed indie film. For a time, making and consuming photobooks became not only my hobby, but my sole obsession.
After the completion of my first photobook, I began working for the Cambridge Historical Commission as a photo restoration specialist. I was brought in to restore over 1,000 historical images that were to be used in the book, “Building Old Cambridge,” which was published by the MIT Press in 2016. The process of preparing the images took nearly a year and a half, which was a time of great perseverance and learning for me as I strived to produce high quality images on tight deadlines while balancing my school work. At the end of the book’s preparation process I left the commission to complete my bachelor’s degree at Lesley University, which had absorbed the Art Institute of Boston in the time since I had first enrolled. The move from Kenmore Square to Porter Square in Cambridge turned out to be a much-needed break from the hustle and bustle of Downtown Boston, allowing me to think more clearly and focus on the thing that I cared about most, my art.
As I neared the completion of my bachelor’s degree, I applied for and won an artist residency in Sweden, which was a magical experience that eventually led me to enroll in Lesley’s Master’s in Photography and Integrated Media program. This path would lead me away from photography for two years to focus on interactive installation art. Now, however, approximately one year after graduating from the master’s program, I find myself coming back to photography, and, thankfully, back to the Cambridge Historical Commission. This time, however, I am making the photos instead of restoring them.
Mornings at the Historical Commission are very special to me. As a slow riser, I am grateful for the ability to settle in with my coffee and pastry from the shop across the street and watch the light as it pours in through the windows, pouring over the loose documents that were left out from the previous day’s studies, the various busts of noble figures that sit atop the surrounding filing cabinets and shelving units, and, eventually, the historical objects that I place in its path. I am fond of the Historical Objects Collection at the CHC, with my favorite part not being a single object, but the subtle character that each object contains, and the stories they tell when illuminated.
In my time outside of the commission, I am a(n) freelance video producer, digital media specialist, art teacher, and artist. On a more personal level, I am a dog father to this sweet lady named Layla:
And step-dog father to this special lady named Lulu:
Thank you, John!
