克里斯多夫·兰塞姆获得了德克萨斯大学奥斯汀分校的美术学士，费城艺术学院绘画设计的美术学士，特拉华州大学的摄影的美术硕士。 他曾在宾夕法尼亚州费城艺术学院和特拉华州纽瓦克市特拉华大学教学。 他在俄亥俄州肯特市的肯特州立大学视觉传媒设计学院被授予终身副教授职位。 兰塞姆的教学和创作在肯特州立大学的学士学位图片插图的设计和应用项目中起了积极的作用。 该项目在2013年春天获得国家美术与设计学院协会的资格认证。 他的作品曾在Graphis，Print和Architecture杂志上发表。 他的众多作品被私人收藏，同时也被国会图书馆、国家历史建筑保护基金会、伍德斯托克摄影中心和德克萨斯州休斯敦美术博物馆收藏。

客户包括：阿勒曼、阿尔姆奎斯特和琼斯；水陆两用车辆；鲍尔、路易斯、斯洛尔；建筑师博特、希尔、科萨和莱特曼；科佩林德协会；弗朗西斯、科夫曼、威尔金森和佩波；富兰克林协会；盖德斯、布瑞谢尔、奎尔斯、坎宁安；赫尔姆斯利绿地股份有限公司；力博公司；麦考密克泰勒协会；约翰米尔纳协会；米切尔朱尔戈拉公司；毛理斯植物园；马林朗尼根协会；讷福尔建筑公司；勒尔麦戈文；一个阅读中心协会；费城园艺协会；费城杂志；规模架构模型；宝石广告宣传；沙利文阿尔法；维特他组织；华莱士、罗伯特和托德；建筑师凯利马耶洛；GSI建筑公司；理查德和弗莱希曼建筑公司。

摄影与生俱来的就有自身的特点、韵味和魅力。 架构、镜头、灯光和化学过程（元素和数字），这些独特的成分使得精确地视觉描写之间的衔接成为了可能。 我们周围千变万化的世界拥有低调而强大的能力，从而在时间和空间两个维度，创造了当前的独居的记录，以降低对作品神秘感的损害。
我常常被奇迹般的东西所触动。 这种批判性的临时港湾，在形式和内容上可能会揭示出真实的故事，有时可能会提供一种经历，一种在实质上超越所有的构成成分的经历。 我非常高兴可以参与这一领域。 赫尔曼梅尔维尔曾写道:“寂静高于并参与了所有具有深远意义和有感情的东西。” 我的摄影所记录的事物、地方都一种寂静感。 也可以感受到一种视觉上的寂静。 当我突然发现这些地方时，我总是会停下来。 确实，在我打开快门之前，东西本来就是寂静的。

奇怪的是，这些宁静的地方总是处于转变的状态。 在一个对应话题中时间和存在的层面，公然地被变换和侵蚀的力量揭露出来。 在这次揭露里，过去和现在同时上演，诚实地揭露事物的核心本质。 当我看到这些短暂特殊的时刻时，我总是会受到悲痛情绪的冲击。

Christopher Ransom has a Bachelor of Arts degree from the University of Texas at Austin, a Bachelor of Fine Arts in Graphic Design from the Philadelphia College of Art, and a Master of Fine Arts in Photography from the University of Delaware. He has taught at the University of the Arts in Philadelphia, Pennsylvania; the University of Delaware in Newark, Delaware; and is a tenured Associate Professor in the School of Visual Communication Design at Kent State University, Kent, Ohio.

Ransom was instrumental in the design and implementation of the Bachelor of Science degree program in Photo-Illustration at Kent State University. The program earned accreditation from the National Association of Schools of Art and Design in the spring of 2013.

His work has been published in Graphis, Print, and Architecture Magazines. In addition to numerous private collections, his photographs are represented in The Library of Congress, The National Trust for Historic Preservation, The Center for Photography at Woodstock, and The Museum of Fine Arts, Houston, Texas.

Clients include: Allemann, Almquist + Jones; Amtrack; Bower, Lewis and Thrower; Burt, Hill, Kosar, Rittelmann Architects; Cope-Linder Associates; Francis, Cauffman, Wilkinson and Pepper; The Franklin Institute; Geddes, Brecher, Qualls, Cunningham; Helmsley Greenfield Inc.; The Linpro Company; McCormic, Taylor & Associates; John Milner Associates; Mitchell & Giurgola; Morris Arboretum; Mullin, Lonergan Associates; Norflor Construction Corporation; Leher McGovern; One Reading Center Associates; The Philadelphia Horticultural Society; Philadelphia Magazine; Scale Architectural Models; Stone Advertising; Sullivan Arfaa; Vitetta Group; Wallace, Roberts & Todd; Kelly Maiello Architects; GSI Architects; and Richard Fleischman Architects, Inc.

Innately within the photographic process resides an intrinsic, rhythm and grace. Unique components of frame, lens, light and chemistry (elemental or digital), all make possible the articulation of precise visual description. From the ever-changing world around us, the humble yet powerful ability to create a solitary record of the present, in dimensions of both time and space, I often find to touch upon nothing short of the miraculous. This critical instant harbors the potential to reveal something that is truly novel, in form and content and, at times, might offer an experience that substantially transcends all constituent compounds. It is in this arena that I joyfully participate and hold dear.

Herman Melville wrote eloquently that, “All profound things and emotions of things are preceded and attended by Silence.”1 I am drawn to places or things that are invested with this sense of silence. There is a visual silence that can be felt. I am always stopped when I accidentally discover such places. Indeed, what precedes the opening of my shutter is silence.

Curiously these silent places frequently exist in a state of transition. Layers of time and existence are openly revealed, in a counterpoint dialogue, by the forces of change and erosion. In this revelation the past and present are displayed simultaneously, honestly exposing the essential core of the thing itself. I am often struck by a sense of pathos as I bear privileged witness to these brief and special moments.