TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945

McNay Art Museum
TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945
February 3 - May 9, 2010

Drawn from the rich collections of the George Eastman House, TruthBeauty shows the rise of Pictorialism in the late 19th century from a desire to elevate photography to an art form equal to drawing and painting, and extends Pictorialism's historical period by including its influential precursors, its persistent practitioners, and its seminal effect on photographic modernism. Photographers such as Alvin Langdon Coburn, F. Holland Day, Heinrich Kühn, Edward Steichen, and Alfred Stieglitz are included in this exhibition.

Please visit www.mcnayart.org for more information

TruthBeauty is a smaller version of the exhibition of the same name produced by Vancouver Art Gallery. Both versions were curated by George Eastman House International Museum of Photography and Film. As of November 4, 2009, funding at the McNay is generously provided by the William and Salome Scanlan Foundation and the G. A. C. Halff Foundation.

IMAGE: Eva Watson-Schütze, Woman with Lily, 1905; platinum print; courtesy George Eastman House

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David Scheinbaum: Cambodia Exhibition

David Scheinbaum: Cambodia
January - June 2010
at the Angkor Hospital for Children
Siem Reap, Cambodia

“Photography is a means of communication. As a photographer I aspire for my images to express my feelings and thoughts about my subjects. An added benefit is when the work can help effect change in the world. With this exhibition I hope to achieve that goal.”

-David Scheinbaum

People familiar with David Scheinbaum typically associate his name with his photographic work, his dedication to teaching, and his publications. What many people are not aware of is that David spent much of his childhood in and out of a children’s hospital in Brooklyn, New York.

 In 2007, in Santa Fe, during an afternoon visit with the respected artist and friend Kenro Izu and his wife, photographer Yumiko Izu, David was introduced to a first hand account of the Angkor Hospital for Children that Kenro had started in 1999 after a trip he had made to Cambodia. Kenro was able to raise both awareness and money for the hospital with the help of the international photographic community. Each year The Friends Without A Border hold a photographic auction that can be viewed on their website at fwab@fwab.org.

While discussing each other’s work Kenro suggested that David make a trip to Siem Reap and include the temples of Cambodia in his current work on stone and it’s uses throughout the world, as well as visit the hospital.

While visiting the hospital David was taken back to his experiences as a child. When invited to exhibit his photographs made during that trip he was pleased to have the opportunity to help the Angkor Hospital for Children. In his own words he states:
 

“I know how my life was not only changed, but my very being is a result of the care that I received as a child. The work that is happening on a daily basis at the Angkor Hospital for Children is unparalleled in Cambodia. The lives that are affected number in the thousands. I couldn’t ask for a greater reward from my artistic endeavors then to help raise funds for this cause.”

-David Scheinbaum


About the Hospital:

The Angkor Hospital for Children, sponsored by Friends Without A Border, is a leading pediatric hospital providing free healthcare to children in Cambodia. On average, 350 children and their families arrive at the hospital each day. Since opening in 1999, AHC has provided nearly three quarters of a million child treatments, and has been recognized by the Ministry of Health as an official teaching hospital, having trained hundreds of healthcare and NGO workers throughout Cambodia and beyond. Friends Without A Border supports AHC as a not-for-profit corporation under section 501(c)(3) of the U.S. Internal Revenue Code.

A portion of all print sales will benefit the Angkor Hospital for Children.

Gelatin silver prints edition of 36 $1,600
Archival pigment inkjet prints, edition of 10 $750

www.angkorhospital.org

View the photographs at www.photographydealers.com

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Verve Gallery of Photography Presents A Group Exhibition by Three Gallery Artists

Stanko Abadžic
Julio Bittencourt
Michael Crouser

 

Opening Reception: Friday, January 22, 2010, 5-7pm
Exhibit is on view through Friday, March 13, 2010
 
Gallery Talk with Michael Crouser
Saturday, January 23, 2009, 2-3pm

 


Verve Gallery of Photography is pleased to present a three-person exhibition of documentary photography with Verve gallery artists Stanko Abadžic, Julio Bittencourt and Michael Crouser. The public reception is held on Friday, January 22, 2010 from 5-7pm. The exhibition is on view through Friday, March 13, 2010. There will be a Gallery Talk with Michael Crouser at Verve Gallery on Saturday, January 23, 2010 from 2-3pm.

STANKO ABADŽIC

Stanko Abadžic will be exhibiting black and white gelatin silver prints from his imagery that has a street photographer’s aesthetic, including a wide range of genre and themes in the artist’s signature style.

Abadžic’s use of shadow, line and form coupled with his juxtapositions create irony, humor and satire. The images are familiar, yet distinct, capturing an Eastern European timeless sensibility, as though they could have been made today or in the early 20th century. They remind the viewer of the old world, where people were friendly, modest, and had humor about their misgivings; playfulness was abundant yet people worked hard and the world was uncertain.

Abadžic’s work is characterized by strong contrasts of light and dark and an interest in patterns and geometric forms created by long shadows, brick or cobblestone streets, intricate ironwork designs, fences, and other grid-like elements-shot mostly in Prague and other Eastern European cities. He seeks out children playing, people on bicycles or lingering at street cafes, and has an eye for irony. There is a strong sense of nostalgia and transience running through his work, due no doubt to his experiences as a displaced person.

Stanko Abadžic was born in 1952 in Vukovar, Croatia. At the age of 15 he began to teach himself photography. After marrying, he worked as a reporter and photojournalist to support his family. When the Croatian War of Independence broke out in 1991, Abadžic left everything and fled with his family to Germany for what he hoped would be a brief stay. After four difficult years, during which he took few photographs, they were denied German citizenship and forced to leave. After moving to Prague, Abadžic experienced a rebirth and began exploring the city with a medium-format camera. At this point in 1995, he began to develop his visual eye in earnest.

Abadžic was able to return with his family to Croatia in 2002, settling in the capital of Zagreb. He continues to visit Prague to take photographs and also shoots on the Adriatic Sea. Abadžic has had solo exhibitions at the Museum of Modern Art Dubrovnik, Museum of Modern Art Rijeka, Mimara Museum in Zagreb, and various galleries in Japan, Argentina Prague, Berlin, and other Eastern European cities. He is represented in the United States by John Cleary (Houston, TX), Verve Gallery (Santa Fe, NM) and Contemporary Works (Pennsylvania).


JULIO BITTENCOURT

Julio Bittencourt will be exhibiting his award winning color photographs from the book and print series, In A Window of Prestes Maia 911 Building.

This series centers around what is thought to have been the biggest squat in the world: 911 Prestes Maia, a 22-story tower block in central São Paulo, the largest city in Brazil. In 2006 the abandoned building was home to an estimated 1630 people including 468 families with 315 children - a mini city within a very big one. In 2002 the ‘Movement for the Homeless’ had moved hundreds of homeless families into the empty building, who in turn made the place habitable, even going so far as providing a library, cinema and workshops. Then suddenly, in March of 2006, the inhabitants learned they were going to be evicted within a month. Julio Bittencourt photographed the diverse occupants at their windows, from which they communicated with one other, recording the happiness and dignity in coexistence with decay and neglect.

Bittencourt’s photographs are a powerful record of this diverse community. He grew up in São Paulo where he became accustomed to people communicating across windows as family and friends lived on top of and next to each other. As such, windows were always a significant part of BIttencourt’s life and this is what drew him to create this project.

"To be able to photograph a window I also had to be positioned in one [across from the subjects in other’s homes]. I think that by choosing windows, and only them, I created a ‘rigorous game’ that I proposed to myself – to look at windows, from windows… My intention was to show a symbolic and a physical ‘barrier’, the decay of the materials, the dignity of the people who survive behind them and the decay of a system that doesn’t integrate its inhabitants into society but moves away from them making these ‘barriers’ each time bigger."

The building was finally evicted in 2007 and many residents were relocated to public housing developments in the east side of the city, Some returned home - usually northeast of Brazil and other South American countries, while others have joined other, much smaller squats, mainly downtown. The artist has been following this theme for more than a year, in his new series called Citizen X.

Julio Bittencourt was born in Brazil, grew up in São Paulo and spent his adolescence in New York. In 2000 he began his career at the photo department of Valor Economico, the major financial publication in Brazil where he worked as a staff photographer and as assistant-editor for four years. Since 2006 Julio has been working as a freelance photographer for magazines, newspapers, advertising and corporate clients in Brazil, Europe, Canada, Japan and the United States, in addition to his personal projects. Julio's work has been exhibited in galleries and museums worldwide and published in magazines such as Geo, National Geographic, Stern, Le Monde, The Guardian, Esquire, Leica World Magazine, among others. In 2008 he published his first book, In a window of Prestes Maia 911 Building, which was awarded the Leica Oskar Barnack Award. Julio currently lives in São Paulo.


MICHAEL CROUSER

Michael Crouser will be exhibiting black and white gelatin silver prints from his soon-to-be published book, The West.

This Kodak sponsored project features imagery of the disappearing world of cattle ranchers in Colorado, all shot on Kodak Tri-X film. The imagery is made in Crouser’s style of warm-toned prints with soft blacks that allow for a sense of serenity even in the sometimes stark subject matter.

Like the artist’s previous work on the world of the bullfights in Spain, Mexico and South America, these Western pictures examine and document a rough, dangerous, age-old and disappearing world. The artist is drawn to the timeless elements in this work–horseback riding; branding with hot branding irons; cowboys wearing chaps and cowboy hats and chewing tobacco.  The artist was intrigued with the soft-spoken, kind cowboys and cowgirls that he’s met along this exploration. The Colorado landscape was a new subject for the Crouser, usually photographing in the warmer climates for his bullfighting series.

“The West is a series that had its beginnings as long ago as 1997, with some test shots I did on a ranch in Telluride, Colorado. Almost ten years later, as I found myself in a period of general and photographic malaise following the death of my mother, I was invited to come back to Colorado, to a friend's ranch near Gypsum to photograph that year's calving. I wasn't hopeful of gathering much, as my heart really wasn't in it. To my surprise, I found myself captivated by the work of the ranchers I met, and made some pictures during the week that got me excited about holding a camera again. My friendship has grown with these wonderful people, and as they have introduced me to neighboring ranchers, so has the series.”
-Michael Crouser

Michael Crouser was born in Minneapolis, Minnesota in 1962, and graduated from Saint John's University (Collegeville, MN) in 1985. His first monograph, Los Toros, was published by Twin Palms Publishers in the fall of 2007, and was given 1st Prize in the category of Fine Art Book in the International Photography Awards. Both Los Toros and his second book, Dog Run, were recognized in Communication Arts, PhotoDistrict News and the Lucies/IPAs as being among the top ten photography books of their respective publishing years.  Three prints from the Los Toros series can be found in the permanent collection of the Minneapolis Institute of Arts. Crouser is represented by galleries in Santa Fe, Houston, New York, and Spain.  His third book, with a working title of The West, featuring black and white imagery of the disappearing world of cattle ranchers in Colorado, will be published in the Spring of 2011. Michael Crouser splits his time between Brooklyn and Minneapolis.


CONTACT INFORMATION FOR VERVE GALLERY OF PHOTOGRAPHY
Jennifer Schlesinger, Gallery Director, Verve Gallery of Photography
Email: director@vervefinearts.com
Phone: 505.982.5009  Fax: 505.982.9111
Web: http://www.vervegalleryofphotography.com/

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Charis Wilson, model and writer, died on November 20th, aged 95

Charis Wilson

Dec 10th 2009
From The Economist print edition

THE first time she modelled for Edward Weston, in March 1934, Charis Wilson knew she didn’t look good. At 20 she was “a piece of jailbait”, a mere child, especially with the stumpy plaits into which she sometimes twisted her hair. She was a drifter, moving in a miasma of angry despair in and out of speakeasies and other people’s beds because her father had refused to let her go to college, even though she’d won a full scholarship to Sarah Lawrence, and even though he would certainly have let her brother go. There was nothing to do but work in her mother’s dress shop, sleep around in San Francisco, get pregnant, have an abortion. She had taken a solemn vow of chastity since then, like one of her made-up childhood rituals of lying in freezing cold water, but to someone with her natural generosity it was a heartless, bitter thing. She looked pale, her chin jutting out in defiance and her whole face needing something—like warts on her nose, her mother told her—to make it remotely interesting. READ MORE

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2010 Spring Workshop Schedule for The Center for Alternative Photography

Cyanotype Image by Instructor Robert Schaefer


Feb 28 and March 7
Shooting Large Format Film Cameras with Anthony Hamboussi

March 13
Cyanotype Printing with Robert Schaefer

March 20
Introduction to Bromoil Printing with Joy Goldkind

April 24
Antique Lens Discussion with Geoffrey Berliner &  Eric Taubman

May 2
Introduction to Bromoil Printing with Joy Goldkind

May 22 & 23
Advanced Wet Plate Collodion with Nate Gibbons
                                                  
June 5 &  6
Introduction to Salted Paper Printing with Brenton Hamilton

June 12 & 13
Introduction to Wetplate Collodion Printing onto Metal & Glass with Keliy Anderson-Staley

July 10 & 11
Platinum & Palladium Printing with Carl Weese



Dates TBA:

Making & Shooting Calotype Paper Negatives with Alan Green
Shooting Antique Film Cameras with Andrew French

Introduction to Albumen Printing with Daniel Levin
Introduction to Carbon Printing with Lisa Elmaleh
How to Collect Antique Photographic Images with Thomas Harris
Digital Negative Printing with Keliy Anderson-Staley



Image by Bromoil Instructor Joy Goldkind


The Center for Alternative Photography
36 East 30th Street
New York, NY 10016
917-288-0343
keliy@capworkshops.org
www.capworkshops.org

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World Photography Awards - Cannes 2010

The global, annual awards programme for both professional and amateur photographers.

Accepting Entries until January 4th, 2010.

As one of the largest photographic events existing today, The Sony World Photography Awards (SWPA), reach far beyond an awards programme for the still image. The SWPA is a convergence of festival events, focused photographic agendas, exhibitions, awards schemes, student programmes and an industry-led gala evening ceremony which marks the pinnacle of the week-long event in April 2009.

The Sony World Photography Awards Gala and central exhibitions that support the awards’ nominees and honourees, occurs once a year in the prestigious Palais des Festivals in Cannes, France. The evening welcomes some of the most influential names in the photography industry, from press and media to gallerists, publishers, agents, critics, aficionados and the renowned artists themselves.

From fine art to applied photography in fashion, advertising and sport to humanistic and documentary photography of people, social, cultural and current affairs to the environmental image of landscape, wildlife and ecology, there are few subjects or genres left undiscovered. The celebration of the still image - its roots, conception, adaptation and continuous evolution - is a constant parallel, unifying all categories of the Sony World Photography Awards.

This impressive union of distinct photographic genres has spurred many of the industry’s elite to actively support the SWPA. A very select group of these heavyweights have been invited to form the World Photographic Academy. To date, close to 100 members from the photographic community belong to this academy, from leading international agencies, guilds, galleries, publishing houses, foundations, press and of course renowned photographers themselves, such as Elliott Erwitt, Tom Stoddart, Susan Meiselas, Stuart Franklin, Mary-Ellen Mark and many more.

Beyond the week-long celebration in Cannes, the Sony World Photography Awards continuously create ways in order to support and further promote its existing industry network, the newly discovered photographers and those studying the craft. These many year-long initiatives include the Student Programme, The Sony World Photography Awards Global Tour and the Online World Photography Awards Magazine, Galleries and Store.

http://www.worldphotographyawards.org/default.aspx

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Showcase: Channeling Caponigro

By NIKO KOPPEL

December 18, 2009, 4:40 pm from http://lens.blogs.nytimes.com/2009/12/18/showcase-94/

Paul Caponigro, the 77-year-old master photographer, settled into his chair and lit a cigarette, assuring his interviewer, Michael Torosian, that smoking helped him think. After each question was posed, Mr. Caponigro took a drag, exhaled a spiraling cloud of smoke and only then began to speak. This rhythm continued as he and Mr. Torosian spoke about his photography, philosophy, the Boston of his childhood and classical music.    Continue Reading

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Showcase: A Thirsting Planet

By JAMES ESTRIN

December 22, 2009, 5:00 am from http://lens.blogs.nytimes.com/2009/12/22/showcase-96/

Though James Whitlow Delano has devoted years of his life to photographing the global water crisis, he was not paying much attention to the recent conference on climate change.

It’s not that he didn’t care about what the world’s leaders did in Copenhagen. But he couldn’t follow the negotiations over the earth’s future because he was cut off — virtually incommunicado — working in the Gobi Desert in Inner Mongolia. Lens reached him at an Internet cafe in a small settlement as a sandstorm approached.

Continue Reading and view the slideshow here

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The Year in Pictures 2009 - Photo Essays - TIME Magazine

TIME selects the year's most compelling photos

Kate Westaway

Upside Down
Photographer Kate Westaway went underwater to take this image of a humpback whale calf off the coast of Turks and Caicos. "I was really terrified at first, she says. "I was in snorkel gear, and this humpback calf was brushing me with his pectoral fin. He would slap the water with his tail and then go to his mother, who was sleeping nearby, then return to us. I came eye to eye with him a few times. Maybe he was fascinated by his reflection in my 
 fish-eye lens." The photograph is printed upside down. Westaway says she wanted to show the world from the whale's perspective.

Steven Day / AP

Miraculous
Passengers wait on the wings of US Airways Flight 1549, an Airbus 320 that was safely ditched in the Hudson River after a flock of birds knocked out both its engines. This photograph was taken by artist Steven Day. He recalls, "I have a freelance job on 47th street, on the 8th floor. I was working on my computer when someone passed by me and said, 'what is that?' So I instinctually grabbed my camera —I'm working on a series that involves recording the world around me — and went to the window and started shooting. My initial reaction was 'this must be an exercise.' It didn't occur to me that it was a plane until I zoomed in, because they were just moving down the river like a boat. I mean, you just don't see people standing on the wings of an airplane in the middle of the Hudson River. Alive...The river was moving so fast it was only a matter of seconds before the plane floated past us. The photo here is one of the first frames I took, there's actually a water taxi approaching that ended up being cropped out. Very quickly there were 4 or 5 ferries responding, and passengers were being taken on board. It was strangely calming. This was an incredible situation, and everyone was there and they knew what their job was and what their limitations were and they were just waiting to be rescued."


View More: http://www.time.com/time/photogallery/0,29307,1946595,00.html

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Bob Willoughby dies at 82; still photographer shot on movie sets

By Valerie J. Nelson 

December 22, 2009

www.latimes.com

Bob Willoughby, who created iconic portraits of his muse, Audrey Hepburn, and dozens of other celebrities as one of the first still photographers assigned to capture life on Hollywood film sets, has died. He was 82.


Willoughby died Friday of cancer at his home in Vence, France, said Claire Willoughby, a daughter-in-law.


The rise of Life and Look magazines created a demand for more than routine photo stills from movie sets and led to a career for Willoughby that spanned three decades.


It took off in 1954 when Warner Bros. asked him to photograph Judy Garland's final scene on the set of "A Star Is Born." His portrait of the freckle-faced star became his first Life cover.

Read More at www.latimes.com

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Nine Photojournalists. One Ambitious Climate Change Project.

Originally posted as Nine Photojournalists. One Ambitious Climate Change Project. on December 2, 2009 at 7:39am on www.pdnonline.com:

NOOR photo agency was formed to pool talent and resources behind projects about pressing social issues. Nine of its member photographers just completed a group project on climate change to  influence debate at the UN summit in Copenhagen.

Read the Interview by David Walker

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Workshop with Josephine Sacabo

In this extended week-end workshop, I will be showing you how to make polymer photogravures from either your film negatives or digital files. Polymer gravures are a new method of making gravures without using strong chemicals - in fact they are exposed in sunlight or a UV light and processed in water. The results are as beautiful as copper gravures.

We will be working in my New Orleans studios where I print all of my gravures and you will be making two 8x10 plates and as many prints as time allows. We will also spend some time shooting. We will provide a setting and models in my studio, both male and female. I will then teach you how to make your digital positives on transparent film and we will produce them together.

At this point you will learn how to make your plates and we will print your images together on my large American Standard printing press. This is the process that I use for my work and I am happy to share this exciting experience with interested photographers.

Who should attend: This workshop is open to all photographers in any format.
No prior experience with digital printing or photogravure is necessary.

Level: All levels.

What to bring: Digital SLR with various lenses and a tripod.
Participants who wish to make photogravures of their existing work may also bring their negatives or digital files.

Two models will be available on the first day of the workshop and the studio has a large collection of props.

Dates: May 14-16, 2010. 10am-5pm each day.

Class limit: 8 students.

Biography: Josephine Sacabo lives and works mostly in New Orleans, where she has been strongly influenced by the unique ambience of the city. She is a native of Laredo, Texas, and was educated at Bard College, New York. Prior to coming to New Orleans, she lived and worked extensively in France and England.

Her earlier work was in the photo-journalisitic tradition, influenced by Robert Frank, Josef Koudelka, and Henri Cartier-Bresson. She now works in a very subjective, introspective style. She uses poetry as the genesis of her work and lists poets as her most important influences, among them Rilke, Baudelaire, Pedro Salinas, Vincente Huiobro, and Juan Rulfo.

More Information: 
http://www.neworleansworkshops.com/artists/josephine/photogravure.html

Upcoming Lectures by Susan kae Grant

ASMP Dallas February panel at The Women's Museum Dallas Fair Park:

Featured Speakers:
JEAN ANN BYBEE, commercial
SUSAN KAE GRANT, fine art
CHERYL DIAZ MEYER, photojournalism
ALISON V SMITH, editorial

When: Thursday February 4 (6pm social, 7pm presentation).
Where: The Women's Museum 3800 Parry Avenue Dallas, TX 75226
214.915.0860

_________________________________________________

Visiting Artist Lecture: Susan kae Grant
University of Oregon, Eugene
Thu, Feb 11 2010
7 p.m. –8 p.m.
Room 115 Lawrence Hall
Department of Art
Contact Beth Roy, (541) 346-3609

2009 Southwest Books of the Year

Five Museum of New Mexico Press (MNMP) titles, including Telling New Mexico and Through the Lens, were selected as 2009 Southwest Books of the Year by a distinguished panel, including western writers and librarians.  The annual competition, in its 33rd year, is organized by the Arizona Historical Society/Pima County Library.  Of the 12 "Top Picks", 4 were MNMP publications (the only publisher with as many top picks!) and another MNMP title was picked as a "Notable" book.  All the titles represent great collaborative efforts between museums, authors and MNMP.  I give special recognition to my staff, especially Mary and David for their hard work and talent, and their dedication to producing books of high quality and scholarship.

Here are some excerpts from panelist comments:

"Top Picks":

Through the Lens: Creating Santa Fe, Edited by Mary Anne Redding and Krista Elrich (W. David Laird):  This collection of images, beautifully reproduced, captures the essence of the oldest capital city in the U.S….Fine visual browse with excellent text.”  (Bill Broyles) “[Catches] the magic of the town’s sense of place, identity, and history.  The combination of fine art, historical photography, and documentary work makes for more than just a magnificent volume—it gives a full and inviting sense of North America’s oldest capital.”

Telling New Mexico: A New History, edited by Marta Weigle with Frances Levine and Louise Stiver (Patricia Etter):  “What a great way to get a history lesson!  Sit down, open this book anywhere and enjoy....this is for the general reader, the scholar, and should probably should be in every New Mexico classroom.” (Bill Broyles) “Each of the essays in this book is excellent and many are superb….Other states should do so well.”

New Mexico Colcha Club:Spanish Colonial Embroidery & the Women Who Saved It, by Nancy Benson (Patricia Etter):  “…the author carefully weaves in the history of New Spain along with the art of weaving and evolution of the colcha revival.   All is presented in color in a beautifully designed volume that should be prized by weavers.”

To Walk in Beauty: A Navajo Family's Journey Home, by Stacia Spragg-Braude, Afterword by N. Scott Momaday (Bill Broyles) “This profoundly moving book is about a Navajo family, the Begays….Their story is told in compelling, personal photographs by Stacia Spragg-Braude and in the family’s owns words….read this book.  In an afternoon you’ll gain the insight of a lifetime.” (W. David Laird) “Heartfelt…”


"Notable" selection:
El Rancho de Las Golondrinas by Carmella Padilla, Photographs by Jack Parsons (Bill Broyles) “With a mellow and accurate voice, Carmella Padilla narrates this rich history, enormous passion, and compelling preservation of architecture, lifeways, and community cooperation. Jack Parsons’ photos, taken over a period of 35 years, perfectly complement the text and enliven our sense of being there.” (Patricia Etter) “History at its best.”

Nevada Wier - The Great Unpacking and The Big Camera Cleaning … it must be done

I consider myself a Professional Packer, since I seem to do it all the time. Packing and unpacking. In previous blog posts I have discussed what gear I take on international trips and how I pack all my photographic equipment (and I have my equipment list on my website). Now I’m home after two months of travel and I have to unpack it all (while thinking of two upcoming trips). I hate unpacking, really hate it...

Read More:
http://nevadawier.wordpress.com/

Review LA - posted by Mary Virginia Swanson on Facebook

Few spaces remain for Review LA, across the street from Photo LA; lottery begins soon!

This afternoon I spoke with Laura Wzorek Pressley at CENTER, and learned that there are a few spaces available for those photographers wishing to have their work reviewed by industry professionals at Review LA January 14-16 at the Doubletree Guest Suites in Santa Monica, California.

And as an added benefit for participants, the art fair “Photo LA” is returning to its former location the Santa Monica Civic Auditorium, occurring across the street from Review LA on the same weekend. This way, photographers can participate in a portfolio review event AND attend an art fair on the same trip. And this convenience also makes it easy for those attending and exhibiting at the fair to consider attending the open portfolio walk on Friday evening January 15th which will showcase the work of Review LA participants (held in the Doubletree’s ballroom). Economy in every way!

CENTER, which also organizes Review Santa Fe (an annual juried portfolio review event),offers participants the opportunity to rank the reviewers in order of preference during an on-line lottery. When this period of time concludes, you will know exactly which reviewers you will be meeting with.

From Laura: “The lottery opens this Monday, December 21st, and closes on Tuesday, December 29th. (Note – the lottery and the reviews are not based on a first-come, first-serve basis. It makes no difference if participants enter their reviewer preferences on Monday, or a minute before the lottery closes on the 29th). On Wednesday, December 30th we run the data as submitted, and the resulting schedules will be available for the participants in order to prepare for their reviews. If any spaces are available after that date, the photographers must choose the review spaces that remain.”


To view a list of the professional scheduled to review portfolios, click here.

New Manuel Carrillo Inventory

View VERVE's entire Manuel Carrillo Collection

all images © Manuel Carrillo

View VERVE's entire Manuel Carrillo Collection

Happy Holidays!!!

VERVE's Booth at photoMiami

photoMiami 2009 Exhibiting Artists

photo MIAMI 2009, December 1 - 6, 2009
3401 North Miami Avenue and NW 34th Street, Miami, Florida
Click Here for Directions.

VERVE Gallery can be visited at Booth 101.

Now in its fourth year, photo MIAMI, the acclaimed contemporary international fair of photo-based art, video, and new media, returns in a new, 30,000 square foot venue at NW 34th Street and North Miami Avenue in Miami's Wynwood Arts District. Coinciding with Art Basel Miami Beach, the fair opens on December 1 with a Gala VIP Invitational Reception.

The fair's new location is strategically positioned in Miami's midtown arts corridor. photo MIAMI is on the main thoroughfare for all of the major satellite fairs in Miami, as well as the Rubell Family Collection and the new warehouse for the Rosa and Carlos de la Cruz Collection, which will open that week.

VERVE Gallery will focus on exhibiting women in contemporary photography, representing emerging and established female artists working in all mediums. We intend to expand the recognition of these female artists and add new, lesser-known, as well as desirable artists to the international photographic community of Photo Miami. Works by Susan Burnstine, Brigitte Carnochan, Susan kae Grant, Jane Martin, Beth Moon, Elizabeth Opalenik, Janet Russek, Josephine Sacabo, Jennifer Schlesinger, Maggie Taylor and Nevada Wier will be on view.

Please visit the photoMIAMI website for more information: http://www.photomiami-2009.com

SUSAN BURNSTINE

Susan Burnstine is an award winning fine art and commercial photographer based in Los Angeles. Susan is represented in galleries across the country, widely published throughout the world and has also written for several photography magazines, including a monthly column for Black & White Photography (UK). Nominated for the 2009 Santa Fe Prize for Photography and winner of numerous awards including B&W Magazine?s 2008 Portfolio Spotlight Award.

BRIGITTE CARNOCHAN

Carnochan’s painted gelatin silver photographs have been exhibited at galleries and museums nationally and internationally. A book of her images, Bella Figura: Painted Photographs by Brigitte Carnochan, containing 73 color plates of her work, was published by Modernbook Editions in July 2006. A limited edition monograph with 11 gelatin silver photographs, The Shining Path, was also published in 2006 by 21st Publications. Carnochan was named a Hasselblad Master Photographer for 2003 and her work has recently been featured on covers of Camera Arts and Silvershotz and in Polaroid, Black and White, Studija, and Hasselblad Forum magazines. Three catalogs of her previous work have been published. She teaches photography classes regularly through the Stanford University Continuing Studies program and serves on the advisory council of the Santa Fe Center for Photography.

SUSAN KAE GRANT

Susan Kae Grant received a B.S. in 1976 and a MFA in Photography and Book Arts in 1979 from the University of Wisconsin-Madison. She is a Professor and Head of the Photography & Bookmaking Program at Texas Woman's University and teaches workshops annually at the International Center for Photography in New York City. She was the recipient of the "Crystal Apple Teaching Award" from the Society of Photographic Education in 2003 & 2005 and "The Excellence in Photographic Teaching Award" from the Santa Fe Center for Photography. Grant's photography is in permanent collections of various national museums including the George Eastman House; the Tokyo Metropolitan Museum of Photography; the J. Paul Getty Museum; the Victoria and Albert Museum; and the Museum of Fine Arts, Houston.

JANE MARTIN

Jane Martin was born in Brooklyn and grew up in Huntington, New York. Before graduating Summa Cum Laude from the State University of New York, College at Oneonta with a B. A. in Studio Art, she was chosen to participate in a study-abroad program in Tours, France under the direction of Erik Koch, former student of and assistant to abstract expressionist Hans Hofmann. Immersion in this intensive master-student environment and life in another culture with proximity to European art collections became a watershed in her life. She remained in France for six years, living in the south of France, Lyon, Strasbourg as well as Copenhagen, while painting and traveling to European museums.

BETH MOON

Although Beth was a fine art major, she is a self-taught photographer with interests in alternative printing processes. The majority of her work today employs the Mike Ware platinum printing method that she learned while living in England. Beth has exhibited widely in England, France and throughout the U.S. with solo shows in London, San Francisco and Chicago. She has won several awards including the Golden Light Award from the Maine Photographic Workshops and she been published widely in major photographic magazines.

ELIZABETH OPALENIK

Elizabeth Opalenik’s innovative images using figurative and flower themes have been shown in over sixty international exhibitions, and profiled in most major photographic publications. A sought after teacher/lecturer, she privately leads figure and alternative process workshops in California, Provence, Tuscany, Mexico, Argentina and on barges in Burgundy; she also conducts classes for The Maine Photographic Workshops, Santa Fe Photographic Workshops, The British Guild of Portrait Photographers, the Center for Photography at Woodstock, National Geographic and others. Her work has been profiled in most major photographic publications and most recently she was featured in Zoom Magazine's 30-year anniversary issue.

JANET RUSSEK

Alongside her artistic work, Janet Russek is also a private fine art photography dealer in Santa Fe. She and her husband, David Scheinbaum, founded Scheinbaum and Russek, Ltd., in 1980. The company maintains an inventory of contemporary and vintage photographic works, and it exclusively represents the estates of Eliot Porter and of Beaumont and Nancy Newhall.

The couple has collaborated on two books, Ghost Ranch: Land of Light (Balcony Press, 1997), and Images in the Heavens, Patterns on the Earth: The I Ching (Museum of New Mexico Press, 2005), which won the American Association of Museums award for design in 2005. Russek was a founding member of the New Mexico Council on Photography, and she has served on the boards of the Marion Center for Photographic Arts and the Association of International Photography Art Dealers. Her work is part of the permanent collections of several museums, including the New Mexico Museum (Santa Fe), the Bibliotecque Nationale (Paris), and the High Museum of Art (Atlanta).

JOSEPHINE SACABO

Sacabo, an internationally acclaimed photographer, has had four books of her own work published including "Une Femme Habitée" in Paris in 1991 by Editions Marval; award winning "Pedro Paramo" in 2002 by the University of Texas Press; "Cante Jondo" in 2002 by 21st Publishing; and “Duino Elegie” in 2005 also by 21st Publishing. Sacabo has had solo shows in Paris, London, Madrid, Toulouse, Buenos Aires, Mexico City, New York, Chicago, Los Angeles and other major U.S. cities. Her work has also been widely published in magazines in the United States and Europe, including Camera Arts, B&W Magazine, Rangefinder Magazine, ZOOM and others. Her work is in the collections of the Whitney Museum of American Art - N.Y.; The Museum of Modern Art - N.Y.; The Art Institute of Chicago; Houston Museum of Fine Arts; The Smithsonian - Washington D.C.; The Library of Congress; The New Orleans Museum of Art; The Wittliff Collection – Austin; The Bibliothèque Nationale – Paris; and La Maison de la Photo – Paris; among others.Joséphine Sacabo has taught highly acclaimed workshops at the Center for Photography at Woodstock, the Rencontres Internationales de la Photographie in Arles - France and at the Santa Fe Workshops.

JENNIFER SCHLESINGER

Jennifer Schlesinger graduated from the College of Santa Fe in 1998 with a B.A. in Photography and Journalism. She was an adjunct professor in the Photography Department at the College of Santa Fe and has taught for many other organizations. She has exhibited widely at regional as well as national venues including the Santa Fe Art Institute, Portland Northwest College of Art, Chelsea Art Museum and the Bridge Art Fair in Chicago. Her work has been published online and in print and is represented in public collections including the Huntington Botanical Art Collections (CA) and The New Mexico Museum of Art. She has received several honors in recognition of her work including a Golden Light Award in Landscape Photography (Maine Photographic Workshop 2005); a nominated finalist for the Willard Van Dyke Grant (NMCP 2005) and the Santa Fe Prize for Photography (Center 2007); and a nominee for the Eliot Porter Fellowship (NMCP 2007). In 2007 she was awarded the CCA Photography Auction Award (Santa Fe 2007). Schlesinger has also held positions in various non-profit arts organizations such as being the Assistant Director of Santa Fe Art Institute (2002-2005). Her work is represented by Wallspace Gallery (Seattle, WA) and Verve Gallery of Photography (Santa Fe). Schlesinger is co-founder of the NM Photography Collective, www.flash-flood.org.

MAGGIE TAYLOR

Maggie Taylor was born in Cleveland, Ohio, and was awarded her BA degree in Philosophy from Yale University. Her MFA degree in Photography came from the University of Florida. After more than ten years as a still-life photographer, in 1996 she began to use the computer to create her images. Her work is featured in Adobe Photoshop Master Class: Maggie Taylor’s Landscape of Dreams, published by Adobe Press in 2005; and Solutions Beginning with A, Modernbook Editions, Palo Alto, 2007. Taylor’s images have been exhibited in one-person exhibitions throughout the U.S. and abroad. Her work is in the permanent collections of The Art Museum, Princeton University, Princeton, NJ; The Center for Creative Photography, Tucson, AZ; The Harn Museum of Art, Gainesville, FL; The Houston Museum of Fine Art, TX; The High Art Museum, Atlanta, GA; and The Fogg Art Museum, Harvard University, MA, among others. Taylor lives in Gainesville, Florida.

NEVADA WIER

Nevada Wier was an editorial assignment photographer for magazine such as National Geographic, Smithsonian and many others. In addition to her editorial assignments, Nevada Wier has also been the photographer for various book publications including “The Land of Nine Dragons - Vietnam Today“ (Abbeville Press), winner of the Lowell Thomas Best Travel Book of 1992. She was also the author and photographer of “Adventure Travel Photography” (Amphoto) and a participating photographer in “A Day in the Life of Thailand” (Collins), Planet Vegas (Collins) and “Mother Earth” (Sierra Clubs Books). Ms. Wier has also participated in several television programs involving her travels on assignment with National Geographic including “Through the Lens,” as well as “Canon Photo Safaris” (Outdoor Life Network), and she has been a regular guest on The Travel Channel. She was a speaker for the 2000 nation-wide tour “LIVE...from National Geographic”, and she has participated in numerous other seminars and professional panels.

Now Showing at VERVE Gallery

Verve Gallery of Photography Presents

A Group Exhibition by Three Gallery Artists

Matilda Essig • Don Kirby • Stephen Strom

Opening Reception: Friday, November 13, 2009, 5-7pm

Exhibit is on view through Friday, January 8, 2010

Book Signings and Gallery Talks with Don Kirby and Stephen Strom

Saturday, November 14, 2009, 2-4pm

Gallery Talk with Matilda Essig

Friday, November 13, 2009, 4-5pm

Verve Gallery of Photography is pleased to present a three-person exhibition of landscapes with Verve gallery artists Matilda Essig, Don Kirby and Stephen Strom. The Opening Reception is held on Friday, November 13, 2009 from 5-7pm. There will be a Gallery Talk with Matilda Essig on Friday, November 13, 2009 from 4-5pm. Book Signings with Don Kirby and Stephen Strom will take place on Saturday, November 14 from 2-4pm. Both artists will discuss their images in the Verve exhibition, and sign books from their new publications: Stephen Strom, Earth Forms (Dewi Lews Publishing) and Don Kirby, Grasslands (Nazraeli Press). The exhibition is on view through Friday, January 8, 2010.

DON KIRBY
Santa Fean, Don Kirby, will be exhibiting black and white gelatin silver prints from his newly published book, Grasslands, a timely monograph of grasslands in the United States, sequenced geographically from America's heartland of Nebraska, the Dakotas, Kansas and Oklahoma through Texas, New Mexico, Colorado, Wyoming, and Idaho, to Oregon and California.

“It is difficult to imagine scenes more politically relevant at this very moment than these photos from America’s great grasslands. The pivotal period for most of these places occurred in a time that is a close parallel to our own, so grasslands stand as living, breathing records of an age of upheaval, economic depression and well-meant policy gone wrong. That they persist is testimony to a unique American strength: an evolved and evolving commitment to conservation. Yet they are at the same time not so much a recollection of the past, as they are an exhortation of what we must do to honor this legacy." — From the Introduction by Richard Manning.

Don Kirby is a fine-art, large format, black and white photographer who lives and works in Santa Fe, New Mexico. Don specializes in traditional wet-process photography and produces limited edition prints for exhibit, purchase, publishing and license. He works primarily in the landscape, and within the landscape work has completed two major bodies of work, on the Ancestral Pueblo (Anasazi Cliff Dweller) culture of the Colorado Plateau, and the other on the Wheatcountry of the Northwestern US, which resulted in two books published by Nazraeli Press. The National Grasslands of the US started in 2005 and was published by Nazraeli Press in 2009. Don and his wife Joan lead acclaimed photography workshops throughout the U.S.

STEPHEN STROM

Stephen Strom, Arizona based artist, will be exhibiting color images from his new publication, Earth Forms, which incorporates more than 20 years of photographing the southwestern desert lands in the United States. In addition, Strom will also be exhibiting new work from his Tidal Visions series, images taken on both US coasts over the past few years. Strom brings to his landscapes the sensibilities of an astronomer who has lived in the desert for almost two decades. His images have the power to compress vast desert spaces in an illusion of intimacy and comprehension, presenting undulations of color and form which appear sculpted and other-worldly.

“…Not separate from the land or larger than it. Rather, they gracefully and respectfully exist inside it. Breathe with it. The camera is used to see with a circular viewpoint which becomes apparent even though the borders of the images remain rectangular. The land in these photographs is a beautiful force, in the way the Navajo mean the word ‘beautiful’...that has to do with living well, dreaming well, in a way that is complementary to all life.” – Poet Joy Harjo describing Strom’s imagery

Strom has spent his professional career as an astronomer, holding such appointments as Lecturer in Astronomy at Harvard; Astrophysicist at the Smithsonian Astrophysical Observatory; Chairman of the Five College Astronomy Department and in 1998 Strom returned to Tucson served as Associate Director of the National Optical Astronomy Observatory where he worked until he retired in May, 2007.

Strom began photographing in1978. His work, largely interpretations of landscapes, has been exhibited widely throughout the United States and is held in several permanent collections. His photographs complement poems and essays in three books published by the University of Arizona Press: Secrets from the Center of the World, a collaboration with Muscogee poet Joy Harjo, Sonoita Plain: Views from a Southwester Grassland, a collaboration with ecologists Jane and Carl Bock, and Tseyi (Deep in the Rock): Reflections on Canyon de Chelly, co-authored with Navajo poet Laura Tohe. Most recently, his work appeared in Otero Mesa: Preserving America’s Wildest Grassland (University of New Mexico Press).

MATILDA ESSIG
Arizona based artist, Matilda Essig, will be showing color portraits of native grasses from the Apache Highlands. She sees the grasslands as an intricate community of individual characters that work together to stabilize the watersheds and open space.

“My work has always been about the natural world and man’s relationship to it. In this case, it is about celebrating the diversity of one of the earth’s great healers, the grasses. Each one has a story to tell about adaptation and resilience. From their beauty, we may glean inspiration during this time of tumultuous environmental change.”

Using a high-resolution scanner, Essig is able to offer entrance to a world of fantastical detail. Her final output is archival inkjet on watercolor paper. While this work is entirely digitally created, she comes to these methods from a traditional fine arts background, having studied painting and drawing in a classical academic setting. Years of natural science illustration also sharpened her powers of observation. By allowing the subject to express itself as directly as possible to the viewer, it is the artist’s hope to foster a sense of reconnection between humanity and the natural world.

Born in Philadelphia in 1957, Matilda grew up in the realist tradition, watching her father paint portraits of many world leaders. She studied art and agriculture at schools throughout the country, and has degrees from Sterling College, Reed College, and the Art Students League of New York. Teachers included Frank Golhke, Joseph Scheer, Frank Mason, and Nelson Shanks. Eventually, her passion for conservation led her to work collaboratively with scientists and policy makers as an illustrator and interpretive consultant, which brought a computer into her studio in 1996. Essig’s lifelong fascination with the integrity of land-based cultures has led her to explore many landscapes: the Amish farmlands of Pennsylvania, the temperate forests of Oregon, the rainforests of Ecuador, the Sonoran Desert, and now the shortgrass prairie of Arizona, where she lives and works.

Glossary of Photographic Terms

35MM
A small format film, with an image size of 24 x 36mm available in 12, 24 or 36 exposures. It is the most commonly used film size, but does not offer the quality of medium or large format, because this small negative must be enlarged quite a bit in the darkroom loosing it's clarity and sharpness.

ALBUMEN
Introduced by Louis-Desiré Blanquart-Evrard in 1851. This printing process involves coating a sheet of paper with an egg-white derivative and then sensitizing the paper with a solution of silver nitrate. The paper is then put in direct contact with the negative and exposed to sunlight to create a photographic print. Many albumen photographs were toned in a gold chloride solution to give the print a different tone and more permanence. Popular 1840-80s.

AMBROTYPE
A collodion positive created by placing an underexposed, bleached glass collodion negative in front of a dark background, often cloth or lacquer, to give the image the appearance of a positive image. Patented in the United States in 1854 by James Ambrose Cutting. Popular 1850s-70s.

ARCHIVAL PIGMENT INK PRINT
A print in which a digital file is outputted from a computer to an inkjet printer using archival quality paper and the image is printed with archival inks, which are UV stable and have a longevity of about 70-100 years.

BROMOIL
This process was introduced in 19-7 by E.J. Wall and eventually replaced the gum bichromate process. Once an enlargement was made on silver gelatin bromide paper, it was bleached in a solution of potassium bichromate to remove the black silver image. Then special brushes were used to apply greasy inks to pigment the surface of the gelatin.

CALOTYPE
The earliest paper negative process, invented by William Henry Fox Talbot in 1840 and patented in 1841. The paper is treated with a silver nitrate and potassium iodide solution. After the paper is dried it is then sensitized using a new solution of silver nitrate, gallic acid and acetic acid. After the paper is exposed in the camera it is then fixed in a solution of potassium bromide, or 'hypo.' Often times the paper is then waxed to create a translucency. These paper negatives are used to make salted paper photographs. Popular 1840s-50s

CARBON PRINT
A pigment print is made by coating the paper with a layer of bichromated gelatin mixed with a carbon pigment. The paper is placed in direct contact with the negative and then exposed to light. The gelatin hardens according to how much light it receives. After exposure the paper is then put in contact with a fresh sheet of gelatin coated paper and then washed in a warm bath. During the bath the original sheet of paper floats free and the unhardened gelatin is removed. The remaining gelatin creates a relief transfer to the second sheet of paper. This process is very similar to the Woodburytype. Popular 1870s-80s; Revived 1910s-30s.

CHROMOGENIC COLOR PRINT (C-PRINT)
Also known as a "dye coupler print," this process was developed in the 1930's. Colored dyes are put on the emulsion in multiple layers and are sensitized to different wavelengths of light. During development, the silver image is bleached out, leaving only the dye image. This type of print uses Type-C paper.

CIBACHROME
A process by which a photographic print is made directly from a color transparency. Although still widely used, the Cibachrome name was changed to Ilfochrome over a decade ago. This process's qualities include rich color, clarity and unprecedented archival quality for color prints. Cibachrome (now Ilfochrome) is the trade name originally given to this printing process by Ilford/Ciba-Geigy in the 1950s. This type of print uses Type-R paper.

CONTACT PRINT
Any print made in which the negative is in physical contact with the paper, the result being an image the same size as the negative.

CYANOTYPE
An early printing-out process invented in 1842 by Sir John Herschel. The paper is coated with ferric salt and potassium ferricyanide and is put in direct contact with the negative to create an image. When exposed to light the areas not covered by dark imagery or objects became a bright blue color. The paper is then washed in warm water to fix the image. Popular 1850s-1900.

DAGUERREOTYPE
Introduced to the world in 1839 by Louis-Jacques Mandé Daguerre and reputed to be the first photographic process. Daguerreotypes are unique images on a silver coated copper plate. The copper plate is cleaned and polished and sensitized with iodine vapor. After the plate is exposed in the camera it is then developed with mercury vapor and fixed by washing in a salt solution. The images are direct positives and no negative is required. The surface of the plate is very sensitive after fixing and the plates are displayed with a glass covering to protect the image. Other direct positive processes are Ambrotypes and Tintypes. Popular 1840-50s.

DIGITAL C-PRINT
A chromogenic print made by exposing Type-C photographic paper (such as Fuji Crystal Archive) with a digital enlarger instead of projected light by a traditional enlarger. The digital C-print is then processed in a color processor, or a wet darkroom process, just as a traditional C-print would be. (see "Light Jet print" definition)

DYE TRANSFER PRINT
"In this method of color printing, an original transparency or negative is projected or contact printed on to three separate sheets of film through red, green and blue filters. These separation negatives are then projected or contact printed to make three relief matrices dyed in cyan, magenta and yellow dyes. Each of the matrices is then brought into registered contact with a sheet of special dye-transfer paper which absorbs the dye. The finished print is therefore made up of a combination of dye images. Dye-transfer is one of the most permanent color processes. However, the film was discontinued in 1996." (An excerpt from AIPAD's brochure "On Collecting Photographs.")

FUJIFLEX
Fuji-made chromogenic color paper (C-print) which is extremely glossy, similar to an Ilfochrome or Cibachrome: A process by which a photographic print is made directly from a color transparency. Although still widely used, the Cibachrome name was changed to Ilfochrome over a decade ago. This process's qualities include rich color, clarity and unprecedented archival quality for color prints. Cibachrome (now Ilfochrome) is the trade name originally given to this printing process by Ilford/Ciba-Geigy in the 1950s. This type of print uses Type-R paper

GELATIN SILVER PRINT
These prints are produced on a paper that is coated with a gelatin emulsion, which contains light sensitive silver salts. Popular 1900s-present.

GELATIN SILVER PRINT ON VELLUM
Gelatin Silver Print on Vellum Vellum print is a term that Mark Citret uses to differentiate the type of print he chose to work in from conventional gelatin silver prints. In 1991 he began printing on a unique and obscure paper that Kodak had manufactured for many years called ?Polyfiber A?. The ?A? designated a paper of extreme light-weight and vellum-like surface.

Citret derived a toning procedure that yields warmth to a far greater degree in the highlight areas than other toning. This toning procedure, in combination with the paper used, is where Citret derived the term, Vellum Prints.

GUM BICHROMATE PRINT
A process introduced in 1894 which produced color tones, almost painterly like, by printing on any type of paper coated with layer(s) of sensitized and pigmented gum arabic.

GUM DICHROMATE PRINT
In the three color gum dichromate process, a sheet of watercolor paper is repeatedly coated with a sensitizer (gum arabic, a potassium dichromate solution to make it light sensitive and a watercolor pigment), exposed through the relevant negative (separation) and processed. The image is built up in three successive printings, one for each of the process colors of yellow, magenta and cyan although this order can vary between printers.

The three parts of the sensitizer are mixed together and painted by brush onto the paper. A thicker mixture containing a higher proportion of pigment and having a short exposure time will place the color primarily in the shadow areas, whereas a thinner mixture with less pigment and a longer exposure will give color mainly to the highlights and lighter tones. So some contrast control is possible in the printing.

Immediately the coated paper has dried, it¹s exposed in contact with the corresponding separation to ultraviolet light. A registration system is crucial to ensure that the negatives are positioned correctly for each printing.

-Keith Taylor

HAND COLORED TONED CYANOTYPE
An early printing-out process invented in 1842 by Sir John Herschel. The paper is coated with ferric salt and potassium ferricyanide and is put in direct contact with the negative to create an image. When exposed to light the areas not covered by dark imagery or objects became a bright blue color. The paper is then washed in warm water to fix the image. Popular 1850s-1900.

HAND PAINTED GELATIN SILVER PRINT
Handpainting of photographs has been done since the beginning of photography and is mostly done on gelatin silver images using oil paints or color pencils, although this process can be done on other mediums including platinum prints.

HAND-COLORED CYANOTYPE
A cyanotype that has the addition of colored pencil.

ILFOCHROME PRINT
Contemporary term for Cibachrome print - A process by which a photographic print is made directly from a color transparency. Although still widely used, the Cibachrome name was changed to Ilfochrome over a decade ago. This process's qualities include rich color, clarity and unprecedented archival quality for color prints. Cibachrome (now Ilfochrome) is the trade name originally given to this printing process by Ilford/Ciba-Geigy in the 1950s. This type of print uses Type-R paper.

IRIS PRINT
Iris printing is a specific form of Giclee printing. Giclee is a French term, loosely translated "to spray" which is an appropriate description of the Iris printing method. The Iris is a large cylindrical drum based inkjet printer made up of a complex array of mechanics which squirt minute droplets of ink from each of its four nozzles (Cyan, Magenta, Yellow and Black). The term "Giclee" was created to differentiate a commercial standard from the work of a fine art print and "Iris print" to differentiate other Giclee prints from prints specifically made with an Iris printer.

KALLITYPE
Developed in 1842 in England, this process uses a base sensitizer of iron salts and silver nitrate, then is combined with water and coated on paper. Then objects are placed on the paper and exposed to UV light, like a photogram or sunprint. The image is then developed and fixed. The result is a one-of-a-kind print. Similar processes are Van Dyke prints and Cyanotypes.

LAMBDA C-TYPE PRINT
A print made from a 'Lightjet' laser printer that reads a digital file, then uses red, green and blue lasers to expose the image onto Type C (light sensitive) photographic paper. The paper is then processed in RA-4 chemistry, a wet darkroom process.

LARGE FORMAT
Large format refers to the type of camera and film in which sheets of film are sized 4x5", 5x7", 8x10" and higher, rather than using rolls of film. Because the negatives are so large, they do not need as much enlarging as a smaller negative therefore creating an image of the highest quality and least grain. Large format cameras are often referred to as view cameras. Commonly, contact prints are made from the negatives.

LIGHT JET PRINT
A print made from a 'Lightjet' laser printer that reads a digital file, then uses red, green and blue lasers to expose the image onto Type C (light sensitive) photographic paper. The paper is then processed in RA-4 chemistry, a wet darkroom process.

LIMITED EDITION
Set by the photographer, a limited edition is the stated number of prints reproduced of an individual photograph in all available sizes and formats. Once this edition has been set, the photographer does not / can not produce any further prints in that stated edition of this particular print.

MEDIUM FORMAT
A film size between small (35mm) and large format (4x5" or 8x10"). The rolls of film, sold as 120 (for 10 exposures) and 220 (for 20 exposures), are 6cm wide and can generate an image space of 6x6cm, 4.5x6cm, 6x7cm, 6x9cm and 6x17cm panoramic. Square format is commonly referred to as 2 1/4 (for inches) and is produced by such cameras as the Hasselblad.

MIXED MEDIA
Art work created by more than one visual art medium. Usually a combination of one or more of the following: paint, photography, ink, pencil, collage, encaustic, sculpture, etc.

MIXED MEDIA ON CANVAS
Art work created by more than one visual art medium. Usually a combination of one or more of the following: paint, photography, ink, pencil, collage, encaustic, sculpture, etc.

MIXED MEDIA ON PAPER
Art work created by more than one visual art medium. Usually a combination of one or more of the following: paint, photography, ink, pencil, collage, encaustic, sculpture, etc.

MIXED MEDIA ON WOOD
Art work created by more than one visual art medium. Usually a combination of one or more of the following: paint, photography, ink, pencil, collage, encaustic, sculpture, etc.

MORDANçAGE PRINT
Mordançage is a process whereby the artist strips away the darkest parts of the emulsion of a silver gelatin print. The stripping away of the emulsion is the most important stage of the process --- the image transformation, creating a relief, or a raised area on the print. Water is used to float the delicate silver emulsion on the image so as to rearrange it and dry it back down on to the print. The end result is a one of a kind and unique photographic image.

OROTONE
A photographic process made popular by Edward S. Curtis in the early 1900s. A glass plate coated with a gelatin silver emulsion is exposed to a negative. After the plate is exposed and developed the back of the plate is painted gold, creating a positive image. Popular 1890s-1920s

PHOTOGRAM
A cameraless, lensless, unique image made by placing objects on a photo-sensitive surface, then exposing to light. The object is removed and the paper processed. The paper stays light where the object was placed, and the rest of the paper darkens. First made by William Henry Fox Talbot in England in 1834, and later revived by such artists as Lazlo Moholy-Nagy and Man Ray. Adam Fuss is perhaps the most well-known contemporary artist using this process.

PHOTOGRAVURE
A photomechanical printing process very similar to intaglio. A copper plate is coated with a light sensitive gelatin, put in contact with a positive photographic transparency and exposed to light. After a wash the hardened gelatin that remains is on the plate is the negative image used to print the photogravures. The plate is inked and put through a printing press in direct contact with the images final paper support. Popular 1900-present.

PINHOLE CAMERA
The most basic form of a camera in which no lens is used. A pinhole camera is made by making a lightight container and poking a pinhole in the front of the camera where a lens would go. Light that enters this hole exposes photosensitive material which is placed on the backside of the interior of the camera.

Because the pinhole is so small, exposures made with this type of camera tend to be longer than on a regular camera and the depth of field of the image tends to be nearly infinite, although the edges tend to be soft due to diffraction.

PLATINUM
The most permanent photographic process. The platinum print is made by sensitizing a sheet of paper with iron and platinum salts. After exposure the paper is then washed with a potassium oxalate solution, which creates a photographic print with a great range of gray tones. Popular 1890s-present.

PLATINUM / PALLADIUM PRINT
The Platinum print image is made from finely particulate grains of platinum metal by a process invented by William Willis in the late 19th century. A photographer could purchase the ready-made platinum paper for use at that time. Today the modern platinum printer hand-coats the emulsion onto a good rag stock paper and exposes under ultraviolet light (the sun or a UV exposure unit). The resulting print is a warm black hue and virtually impervious to fading and bleaching from age or atmospheric pollutants.

POLYMERGRAVURE
A black and white image is laid on top of a steel plate which has been coated with a photo-sensitive emulsion and then it is exposed to UV light, causing the image to be etched onto the plate. A printer's ink is rubbed into the etched image, and then the plate is run through an etching press to transfer the image to paper.

REVERSED CYANOTYPE PHOTOGRAM
A photogram is made in the darkroom on film. The resulting negative is then placed on prepared
paper and exposed as a cyanotype. This results in the usual cyanotype tones (blue and white), however they reversed. These are only somewhat repeatable, because of the negative, but no two look the same.

SALTED PAPER PRINT
Invented in 1840, these were the earliest photographic prints on paper. The photographs are made as contact prints using calotype negatives. The paper is treated with light-sensitive silver chloride salts and exposed to light. The prints are then fixed in a salt solution and later in a solution of potassium bromide or sodium thiosulphate. Popular 1840s-50s.

SELENIUM TONED PRINT
A black and white gelatin silver print in which a chemical solution containing selenium is used to tone or "hue" the overall image. This type of toning is used for extending the archival qualities of the print making it less subjected to atmospheric pollutants. If toned for a short period of time, it gives a "warmer" feel to the overall print, making the cold tone of general black and whites turn ever the slightest bit more brownish-purple. If toned for a longer period of time, the color of the blacks can change to an eggplant hue.

SOLAR PLATE ETCHING
A black and white image is laid on top of a steel plate which has been coated with a photo-sensitive emulsion and then it is exposed to UV light, causing the image to be etched onto the plate. A printer's ink is rubbed into the etched image, and then the plate is run through an etching press to transfer the image to paper.

SOLARIZED PRINT
The effect caused by fogging (exposing to light) an image that has been partially developed, in which white areas turn black and black areas turn white, in essence reversing the image to almost look like a negative instead of a typical positive.

TALBOTYPE
The earliest paper negative process, invented by William Henry Fox Talbot in 1840 and patented in 1841. The paper is treated with a silver nitrate and potassium iodide solution. After the paper is dried it is then sensitized using a new solution of silver nitrate, gallic acid and acetic acid. After the paper is exposed in the camera it is then fixed in a solution of potassium bromide, or 'hypo.' Often times the paper is then waxed to create a translucency. These paper negatives are used to make salted paper photographs. Popular 1840s-50s

TINTYPE
This process is much like the ambrotype. It is a unique photograph on a sheet of iron that is coated with a dark enamel. The tintype, also known as the ferrotype, was essentially a collodion negative, which appeared positive when put against a dark background. The tintype became popular in the 1850s as a less expensive way to produce photographs for the masses. Popular 1860s-70s; Revived 1980s-Present.

TONED CYANOTYPE
An early printing-out process invented in 1842 by Sir John Herschel. The paper is coated with ferric salt and potassium ferricyanide and is put in direct contact with the negative to create an image. When exposed to light the areas not covered by dark imagery or objects became a bright blue color. The paper is then washed in warm water to fix the image. Popular 1850s-1900.

TONED GELATIN SILVER PRINT
A black and white gelatin silver print in which a chemical is used change the hue of the overall image to a shade of red, brown (sepia), green, blue or purple. Most toners extend the archival quality of the print by making it more stable.