Бочки для проявки пленки

Новая выставка в Young Gallery, очень много потрясающих иллюстраций на сайте галереи… Вот что значит пленка и крупный формат…

Josef Hoflehner
Young Gallery
B. Bruxelles, 11 Sep-07 Nov 2008

Josef Hoflehner (1955) lives in Austria but works everywhere. He started his photographic carriere more than 30 years ago and worked succesfully as freelance photographer for many years, specialized in stillive and interior photography. From the early 1990's he began to travel to the remote areas of the world, where he mostly worked with his prefered large format cameras. Since then, Josef worked on all continents to capture the world, almost excusively in black and white.

Josef has exhibitied his work internationally and is represented by leading photography art galleries worldwide. He has nine monographs to his credit, and was featured in a large number of magazines and newspapers. On the occasion of an exhibition of his Antarctic work in London, the Financial Times wrote in it's review: "... this is one of the finest exhibitions of a certain kind of documentary photography that we could possibly be invited to see."

Awards
2x German Photography Book Award (2004, 2005)
Austrian State Prize (2004)
International Kodak Photo Calendar Award (2006)
Nature Photographer of the Year (IPA - 2007)

"Josef Hoflehner takes a landscape and turns it into art." -
Elizabeth Roberts, Black & White Photography Magazine, UK

Words by Francis Hodgson

A certain kind of photography returns to the landscape some of those qualities which the eighteenth century thought of collectively as the 'sublime', in which grandeur and proportion are offset by a certain sense of horror, and the awful power of nature is the measure of the true littleness of man. Photography is always more or less literal, but this kind of landscape makes no apology for demanding always to be treated also as metaphorical. Josef Hoflehner is becoming one of the most distinguished exponents of this kind of landscape…

http://photography-now.com/popup_ausst_ ... gen=T62175

Громадная галерея:


Mangrove Tree-Vietnam

Silver gelatin print signed and numbered on verso by the artist

30x30 cm (12x12 in) - Edition of 15
Prices begin at 770 € (21% Taxes Included)

50x50 cm (19 x19 in) - Edition of 10
Prices begin at 1430 € (21% Taxes Included)

100x100 cm (39x39 in) - Edition of 5
Prices begin at 4065 € (21% Taxes Included)

The prices increase according to the edition number.

http://www.younggalleryphoto.com/photog ... ehner.html

Еще один автор с крупноформатной камерой, длинными выдержками, прецизионно выстраивающий кадр, много великолепных иллюстраций:

David Burdeny


Four Boulders, Japan 2005


White Landscape, Noto, Japan 2005


Bowling Ball Beach, California 2003


Blue Monday, Antarctica 2007

(1968) Born in Winnipeg, Manitoba Canada, David Burdeny has degrees in both Interior design and a Masters in Architecture. At the age of 12, David started to photograph the prairie landscape and make his own black and white prints in a makeshift darkroom that also served as his bedroom closet. Primarily self taught, his architecture and design background greatly influences his penchant for simple exacting photographs of sky, horizon and the marks humankind leaves behind. Influenced stylistically by photographers before him, such as Michael Kenna and Hiroshi Sugimoto, David purposefully photographs in poor light and near darkness.

Artist Statement

…I’m fascinated with the quality of light and the spatial immensity the ocean possesses. I have an enormous reverence for feeling so small in the presence of something so vast, where perspective, scale, time and distance momentarily become intangible. My photographs contemplate that condition, and through their reductiveness, suggest a formalized landscape we rarely see. The glory lies not in the act of this removal or reduction, but in the experience of what is left - sublime experience located in ordinary space: a slowly moving sky, the sun moving across a boulders surface or seafoam swirling around a pylon.

Exposed onto large format black and white film under the soft light of dusk and dawn, the shutter is held open for several minutes at a time, recording the ocean and sky as it continuously repositions itself on the negative, a process both dependent and vulnerable to chance. The resultant image is an accretion of past and present. Each moment is layered over the moment immediately preceding it – a single image that embodies the weight of cumulative time and unending metamorphosis.

David Burdeny, Vancouver, 2005

http://www.younggalleryphoto.com/photog ... rdeny.html

Beyond the visible:
Two works with water

photography and text by
Melissa Fleming


Sea Change Grid

Sea Change

The variations in the images of Sea Change, a series of palladium-based photograms, reference the complex character of the ocean. Never on its own, water is always in combination with other elements or in various transitional phases. Water contains and transports many materials that are not visible to the human eye, including sand, minerals, and other sediments.

To produce the images of Sea Change, I stand in the water holding light sensitive paper in the break of a wave and allow sand to form a pattern on the paper as it exposes in the sunlight. This process entwines the material aspect of the medium with the ocean and shows the trace of water. As a result, each piece becomes a unique document of the movement of matter within an individual ocean wave.

http://www.lensculture.com/fleming.html

http://www.melissafleming.com/

Увы, увы…

Marc Krutiak is an accomplished photographer based in Boston who works entirely in black-and-white and sepia tones inspired by his environment.

DE: Your beautiful, moody black-and-white images remind me of Michael Kenna's photographs. Have you been influenced by his work?

MK: Most definitely. When I saw my first photograph by Mr. Kenna, I was hooked. His work gives me the sense of solitude and being alone in a vast space. I've always looked for that solitude in my own life and hope to bring the same sense to my own work. Hiroshi Sugimoto, with his beautiful, simplistic seascapes and strong architectural images have also been a great influence on me.

…DE: What photo equipment do you use currently?

MK: I'm fully digital now and recently sold my view camera and my medium-format camera. I don't like to lug around a lot of equipment, so I use a Canon full-frame digital camera with one lens, five different filters, a tripod, no flash, and no special lighting. I print my 8x8 and 13x13-inch images myself on my ultrachrome printer. I like to experiment with different fine-art papers and was pretty hot on Moab papers for a while, but I'm printing on Sliver Rag mostly now. The control that Adobe Photoshop gives photographers is fantastic. It allows me to work on one part of the image while leaving the rest untouched. The only issue I have with digital is the lack of grain. I've been experimenting with software that simulates many different types of film grain, and it's been working well so far.


Rye Breakwater

http://www.doubleexposure.com/PTI_Krutiak.shtml

Галерея

http://www.doubleexposure.com/double_ex ... index.html

Галерея

http://photoworkshop.com/bv/view/kmanz

Сайт:

http://www.marckrutiak.com/

увы-увы... 35 мм ч-б цифра почти не отличима от фото с форматной камеры в интернет-формате. если принимать во внимание фототехнику, материалы и формат, как часть стиля и подчерка автора, то замена форматной техники на "передовые и современные" цифровые 35 мм в арт-фотографии наводит на определённые мысли. кажется, что ключевая фраза причины здесь "I don't like to lug around a lot of equipment"

Да, формат отпечатков (небольшой) здесь играет важную роль. Только непонятно, конечно, о каком зерне у него идет речь в конце той цитаты. Судя по разговору, ему нравится вариант небольших, точно решенных по плотности и оттенку отпечатков — используемая им цифра и постобработка с этой задачей справляются, а процесс — прост и комфортен. Он говорил в интервью:

DE: To whom do you sell your images? Any commercial clients?

MK: Currently, my clients are private collectors. However, I'm open to commercial interests. This biggest hurdle for me with regards to commercial installations is image size. Most clients I've spoken with so far want large prints, three to four feet in size. Although, I've printed a few 30x30-inch images, I don't have much interest in printing at this size. I've always viewed photography as a more intimate experience.

http://www.doubleexposure.com/PTI_Krutiak.shtml

Вот такая ссылка на новом блоге Mark Tucker:

http://marktucker.wordpress.com/

Michael Kenna, all in one place



I stumbled on this one page that appears to be every single photograph that Michael Kenna ever shot. But as you scroll down, you can feel the immense catalogue of imagery that this guy has accumulated.

http://trinixy.ru/michael_kenna.html

Хорошие фотографии - Paul Crovella
Листаешь неспеша, и тут бабах. и еще раз. и еще


Проклятое RSS, перепутал с "легендами", ну пусть уже здесь лежит

Abstract: Multiple exposures — Snapshots

An increasing critical interest in vernacular photography and the snapshot has led to exhibitions and books in the last decade. The exhibition The Art of the American Snapshot 1888-1978 at the National Gallery of Art came from the collection of Robert E. Jackson and the Accidental Mysteries touring exhibition came from the collection of John and Teenuh Foster ( www.accidentalmysteries.com ). Other exhibitions such as Close to Home: An American Album at the Getty Center (October 12, 2004 - January 16, 2005) highlight how the photographic snapshot is being accepted as an integral part of socio-cultural history.

This exhibition includes examples of multiple exposures kindly provided from a number of private collections. Some of these are intentional whilst others are accidents of camera malfunction or failing to wind on the film. Some show elements of two frames whilst others are superimposed. In most examples the camera has been kept on the same axis for both images but in some cases landscape and portrait formats are merged to create confusingly powerful visual memories of soldiers blended with indigenous peoples. At times it can be uncertain if the result was planned in advance or a strange alignment of stars.

This is part of a number of exhibitions on Multiple Exposures that will be shown on Luminous-Lint and as always we welcome additional examples. Thanks to John Foster, Norman Kulkin, Nigel Maister and the private collectors who have provided examples for this exhibition.

52 иллюстрации:

http://www.luminous-lint.com/app/vexhib ... 271735915/

RayKo Photo, current exhibitions
Into the Ether
Contemporary collodion work

ohn Coffer | Will Dunniway | N.W. Gibbons | Quinn Jacobson | Robb Kendrick

Kerik Kouklis | Michael Shindler | Joni Sternbach | Ellen Susan | Robert Szabo

Come see this landmark West Coast exhibition featuring the work of 10 of the greatest contemporary collodion artists to ever coat a plate. Both ambrotypes (one-of-a-kind images made on glass) and ferrotypes, or tintypes (one-of-a-kind images made on thin metal plates) will be exhibited. The photographers come from a wide variety of backgrounds and pursue a wide range of subject matter, but they are united in their choice of process and their passion for this technique that renders some of the most exquisite photographs ever seen.

In 1978, John Coffer hitched a bay workhorse named Brownie up to a 19th century style darkroom wagon dubbed the “Photographic Van” and criss-crossed the continent for seven years, plying his trade as an old time traveling portrait photographer. This was an experience as unique as the many tintypes he made and sold along the way. In 1985, after more than 11,000 wagon miles and having passed through 36 different states, John and his horse, Brownie, settled down on their own 50-acre farm in the heart of the beautiful Finger Lakes country of up-state New York. John lives in a one-room cabin that he built himself. He lives off the land and has no phone, no electricity, no automobile, and no running water. There, Coffer photographs the livestock, the farm implements, and the annual cycles of nature. RayKo will be showing selections from his Daily Tintypes series; each reveals various aspects of the artist’s existence…

Презентация:

http://raykophoto.com/?page_id=37

2007 archive, Kenn Coplan: “Der Ligner”



Kenn Coplan has an MFA in photography and yet he spends his time in Hollywood working as an art director, production designer and doing set and prop design as well as special effects and pyrotechnics. In his spare time, Coplan creates interactive sculptures that have photographs hidden in their inner depths or have altered photographs as part of their design and function. He can be seen rappelling from the second story of his loft in Los Angeles; upstairs he has his darkroom and computer imaging lab, located downstairs are his welding and casting studios is as well as his wood shop. Coplan is a bit of a mad scientist, plugging in metal sculptures and then pointing to a switch and daring you to flip it. Each sculpture has different features and different functions as well as different elements and meanings. This is a hands-on exhibition that must be seen (and touched) to be believed!

http://raykophoto.com/?page_id=41

Подробнее о фотоскульптурах:

RayKo Photo Center’s Newest Exhibition Explores ‘Artwork by Kenn Coplan’

Things get tricky when you talk to Kenn about his machines. Creating “little cabinets of curiosities” for public consumption, Kenn Coplan readily admits that his art is about self-indulgence. “It’s so complicated I don’t know what’s real and what’s not anymore.” The fine line between reality and the fantastic is exactly the tightrope Coplan walks with his art. “My work, at its most distilled level, is about art laced with a trickster mentality. It’s about fooling the senses. When I consider my influences I think of Copernicus, P.T. Barnum, even a more hygienic Rasputin,” comments Coplan.

“I build these 18th and 19th century vaudeville-style machines that incorporate photographs,” notes Coplan, “mostly of myself, which deal with inner demons, relationships, the usual poor, poor artist angst and loneliness, all of which are hidden by little built-in tricks, bells and whistles.“ With approximately 20 pieces in the RayKo exhibition, each of which have photographs hidden in their inner depths or have altered photographs as part of their design and function, many with electrical elements, knobs to turn and a bit of the carnival freak show effect, Coplan’s work encourages visitors to explore each individual piece. He even goes so far as to say, “if they break, that’s even better. The cracks, the wear and tear, it all becomes part of the history of the piece.”

Graduating from Savannah College of Art & Design, Coplan occasionally describes himself as a pretend or quack artist, and simultaneously prides himself on the craftsmanship evident in his work. However, with an MFA in photography and a BA in film studies, Coplan spends the majority of his time in Hollywood working as an art director, production designer and doing set and prop design as well as special effects and pyrotechnics. In his spare time, Coplan can be found creating his interactive sculptures, rappelling from the second story of his loft in Los Angeles where he has his darkroom…

MAGNUM'S first

Flo Peters Gallery
D. Hamburg, 03 Sep-24 Oct 2008


© Werner Bischof/Magnum Photos. Cambodia, 1952

Henri Cartier-Bresson, Marc Riboud, Jean Marquis, Werner Bischof, Robert Capa, Inge Morath, Ernst Haas, Erich Lessing

Magnum Photos and the Flo Peters Gallery present the sensational rediscovery of the first Magnum Group exhibition of 1955.

Research shows that the exhibition "Face of Time" was first shown in June/July 1955 in the French Cultural Institute in Innsbruck. Their existence forgotten, the 83 Magnum Vintage Prints lay hidden in two wooden boxes in the basement of the French Cultural Institute for more than 50 years. Only in 2006 was this treasure rediscovered and returned to Magnum Photos. This unique historical discovery revises the belief that the Magnum exhibition curated by Fritz Gruber for the Colonial photokina in the autumn of 1956 was the first.

This rediscovered original exhibition of 83 images from 8 photographers of the first Magnum-generation is now presented exclusively at the Flo Peters Gallery. Included are Henri Cartier-Bresson's reportage on his encounter with Mahatma Gandhi shortly before his death, Marc Riboud's picture series from the Balkans and Jean Marquis' images from Hungary. Works by Werner Bischof and Robert Capa are also shown. Ernst Haas is presented with a series that emerged during the shooting of the Hollywood film "Country of the Pharaoes" under the direction of Howard Hawks while the London district of Mayfair is the subject of the works of Inge Morath. Erich Lessing's pictures show the children of Vienna.

The catalogue "MAGNUM'S first" by Hantje Cantz, edited by Peter Coeln, Prof. Achim Heine and Andréa Holzherr with an introduction by Dr. Christoph Schaden, art historian, publisher and member of the executive committee of the German Society for Photography, shows a complete documentation of this historical exhibition.

http://photography-now.com/popup_ausst_ ... gen=T62251

Андранік Антанян » Blog Archive »

Зянон Пазьняк пра савецкую сярэднефарматную фотатэхніку:

Піша талкова і цікава. 20 гадоў прайшло, а артыкул актуальны. Як ні сьмешна.

Зянонаву прапанову па мадыфікацыі фатаапарата Любитель-2 (замяніць дзіўнаваты аб’ектыў пабудаваны па пацешнай схеме triplet на зразумелы шырокаму колу фотааматараў рэзкі tessar) рэалізаў найстарэйшы кітайскі вытворца фотаапаратуры Shanghai Seagull Camera Co.,ltd. ў камерах Seagull 4-a (а таксама b і прочых мадыфікацыяў). Новыя апараты каштуюць даступна (можна накалдаваць сабе за 150 даляраў машынку) і іх ўладальнікі звычайна задаволеныя. Можа і я сабе такую куплю, калі не знайду за адэкватныя грошы яшыкі ці маміі.

Каб у якім 1988-ым годзе яму на дзень нараджэньня заместа тарта з выявай Пагоні падаравалі фатаапарат rolleiflex ці якую fujica, гісторыя беларусі пайшла б зусім іншай дарогай…

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"Недальновидность?..", С точки зрения читателя, З. Позняк, журнал "Советское фото", №8, 1987 год / "Short-sightedness?..", Z. Poznyak, article from magazine "Sovetskoe foto", №8 1987.

The Pinhole Format Co

How-To-Make Three 8x10 Pinhole Cameras: Wide-angle, Normal, Telephoto



http://www.pinholeformat.com/guide.html

Галереи:

Jesseca Ferguson
Peter Donahoe
Peter Zirnis
Diana Hooper Bloomfield
Marcia C. Sheer
James C. Romeo

http://www.pinholeformat.com/gallery.html

Ссылки:

http://www.pinholeformat.com/links.html

Henrieke I. Strecker

Remaining at a place, emerging from the usual allday mad rush, which has no chance, no hope of arrival, permits a perception to come up, what actually happened will appear again. Tales will step out of this rush, gestures threatened to be drowned by this quickness, almost covered by it.

I want to give an account of these small movements, atmospheres, not an isolated moment, "painting a realistic picture", according to a report, but the experience of the situation, in which the taking was undergone.

Especially in the series of portraits you can observe what is going on, when people are forced to wait, which traces are left behind in this period of time. While our forefathers - more than a hundred years ago - sat stiffly, appearing therefore pregnant with meaning, in front of the camera, hemmed in dreadful machineries in order to avoid any move during these long exposures, I take advantage of this factum to track down these slight gestures, to paint the happenings behind the obvious poses - something we hardly become aware of.

My desire is, that the observer gets in touch with the images, that he tries to follow their history - and by chance a new, very personal arises, realising, how these gestures show through; and I want to avoid, that the tale is no longer available, because it is buried by filing in drawers and categorizing. Just have - and trust - your own look, and immerse in this dialogue.

http://pinhole-photography.de/about/index.htm

http://pinhole-photography.de/animation ... raphyI.htm

http://pinhole-photography.de/animation ... aphyII.htm

Отдельная галерея: http://www.zoneplate.de/

Cyanotypes
http://www.alternativephotography.com/a ... ecker.html

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http://www.pinhole.com/index.php?city=& ... ate=&type=

http://www.pinholestore.de/

Попутно, ссылки с давнего форума неподалеку:

Diana Hooper Bloomfield
http://www.pinholeformat.com/dhbgal1.html

Стеноп, произвольная выборка с Гугла:
http://www.pinholeformat.com/gallery.html

Jesseca Ferguson
http://www.pinholeformat.com/Jessecagal1.html

Pinhole Resource Website Gallery
http://www.pinholeresource.com/gallery.html

Arts > Photography > Techniques and Styles > Pinhole
http://directory.google.com/Top/Arts/Ph ... s/Pinhole/

Pinhole Photography — History, Images, Cameras, Formulas
http://www.photo.net/learn/pinhole/pinhole

Pinhole Photographs by Steve Foote - Home Page
http://www.stevefoote.net/pinholes/

Pinhole Photography By Justin Quinnell
http://www.pinholephotography.org/

The Art of Pinhole Photography
http://www.pinhole.com/

Был уже разговор:

Jesseca Ferguson


Bird/book/Paris (constructed), 2003
Pinhole Ziatype print, 9" x 6"


Eclipses (constructed), 2002
Pinhole Salt print (gold-toned)


Two horses/book, 2002
Pinhole Argyrotype print 5" x 4

http://www.pinholeformat.com/jessecabio2.html

http://www.pinholeformat.com/Jessecagal1.html

Попутно:

slowlight — a pinhole blog: http://www.slowlight.net/blog/, недавние заметки:

Nick Shuval-Sergeev

I’ve known Nick Shuval-Sergeev’s work for a while, but he has a new site with some amazing new work.

If Sudek had used a pinhole camera, perhaps he would have made photographs like Nick’s still lives, though Nick’s works are entirely his own, and hold so much domestic magic and memory in their simple compositions. And his portrait of Ann (above) is just gorgeous. (His older still life work is lovely, but the new images seem to be a whole new world.



Whatever you do, do not miss his zone plate films.

http://nick.pinhole.ru/nickshs.html

http://nick.pinhole.ru/main/video/video.html

New York Camera Obscura - Charles Schwartz & Bill Westheimer

Bill Westheimer

The Manual Project, a series of 150 pictures of hands, made in pairs, with one hand as a photogram, and the other photographed using wet plate collodion, is an astonishing piece of work. There’s an animated selection of the images on youtube, but I enjoyed looking through them slowly, pair by pair.

http://www.billwest.com/manual/

I collaborate with my subjects to expose their hands and their personalities.

Using 19th century collodion wet plate photography I photograph their dominant hand, then we work together to make a photogram of their palm print. Combining these two images together with the person’s handwriting, I create one portrait of the subject. Both techniques have technical aspects which reveal more than conventional photography. The collodion plate is sensitive only to blue light, creating tonalities completely changed from how our eyes perceive light. The photograms reveal the texture and pressure of the hand on the paper, so the print is truly hand-made.


Greg Maka
Digital Pigment Print
Medium: from Collodion Glass Plate and Silver Gelatin Photogram
Size: 5.25" x 4.5" and 14" x 11"
Date: 2004

http://www.billwest.com/manual/manual.cfm

http://www.billwest.com/co/

http://www.billwest.com/gallery/

JOHN DUGDALE (Stone Ridge, NY)



http://www.johndugdale.net/books.html

http://www.johndugdale.net/johnbio.html

Видео:

JOHN DUGDALE, a photographer known for his ethereal portraits, nudes and still lifes, has been HIV-positive for more than 15 years. Despite losing his sight to the disease, he continues to use a large-format camera to create new work each year, most often in the form of cyanotype prints. Dugdale's photographs, widely exhibited and collected, appear in four books: Lengthening Shadows Before Nightfall, The Clandestine Mind, Life's Evening Hour and New Suns Will Arise.

PRODUCER: Dirck Halstead
INTERVIEWER: David Friend

Dugdale in the Studio

Watch the RealVideo
of John Dugdale
as he photographs his
sister, and model, Kathy.

Video by Dirck Halstead
Edited by David Snider

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John Dugdale, XXXXXX

In 1993, having achieved a successful commercial career, John suffered an AIDS related stroke. After months in a hospital often near death, he recovered---but CMV retinitis took all of his sight, except for 20% of peripheral vision of his left eye. Total blindness continues to threaten him. Bewildered by his sudden sight loss, Dugdale soon realized he could change his method of working, and became a great visually impaired photographer. Using an antique large 8x10 format camera, whose negatives can be contact-printed onto hand-coated photosensitive paper, to make a finished image, John was able to avoid the impossible darkroom process and its toxic chemicals. Dugdale sketches and titles each image before it is made. He composes by sensing shapes, and his assistant focuses the camera. In reference to his early work before his blindness, Dugdale states "My style hasn't changed; It's the same subject matter, but shown with a clarity I didn't have then. My photographic vision is clearer now than when I could see." Over the past ten years, working in a state of near blindness, he has created photographs as if from his soul. His photographs are in the collection of Metropolitan Museum of Art and he has had more than twenty solo exhibitions.


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Water from a stream, light from the sun, metals and minerals from the earth created the first magical photographic images on hand made paper. Sir John Herschel, Henry Fox Talbot, and thirty years later Julia Margaret Cameron blazed forward into the uncharted territory of capturing real and imagined tableaux from their surroundings. Friends, family, and personal belongings were recorded with great joy, myths were illustrated, nature was tamed, the passage of a day is still a palpable reality in these brilliant first photographs. These free spirits are my heroes and the inspiration for my own work.

One hundred and thirty years since the dawn of the photographic medium, I found myself with my most precious gift of sight greatly diminished. Without hesitation, I instinctively approached my camera. The essence of my sight was restored. I felt no loss, only joy and profound gratitude that I was still moved deep within my heart to make pictures with my other sight. My photographic heroes from early on spoke to me. Slow shutter speeds revealed the nature of life. The slight movement of a hand, a quivering daffodil in the March wind, the beating of a heart –all let me know that I was still alive. A secret glowed in my heart and mind. A surprise...all along my photographs had come from deep inside me. My eyes were secondary. Overwhelmed with my newfound discovery, I began to create a new body of work with the help of family and friends. A decade later I now face the prospect of losing the fraction of sight I have left. Like Orpheus I am ready to descend into the darkness unafraid. I know that darkness is not dark, but instead full of a galaxy of stars and the aurora borealis swirling inside of me.

Tin, copper, silver, iron, gold, oil of lavender, and the brilliant shining sun are waiting to be combined into the next group of images that I will share with you. Opening my life to the world has kept me alive. The deeper truth is that I have not even begun to draw from the stream of imagery waiting within me to be revealed.

http://www.cpw.org/exhibitions/2008/tri ... es/02.html

John Dugdale: http://www.artnet.com/artist/25952/john-dugdale.html


John Dugdale, Empire Chair in the Gloaming, Stone Ridge, NY, 1994
Robert Klein Gallery

Галерея Edelman: http://www.edelmangallery.com/dugdale.htm

Heroes of Photography: John Dugdale
A Vision Clarified by the Photographic Pursuit of Beauty.
By Russell Hart
May/June 2007

Holden Luntz Gallery: http://www.holdenluntz.com/artist/dugdale/dugdale.htm

Paul Cava Fine Art/ John Dugdale: http://www.paulcava.com/DUGDALE/paulcavafinearta.html


Lazarus, Brother of Mary and Martha, Morton Street, NYC, 1999, cyanotype, 3/12, 14 x 11 inches
P.O.R.

ANGELICATAS [Dark Light photo] Inspiration: John Dugdale, ссылки и иллюстрации:

http://darklightphoto.blogspot.com/2007 ... gdale.html

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http://www.popphoto.com/americanphotofe ... gdale.html

Writer / Robert A. Schaefer Jr.
Photography / John Dugdale and Flo Fox
Challenged Visions
Robert A. Schaefer Jr. discovers how John Dugdale and Flo Fox don't let their physical challenges stand in the way of photography.

http://www.alternativephotography.com/a ... rt002.html

John Dugdale's story is one of remarkable courage and hope
Interview, March, 1998 by David Furnish

http://findarticles.com/p/articles/mi_m ... i_20468516

http://www.johndugdale.net/apstory2.html

Naylor Collection Will Be Up For Auction

Thurman “Jack” Naylor’s chance meeting with photographer Margaret Bourke-White ignited in him a1_3 passion for photography that led to what many consider to be the finest privately owned photography collection. And this month, 2000 of its finest pieces will be auctioned at Guernsey’s auction house in New York City.

Following a few days of public previews, the unreserved auction will happen October 18-21 at the Americas Society landmark mansion (68th street and Park Ave). Bidding can be done remotely, and Guernsey’s will have catalogues of The Collection and the Auction available for reserve. The remainder of the collection not sold at auction will be sold online about six months after the event.

The collection includes such wonders as Kodak’s earliest efforts and the Deardorff used by Playboy for 30 years. Vintage prints include ones signed by Bourke-White, the unforgettable WWII shot of kissing in Times Square, Marines raising the flag on Iwo Jima, and portraits of Marilyn Monroe and Winston Churchill.



http://flash.popphoto.com/blog/2007/10/ ... .html#more

The Naylor Collection... A Complete History of Photography

!!! http://www.guernseys.com/auctions/naylor/Naylor.pdf

http://www.guernseys.com/auctions/naylo ... endum2.pdf

clay harmon


Nox Noctis # 15 Gum Platinum print

View Full Portfolio (7 images)
http://photo.net/photodb/member-photos?user_id=506431

(2008 archive at RayKo Photo,
“Landscape, other”
Views outside convention)

http://raykophoto.com/?page_id=79

Clay Harmon

Virtually everything currently shown on this site is printed either using platinum-palladium or gum-platinum…

nox noctis
http://www.clayharmon.net/Flash%20Portf ... x/Nox.html

gnomon
http://www.clayharmon.net/Flash%20Portf ... nomon.html

telos
http://www.clayharmon.net/Flash%20Portf ... eleos.html

fragminis
http://www.clayharmon.net/Flash%20Portf ... minis.html

DeSantos Gallery | Clay Harmon
Urban Landscapes, Houston and Dallas,TX



Houston, TX -- Houston photographer Clay Harmon shares his fascination with the way in which the photographic frame, the lens and the process combine to see the world in his De Santos Gallery (1724-B Richmond) exhibition "Strangely Familiar - the magic of light, lens and process" Thursday, September 1 - Saturday, Oct. 1. An opening reception with a brief discussion with Harmon will be held Thursday, Sep. 1 from 6:30 - 8:30 p.m.

The alchemy that occurs at the momentary intersection of light, lens and location is heightened by this photography artist during the printing process revealing a mysterious transformation of otherwise ordinary and banal places.

"My thought on this exhibition is to show the differences and similarities between these various modes of using the camera, and how they are all more similar to each other than they are to our perception," Harmon said.

The images in this show are all printed using hand coated platinum-palladium or platinum-palladium-gum printing techniques. "The printing processes are difficult to master, time-consuming and sometimes fraught with failure," Harmon added. "However, they allow me to make the images the way I like them to look."

The images were made with cameras of all sorts - ultra-large format view cameras, fifteen dollar plastic-lensed cameras and traditional 35mm cameras.

The De Santos Gallery is owned and directed by Gemma and Luis De Santos who are natives of Spain and long-time residents of Houston. They commissioned Houston architect Fernando Bravo who recently won the 2005 American Institute of Architects Design Award for the building design. The DeSantos Gallery specializes in photography (including traditional and new media) from contemporary European and Asian photographers.

The De Santos Gallery is located at 1724-A Richmond Avenue in Houston's Museum District. Gallery hours are Wednesday through Saturday from 10:30 a.m. - 5 p.m. For more information, please call 713-520-1200 or visit www.desantosgallery.com

http://www.desantosgallery.com/artists/ ... harmon.htm

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Writer / Clay Harmon
Illustrations / Clay Harmon
Digital Negatives: The Color Ratio Method

http://www.alternativephotography.com/a ... rt056.html