Category Archives: News/Announcements

Alternative Photo Revolution – Kevin Kelly

Another one of our artists participating, Kevin Kelly, has been working for a long time on a series of images concerning gender and sexuality. I wanted to present a short video concerning his work here (if you pay attention, you’ll get to see the Dylan Ellis Gallery space in Toronto, where the show is going in May for the Contact festival).

Kevin Kelly GENDER PreDoc 1080p from Simon Haworth on Vimeo.

 

Alternative Photo Revolution

Glen Echo | Glen Echo Park in the Ballroom, Backroom

March 28
Viewings will be taking place from 1-9pm with a formal reception from 6-9pm. Admission: Free

New Orleans | L’Entrepot

March 31-April 1
Private reception on Friday March 31st from 6-9pm.
General admission is $10
VIP Collector ticket is $30 admission + chance to win a unique permanent print
Stay at home ticket $25 for a chance to win a unique permanent print
Tickets can be purchased on Eventbrite.
April 1st, viewings will be open to the public from 1-9pm. The Julia Street First Saturday event is from 6-9pm with all gallery’s in the area having receptions

Toronto | Connections Gallery

May 15-June 17
Opening May 18 from 6-9pm
The Toronto portion of the exhibition is a part of the Contact Photography Festival

#ContactPhoto #202Creates #202Fotos #acreativedc #glenechophotoworks #photoworks #altprocessrevolution #DylanEllisGallery #ConnectionsGallery #Toronto #NewOrleans #NOPA #KevinKelly

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Alternative Photo Revolution – Interview with Brittany Fleming

As some  of you may remember from my Rendering the Spirit show, I interviewed the artists participating in the show via email. For APR, I did the same. With 40 artists participating and a quick turn on the time-frame, I’m only posting a few interviews.

Today’s interview: Brittany Fleming

Tell us a bit about your photographic work: * how did you get interested in photography? 

Born and raised in rural Ontario, Brittany spent most of her adolescence outside experimenting with a camera. It was during a three-month backpacking trip to Europe that her interest in travel and photography was sparked. “Being able to combine my passion for travel with photography opened up a new way of thinking. I came back to Canada knowing what I wanted to do.” 

Leaving Fergus behind, Brittany left for school in Ottawa where she completed a two- year photography program at Algonquin College. Before graduating, she started her career as a Lifestyle Photographer with Union Eleven, where she currently works. 

* what kind of work do you produce (how would you categorize your work)? 

I currently work for a studio in Ottawa, Union Eleven where I`m a lifestyle photographer. The work I show for galleries is my Street photography & Photojournalism. 

* what themes or subjects inspire you? 

I am currently working on three projects that are close to my heart. The first is about urban development and the ever changing cityscape. I document this environment through street photography. The second is an ongoing project about agriculture – showcasing farmers from our past, present, and the future of farming through a photojournalistic lens. Lastly, I am combining street photography and photojournalism to bring light to the human rights issues of our time, specifically women’s rights. 

How do you see your work in relationship to the larger art world:

* did you come to photography from another medium?

no

* do you feel your work is influenced by other media/periods/genres? If so, which ones, and why? 

On backpacking trips I was able to connect with locals. I have the ability to connect the camera to the heart, to feel the subjects and their story. An anthropologist at heart, my aim is to show the social landscape of my time. Deriving my photographic influences from Robert Frank, Diane Arbus, Walker Evans, Garry Winogrand, and Lee Friedlander, I always try to keep the human condition in focus. 

Could you talk a bit about the piece you submitted to the APR show? 

We all want to feel equal. My work is strongly influenced by this innate desire, and I’ve chosen to expose it through a female perspective. 

Captured in this photo are a group of people at the women rights march. Showing the young girls looking up to their mothers sparked a strong emotion. Thinking about this young girl, her past, present and, future. 

I too, yearn to feel accepted and equal. My hope, by sharing this image, is to show how truly brave these women are and how grateful they are for their rights and freedoms. We all have the power to go ahead and face our fears, follow our passions, and do so with grace. Our successes and failures are what will shape the generations of tomorrow. 

What is your experience with analog photography? Digital photography? 

When i was in school for photography we uses 4×5 cameras. Other then that I primarily shoot with my DSLR. 

Do you normally print your own work, or have others print for you? 

Bob and the team at Alternative Photo Services do an amazing job at printing my work for me. They are experts at bringing my images to life. 

Have you ever worked in alternative processes before? 

No this will be my first time 

 Brittany Fleming

Glen Echo | Glen Echo Park in the Ballroom, Backroom

March 28
Viewings will be taking place from 1-9pm with a formal reception from 6-9pm. Admission: Free

New Orleans | L’Entrepot

March 31-April 1
Private reception on Friday March 31st from 6-9pm.
General admission is $10
VIP Collector ticket is $30 admission + chance to win a unique permanent print
Stay at home ticket $25 for a chance to win a unique permanent print
Tickets can be purchased on Eventbrite.
April 1st, viewings will be open to the public from 1-9pm. The Julia Street First Saturday event is from 6-9pm with all gallery’s in the area having receptions

Toronto | Connections Gallery

May 15-June 17
Opening May 18 from 6-9pm
The Toronto portion of the exhibition is a part of the Contact Photography Festival

#ContactPhoto #202Creates #202Fotos #acreativedc #glenechophotoworks #photoworks #altprocessrevolution #DylanEllisGallery #ConnectionsGallery #Toronto #NewOrleans #NOPA

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Alternative Photo Revolution – Artists

As a follow-up to my previous announcement about Alternative Photo Revolution, I wanted to post a list of the participating artists. One of the conceits of the show is that virtually all work presented will be printed by Bob Carnie, an internationally recognized photo printer and master craftsman. Bob has been in the forefront of experimenting with bridging the gap between digital and wet-darkroom technologies. He was the first person to take a Durst Lambda enlarger (a digital enlarger that was designed to make traditional C-prints from digital files) and use it to produce enlarged negatives on Ortho film. Bob has used this technique to make the required negatives for alternative process prints from sources as diverse as in-camera 4×5 sheet film to iPhone digital files.

Participating in the show is a bit of a leap of faith and trust in Bob’s creative vision and talent, as none of the participants will have seen their final prints before they hang in the gallery (Bob has been kept extremely busy producing, mounting and matting 40 images for the show in addition to running his lab). Some of the artists in the show are long-time alternative process workers, like myself, and others have only worked digitally, and never printed their own work.

Here is the list of artists and their organizations/locations.

Gallery 44: Alexis Jackson

Seneca IDP: Kin Lon Ma

Photoworks: Scott Davis

New Orleans Photo Alliance: David Armentor

Toronto: Marc Betsworth, Tamiko Winters, Paul Taborovsky, Kevin Kelly, Alan Dunlop, Lisa Murzin, Ron Erwin, John Migicovsky, Evan Dion, Salina Kassam, Philip Jessup, Marlene Hilton Moore, Juli Lyons, Skip Dean, Thomas Brasch, Matthew Plexman, Laura Paterson, Bob Carnie, Monica Glitz

St Thomas: Jeff Suchak

Quebec: Hugues Rochette, Jean Lauzon, Madeleine Marcil, Claude Dagenais, Guy Lafontaine, Mirabelle Ricard, Guy Glorieux

Ottawa: Brittany Fleming

Saskatoon: Jennifer Crane

Vancouver: Brendan Meadows

Seattle: Andrej Gregov

Texas: Larry Hayden

New York: Bryan Helm

The following three artists are supplying their own prints for this show:

Ginette Clément (Quebec)- Lumen Silver Gelatin

Stephen McNeill (Toronto)- Silver Gelatin Photogram

David Christensen (Calgary)- Silver Gelatin

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Glen Echo | Glen Echo Park in the Ballroom, Backroom

March 28
Viewings will be taking place from 1-9pm with a formal reception from 6-9pm. Admission: Free

New Orleans | L’Entrepot

March 31-April 1
Private reception on Friday March 31st from 6-9pm.
General admission is $10
VIP Collector ticket is $30 admission + chance to win a unique permanent print
Stay at home ticket $25 for a chance to win a unique permanent print
Tickets can be purchased on Eventbrite.
April 1st, viewings will be open to the public from 1-9pm. The Julia Street First Saturday event is from 6-9pm with all gallery’s in the area having receptions

Toronto | Connections Gallery

May 15-June 17
Opening May 18 from 6-9pm
The Toronto portion of the exhibition is a part of the Contact Photography Festival

#ContactPhoto #202Creates #202Fotos #acreativedc #glenechophotoworks #photoworks #altprocessrevolution #DylanEllisGallery #ConnectionsGallery #Toronto #NewOrleans #NOPA

 

 

Alternative Photo Revolution Show

I’m thrilled to announce the upcoming Alternative Photo Revolution show, which I have been assisting and coordinating to bring to Glen Echo Park later this month.

What is the Alternative Photo Revolution?

Combining contemporary photography with historical photo printmaking processes, the Alternative Photo Revolution (APR) is one of a kind. This group show features works by photographers from across North America, printed by internationally recognized master printer Bob Carnie. Hitting the road at the end of March, APR will be popping up in Glen Echo, Maryland then New Orleans, Louisiana before returning home to the Connections Gallery in Toronto, Canada for inclusion in the Contact Photo Festival from May 15-June 17. APR seeks to use the burgeoning trend of pop-up galleries and shows to broaden the awareness and appeal of historic photographic techniques. The one-day pop-up will be at Glen Echo Park in the Back Ballroom of the Spanish Ballroom building, and will be open from 1-9pm. A number of the artists represented will be in attendance at the wine and cheese reception from 6-9pm. The APR show at Glen Echo is co-sponsored by Glen Echo Photoworks, which is celebrating its 42nd year of providing outstanding photographic education and exhibitions.

 AltProRevSponsors

 

Alternative Photo Revolution
Glen Echo Park, Maryland-Ballroom Backroom | March 28 | 1-9pm
New Orleans | L’Entrepot | 527 Julia Street | March 31 6-9pm & April 1 1-9pm Toronto | Connections Gallery | 1840 Danforth Ave | May 15-June 17 Opening May 18 6-9pm

KeyBridgeFlagsPinhole.jpg

Photo © Scott Davis, 2016 4×5 Travelwide pinhole, 65mm fl, platinum print.

Private Tutorial – Platinum/Palladium Printing

I recently completed a one-on-one private tutorial in Platinum/Palladium printing with Mat Marrash, who you may know of if you listen to The Film Photography Podcast. I’ve known Mat for several years now, having met him at Photostock in 2013. He’s an extremely gifted photographer who mostly works with an 8×10 view camera, and does a lot of work with infrared film. Mat knows a lot of the same folks I know in the alternative process field, including people I’ve learned from, so I was deeply flattered that he chose me to learn from.

Mat With First Print
Mat With First Print

Yes, Mat is a very talented photographer in his own right so a lot of what we did in this session was easy for him. BUT, he did make it challenging by starting off working from 8×10 inch negatives, instead of starting with 5×7 (the smaller size is easier to coat evenly when you’re new to the process, and costs 50% less per print). I want to show this as this was his first ever (!!!!) palladium print. We hit the first one dead on, out-of-the-ballpark, ready to frame and go up on the wall. This extremely beautiful process is quite easy to learn and should not be intimidating to anyone interested.

And here is his second ever print, which added another wrinkle – the negative he used was one he had previously shot, not planning to make a palladium print with it. We developed all his film, the negatives we made that weekend along with some other negatives he had made previously, using the development regimen I use for my work, and we were able to produce some excellent prints even from those other negatives.

Mat's Second Print
Mat’s Second Print

Private one-on-one tutoring can be arranged at any mutually convenient time, and can cover a wide range of topics either specialized for fine-tuning your process or just a deep hands-on introduction to the process. Contact me for details on pricing and scheduling – as this is an a-la-carte arrangement, I need to know what you are looking for in order to give a quote. Tuition will include your own set of chemistry and any paper we use in the class.

I’m offering my group class at Glen Echo Photoworks next weekend, December 10-11, if you are interested in getting your feet wet without committing to a one-on-one workshop, This is the perfect opportunity. Tuition is a very modest $250 plus $50 materials fee (chemistry, paper, and all instructional materials). The class runs from 10 AM – 4 PM Saturday and Sunday. You can register here at the Glen Echo Park website.

Sinister Idyll – Image Accepted to Size Matters at Medium Festival of Photography

My image “Bachelors’ Quarters, L’Hermitage” from the Sinister Idyll series has been selected as a finalist in the Size Matters exhibition at the Medium Festival of Photography in San Diego.

To quote the prospectus for Size Matters:

Size Matters is the signature exhibition of the Medium Festival of Photography and San Diego’s month of photography: PHOTOLAB. We’re proud to partner with Lensculture and Low Gallery to host Size Matters from Oct. 22 – Nov. 12, 2016. We’re excited to welcome Allie Haeusslein, the Associate Director of Pier 24 Photography in San Francisco, as the 2016 Size Matters juror.

Size Matters celebrates photographs that offer an intimate viewing experience by showcasing the power of photographic prints less than 10” in the widest dimension. Medium will host an opening reception with the exhibiting artists on Saturday, Oct. 22 from 7-10pm.

Allie Haeusslein is the Associate Director at Pier 24 Photography in San Francisco, one of the largest spaces dedicated to photography in the United States.

We’re honored to have Allie as the juror for Size Matters, selecting the exhibition content and purchase award. Her background as a photography curator, writer, and historian promises an unforgettable exhibition.

I will try to attend, and I hope to see some of you there!

Bachelors House, Best Farm
Bachelors House, Best Farm

2 1/4″ x 4 1/4″ palladium print on Hahnemuhle Platinum Rag 100% cotton 320gsm fine art paper. Edition of 10.

Image Published on fslashd!

For those unaware of it, fslashd (f/D) is a website devoted to pinhole photography. I’ve had one of my images published on their site as part of their Inspiration of the Week page –

http://fslashd.com/2016/07/inspiration-week-of-725/

Foggy Bottom Metro, Waiting
Foggy Bottom Metro, Waiting

Kier, the editor of the site, also included a few remarks by me about my photography and why I appreciate and enjoy alternative/lensless image-making tools.

Scott Davis is an experienced photographer in historic printing processes, and has recently started to work in pinhole for additional inspiration. He’s developed an appreciation for the simplicity of pinhole and how it lets him focus on the image, not the equipment. As he states: “Working with cameras that don’t have lenses or shutters per se, or at least that have primitive ones, means that serendipity becomes important in my work…What interests me is the capture of whole seconds, minutes and even hours of time in a frame, contrasting the things that move in the scene with things that remain static.”

For anyone interested, he’s also running a call for entries for pinhole work – http://fslashd.com/call-for-entry/. This is your chance to get published not just on a webpage but in an actual physical book.

Photoworks Introduction to Platinum/Palladium Printing- sponsored by Hahnemuhle!

hm-logo

I have some very exciting news to announce – my upcoming Introduction to Platinum/Palladium Printing class is now sponsored by Hahnemuhle, makers of fine art printing papers since 1584. They recently introduced a new paper specially formulated for alternative process printing, specifically platinum/palladium, and are graciously supplying the class with a very generous stock of paper for the students to use. I hope this will be the beginning of a long and fruitful partnership.

photoworks40years

Portrait with Lotus Seed Pod
Portrait with Lotus Seed Pod

Rendering The Spirit: Interview with Hendrik Faure

Could you tell me your name?
Hendrik Faure

Where are you from?
Germany

How did you get into photography as an art medium (as opposed to casual or professional use)?
I do not remember for sure, I have a darkroom since 1966 and soon was interested in fine art printing, made solarisations and lith-printing. Later I hand-coloured my still life photographs.

Which alternative processes do you practice?
copperplate photogravure following method of Talbot/Klic.

What attracted you to alternative processes in general?
Interest in photohistory and in aesthetic well composed pictures.

What drew you to the specific media you practice?
Pictorialistic photogravures in literature and museums.

How does the choice of media influence your choice of subject matter (or vice versa)?
The medium fits the message.

In today’s mobile, electronic world of instant communication and virtual sharing of images, how important is it to you to create hand-made images?
Important enough to spend three days work per print edition

Is your choice to practice alternative, hand-made photography a reaction to, a complement to, or not influenced by the world of digital media?
When I began photography, there was no digital. Later I had my first computer. It was a Tandy TRS 80 model 3 and already had a mouse. She crawled through the floppy drive slot and tragically died within. I suppose, then the mouse did not like computers. I made some stills with dead mice. This was the strongest influence of digital media to my work.

Do you incorporate digital media into your alternative process work?
Photogravures need an inter-positiv, which I make chemical-based on document-film or digital on pictorio ohp. Digital so-called full frame cameras give freehand a quality like 24x36mm film cameras on tripod, but tend to have no soul.
I use digital capture sometimes if film is not possible. In the scrap project I captured pictures as well electrical as film-based (middle-format to 8x10inch).

If so, how do you incorporate it? Is it limited to mechanical reproduction technique, or does it inform/shape/influence the content of your work?
I use digital media for inferior photowork and seldom for multimedia projects.

What role do you see for hand-made/alternative process work in the art world of today? Where do you see yourself in that world?
This may be decided some 50 years later

Scrap Yard, Winter, by Hendrik Faure
Scrap Yard, Winter, by Hendrik Faure

Rendering The Spirit: Interview with Marek Matusz

Could you tell me your name?

Marek Matusz

Where are you from?

Residing and working in Houston, TX

How did you get into photography as an art medium (as opposed to casual or professional use)?

That went hand-in -in hand with the discovery of alternate processes

Which alternative processes do you practice?

Just about anything: platinum/palladium, silver/iron processes, chrysotype (gold), gum bichromate

What attracted you to alternative processes in general?

I was attracted to the chemistry at first and then the aspect of creating one of a kind hand made images

What drew you to the specific media you practice?

Platinum and palladium prints were are of the technically most accomplished and able to produce most delicate highlights and deep shadows. Seeing great examples of early XX century work in museums and galleries made mu pursue the process . I have started over 25 years ago and the information back then was scant and confusing

How does the choice of media influence your choice of subject matter (or vice versa)?

When taking and composing a picture I try to visualize which alternative process would fit, whether I wand process edges showing, etc.

In today’s mobile, electronic world of instant communication and virtual sharing of images, how important is it to you to create hand-made images?

Two aspects are important. Education of consumer in the existence and quality of hand made images and history of photography through a practice of XIX century processes. The second is keeping and enlarging patron/collector market. Real collector wants something to be touched and held in hand, not a shared digital image.

Is your choice to practice alternative, hand-made photography a reaction to, a complement to, or not influenced by the world of digital media?

It would be totally silly to ignore the digital world. It exists regardless of our feelings about it (good, bad??). SO with that respect it is just a complement. But it is also a strong protests against huge color enhanced digital prints that have invaded galleries.

Do you incorporate digital media into your alternative process work?

Yes, I use the technology as a toll. Some of my captures are digital, most of my negatives are created with digital processes. I am also not against digital alterations of the photograph in the process of creating a picture

What role do you see for hand-made/alternative process work in the art world of today? Where do you see yourself in that world?

I see myself as a part of alternative photography movement. A small (by digital standards) but growing group of practitioners and educators that shares information, practices and the word of photography at its roots

GMC by Marek Matusz
GMC by Marek Matusz