Category Archives: Upcoming Shows

Labor Day Art Show, Glen Echo Park

Everyone-

 I want to invite you all to come see the Labor Day Art Show at Glen Echo. I have two pieces in the show, and it would be great to see you all at the opening reception on Friday, September 1st. I will be there on Friday evening to meet attendees and talk about my work. I’m showing two of my miniature prints from Rome. Each print is made using the historic platinum/palladium photographic process that requires preparation of the paper by hand, applying the light-sensitive metal salts (in this case palladium) with a brush, then sandwiching the negative with the sensitized paper and exposing it to a UV-rich light source to form the image, and then processing the print in a series of chemical baths to develop and make the photograph permanent.
Platinum/palladium printing was developed in the 1870s as another alternative to silver-based processes. It peaked in popularity in the early 1900s, but fell out after 1917 when world supply of platinum dropped in the aftermath of the Russian Revolution (Russia was at the time the world’s largest producer of platinum). It is notable not only for the extremely long tonal range it provides, but also its long-term stability and permanence. With a properly processed print, your platinum/palladium photograph will last as long as the paper it’s printed on lasts.
All work is for sale, and people come to this show to buy, so if you see something you like, don’t hesitate, or it may not be available when you turn around. This is a great show to support local artists, as park takes only a small commission, and 100% of the commissions go to support Glen Echo Park, which is a truly unique gem in the National Capital Region.
Exhibition Dates: Saturday, September 2 – Monday, September 4, 12 – 6 pm
Public Opening Reception: Friday, September 1, 7:30 – 9 pm
 LDAS_2017_header_only
 
Spanish Ballroom, Glen Echo Park 
7300 MacArthur Blvd, Glen Echo MD 20812
The 47th Annual Labor Day Art Show at Glen Echo Park will be held in the historic Spanish Ballroom from Saturday, September 2 through Monday, September 4, 2017 from 12 pm – 6 pm each day.
Sponsored by the Glen Echo Park Partnership for Arts and Culture, the
exhibition and sale runs from 12 pm to 6 pm each day. Admission is free.
The exhibition features the work of more than 200 artists from the mid-Atlantic region. The show includes works in a wide range of artistic media, including:
• sculpture
• painting and drawing
• ceramics
• glass
• jewelry
• fiber arts
• photography
• furniture
• works on paper
Public Opening Reception
Friday, September 1, from 7:30 pm to 9 pm
Spanish Ballroom
Light refreshments

Alternative Photo Revolution – Alan Dunlop

Alan Dunlop

I sent interview questions out to a number of the Alt Process Revolution artists. Artists, being artists, don’t always respond in exactly the way you expect 🙂 So I didn’t get answers to my questions in a literal, 1:1 response, but here is the photo of Alan Dunlop and his bio/response.

My name is Alan Dunlop. I currently live in Toronto, Ontario.

Photography has always been a part of my life. I remember my dad taking photographs with his Rolleiflex and watching him develop prints in the closet of our tiny apartment. I wasn’t hooked, however, until I was studying advertising art and one of my teachers handed me a camera to experiment with. I eventually became a news photographer and worked for a number of local papers for more than two decades.

In my personal work, I always like to push the limits of photography and explore new perspectives and alternative realities. Over the past decade, my focus has been on collaged images. My work is influenced by my background in technical illustration and advertising art. I am also inspired by the works of contemporary artists David Hockney and Robert Birmelin. I am especially fascinated by how these two artists blend multiple images together to elicit a sense of movement and space to convey the myriad complexities of a single moment in time.

The image I submitted to the APR show is from a series of self-portraits shot over several months exploring reflections. It was created in camera, not Photoshop.

I grew up with film and spent many hours in the darkroom. The move to digital photography was an exciting one which I embraced wholeheartedly. I now work only in digital and do my own printing. The immediacy of digital allows me to explore and create images in a way that film never could and gives me more control over the final results.

After becoming familiar with Bob Carnie’s approach to alternative processes, I was curious to learn more. I am drawn to the richness of the images created using this method. I have spent time with Bob processing a number of images, including some of my own, using alternative processes.  The results were quite intriguing. The alternative process prints have a uniqueness of their own and have a very tactile feeling about them. I am curious to see how this will work with more of my own photos.

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

AltProRevSponsors

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

AltProRevSponsors

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.

Rendering The Spirit: Interview with Bruce Schultz

What is your name, and where are you from?
Bruce Schultz from Lafayette, Louisiana.

How did you get into photography as an art medium (as opposed to casual or professional use)?
I’ve always taken photographs for myself as an artistic expression, since the early 1970s.

I make images with wet-plate collodion to make tintypes on metal, or ambrotypes on glass, or glass negatives to make paper prints in the form of salt prints and albumen prints. I have one salt print and three albumen prints in this show, all from glass negatives.

What drew you to the specific media you practice?
I grew bored with making black and white images with film, printed onto factory-coated silver gelatin paper, something I had done for almost 40 years. As digital photography had emerged as the dominant means of making pictures, I regressed and sought out the basics of photography as it was first practiced. So I took a workshop in Missouri with wet plate photographer Bob Szabo in 2007.
Since then, I no longer shoot film. I make tintypes at civil war reenactments, and also photograph a wide range of subject matter from still lifes, landscapes and nudes. I’ve made images for movies (“Beautiful Creatures” and a remake of “The Magnificent Seven.”) And TV shows including “American Horror Story” and “Into the Badlands,” in addition to several CD covers.

How does the choice of media influence your choice of subject matter (or vice versa)?
Since my chosen process requires exposures of several seconds to minutes, action can’t be photographed but even that can be overcome if one is willing to invest in a high-powered, eyebrow singeing flash equipment. I will occasionally pay homage to 19th century images.

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?
I’m not opposed to digital photography, and I use it in my career as a communications specialist, but digital imagery is too realistic, too perfect for my purposes. With wet-plate collodion, serendipitous flaws are inherent in the process. Fingerprints, smudges on the edges, specks of dust, bubbles, scratches, are inevitable and they make it obvious that this is a one-of-a-kind handmade image never to be repeated.

Is your choice to practice alternative, hand-made photography a reaction to, a complement to, or not influenced by the world of digital media?
I don’t really think about the digital realm, what I’ve done digitally or anyone else has done with a digital camera. I do often marvel that in the time span that I make one image with the wet-plate process, someone could shoot hundreds of pictures. Because of the labor and time involved to set up the chemicals and equipment, making an image with the wet-plate process is a deliberative effort. One has to make sure that what has caught their eye is truly worth the effort and time to make just one picture.

And I have to admit that I get some kind of rush from knowing that I’m making photographs the same way that the early photographers did, experiencing the same frustrations when things go wrong, and the same tingle of excitement when everything comes together. Using the same formulae and materials but with the benefit of modern technology like air conditioning in a darkroom and electric lights.

Do you incorporate digital media into your alternative process work?
I have made digital prints from my wet plate images, but they do not equal a print from a wet-plate negative and I no longer do that because the quality is inadequate.

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 want to learn to make digital negatives from tintypes to make albumen and salt prints. I am even willing to attempt using digital capture to generate a digital negative and from that, make albumen and salt prints, especially for images that I make while traveling abroad since flying on airplanes can’t be done with flammable chemicals and hundreds of pounds of equipment.

What role do you see for hand-made/alternative process work in the art world of today?
Sales of vintage photography have increased with higher and higher prices as buyers recognize the significance of photographs that have survived for more than a century..
Alternative process work has emerged as a significant movement as the art audience recognizes the effort and dedication required to generate these images. And shows like this one illustrate that more people are creating bodies of work based on handmade imagery.
That’s not to say that serious artistic expressions can’t be the product of digital capture, but so many images are being created digitally that we are being overwhelmed with snapshots fired in scattergun fashion. I’ve read that more photographs have been taken in the past 2 years than in the first 150 years of photography. I’m not sure how that figure was derived, but it is mind-boggling. But most of those images will never move beyond a phone or computer screen, and it’s expected that many will become lost in the progression of obsolescence.
It also troubles me that folks get so caught up in taking a snapshot or video that they don’t truly experience a moment for what it is. A photograph or video will never convey an experience. Credit photographer Sally Mann for expressing that notion in her book that memories are being supplanted by photographs of a slice in time, and not living in the moment and experiencing what is happening in a viewfinder and not actually in front of our eyes. Years from now, we will remember an event as it was, or does the photograph corrupt our memories? I know that I now cannot be sure if some of my earliest memories were what I recall, or what my father’s 8mm movies show.

Where do you see yourself in that world?
I have no idea. I’m too busy shooting pictures, mixing chemicals and coating paper for printing to worry about my miniscule impression on the art world.

Church at Ruidoso, Texas
Church at Ruidoso, Texas