Since moving to Sarasota, Florida, I have been busy becoming familiar with the local art scene. Not only do I want to learn about the local creative community ... I want the local community of artists and patrons to learn about me.
One of the first things I did was to join our local art center ... Art Center Sarasota (ARTSARASOTA.ORG). They have strong ties to The Ringling College of Art and Design and The Ringling Museum. They have their own building right on the Bay Front. With approximately 800 members and monthly juried exhibitions and solo shows, they have quite a vibrant growing community. There is currently a massive plan for redevelopment of the entire Bay Front. Art Center Sarasota sits right in the middle. This is a big deal. They probably won't break ground for another 4 years until the actual plan is approved and funding is obtained. Their future couldn't be brighter.
In the process of becoming familiar with the area and meeting other artists, I have been asked to show my work and speak about my process. I have presented a program, "Evolution of An Artist - The Photographs of Craig Sterling" at TPC Prestancia Country Club. Another speaking engagement was to The Palmer Ranch Camera Club to discuss the topic: "What is Fine Art Photography?". My next speaking engagement will take place at Art Center Sarasota on June 6th 2018. I will be presenting a program, "Florida As A Visual Experience - Looking Beyond the Obvious." This program discusses defining a personal vision that is readily identifiable.
Over the years, I have presented my work on numerous occasions, but never in such a short-term condensed window. It's great having opportunities to show my work to such broad audiences. These presentations have necessitated careful thought and self-examination of my work ... what to speak about and what to show. I must say, going through my images for these talks has provided an excellent way to see my work through the eyes of others. What a great way to evaluate not just single images, but how a body of work flows from image to image. It's been a great learning experience.
Thursday, May 24, 2018
Wednesday, September 13, 2017
Making Beautiful Photographs Has Never Been Easier or More Difficult
Today's cameras have auto-focus, face recognition, image stabilization and auto exposure control. Making a good photograph has never been easier. It's all you have to do is point your camera in the direction of something interesting or beautiful and voila, you're a photographer ... and an artist!
I recently had a conversation with a photographer friend about how technology has made such a positive impact on photography and the arts in general. Never before have artists been afforded so many choices in expressing themselves creatively. Today's technology allows us to make images without the inconvenience of processing film and working in a wet darkroom. You press the button and within a few minutes can have a museum quality print. Talk about easy!
Capturing and making a beautiful image is easy, but hold on a minute ... photography is no longer about process unless of course you are working in some alternative process such as platinum/palladium, gum or wet collodion to name a few. Current technology allows just about anyone to make a nice print from a digital file. Consequently, the ease of making a competent image is driving artists and photographers to to go beyond process and concentrate more on content. What is the artist's concept and personal vision? What is he or she trying to say?
The artist, Chuck Close once intimated that making competent photographs was easy ... the hard part was expressing one's personal vision. This speaks volumes for the state of photography in 2017.
I recently had a conversation with a photographer friend about how technology has made such a positive impact on photography and the arts in general. Never before have artists been afforded so many choices in expressing themselves creatively. Today's technology allows us to make images without the inconvenience of processing film and working in a wet darkroom. You press the button and within a few minutes can have a museum quality print. Talk about easy!
Capturing and making a beautiful image is easy, but hold on a minute ... photography is no longer about process unless of course you are working in some alternative process such as platinum/palladium, gum or wet collodion to name a few. Current technology allows just about anyone to make a nice print from a digital file. Consequently, the ease of making a competent image is driving artists and photographers to to go beyond process and concentrate more on content. What is the artist's concept and personal vision? What is he or she trying to say?
The artist, Chuck Close once intimated that making competent photographs was easy ... the hard part was expressing one's personal vision. This speaks volumes for the state of photography in 2017.
Tuesday, April 25, 2017
Emerging Artist
A few weeks ago, while at Nokomis Beach here in Florida, my wife, Lesley was wading in the water and happened to have her iPhone in hand. It was one of those typical Gulf Coast days when the air was hot and there was a bit of red tide close to the beach.
Since the water was still chilly, I didn't venture from my beach chair. Looking out to the water from my chair I noticed Lesley taking pictures of the water? When she returned to her chair she showed me the photos she had just made. Wow, she really saw something! I couldn't wait to get home and take a closer look at Lesley's photos on my computer. Here is the result ...
FYI ... While in college at Boston University, Lesley wrote an extensive paper on black and white photography. It was really good! Somewhere down deep there was a photographer lurking ...
Lurk no more! I hope she keeps it up ...
Since the water was still chilly, I didn't venture from my beach chair. Looking out to the water from my chair I noticed Lesley taking pictures of the water? When she returned to her chair she showed me the photos she had just made. Wow, she really saw something! I couldn't wait to get home and take a closer look at Lesley's photos on my computer. Here is the result ...
FYI ... While in college at Boston University, Lesley wrote an extensive paper on black and white photography. It was really good! Somewhere down deep there was a photographer lurking ...
Lurk no more! I hope she keeps it up ...
Black and White or Color?
Nearly 100% of my photography has been in black and white. For the past year, due to necessity (no darkroom), I have been photographing with a digital camera ... a Sony A7R II.
For the first time in my life, I am seeing images intended as black and white, but captured in color.
WHAT TO DO? TOO MANY CHOICES ... !!!
For the first time in my life, I am seeing images intended as black and white, but captured in color.
WHAT TO DO? TOO MANY CHOICES ... !!!
David Burnett - Greenfield Prize Winner
Last Sunday, I had the opportunity to attend a "Creative Conversation" at The Works at the Sarasota Museum of Art.
Photojournalist, David Burnett is the recipient of The Greenfield Prize at The Hermitage Artist Retreat. The Prize includes a commission of $30,000 for a new project to be completed within two years, and a residency at the Hermitage Artist Retreat. David presented a number of his images and discussed the circumstances in making them. From Viet Nam to the Olympics ... It was most fascinating hearing the stories behind the images. On a few occasions, David became quite emotional telling about how a single image can affect the lives of people, both positive and negative.
I had come to know David and his work since we both had lived in the Washington, D.C. area. David, is not only a highly accomplished world class photojournalist, but is also "a photographer's photographer." Always willing to share ideas and talk shop ... a real mensch!
After David's presentation, there was a panel discussion "The State of the Art of Photography," led by Anne-Marie Russell, the new Founding Executive Director of the Sarasota Museum of Art ... a new contemporary art museum dedicated to exhibiting art of the late 20th and 21st century. Anne-Marie served as Executive Director of the Museum of Contemporary Art in Tucson and adjunct professor at the University of Arizona prior to accepting her new role at The Sarasota Museum of Art.
The panel consisted of Dr. Anthony Bannon, executive director of the Burchfield Penny Art Center at Buffalo State College. Tony was the seventh director of George Eastman House International Museum of Photography and Film in Rochester, New York.
In addition, Christopher Jones. Christopher is Associate Curator of Photography at The Ringling Museum of Art where he oversees the photography, new media and works on paper collection.
Last but not least is Robert Pledge. Robert was the former editor of the French visual arts magazine, Zoom, le magazine de l'image. In 1976, he co-founded along with David Burnett, the international
photojournalism agency, Contact Press Images.
The panel acknowledged the importance of photography in today's ever changing news world and how images shape our perceptions and opinions. Also mentioned was how the documentary/reportage image has crossed over into the fine art world. Many examples of this can be seen in David's images where they can be viewed in a news paper, magazine, on-line or on the walls of a museum.
It's an exciting time to be a photographer, and Sarasota is an exciting place to make and discover art.
Photojournalist, David Burnett is the recipient of The Greenfield Prize at The Hermitage Artist Retreat. The Prize includes a commission of $30,000 for a new project to be completed within two years, and a residency at the Hermitage Artist Retreat. David presented a number of his images and discussed the circumstances in making them. From Viet Nam to the Olympics ... It was most fascinating hearing the stories behind the images. On a few occasions, David became quite emotional telling about how a single image can affect the lives of people, both positive and negative.
I had come to know David and his work since we both had lived in the Washington, D.C. area. David, is not only a highly accomplished world class photojournalist, but is also "a photographer's photographer." Always willing to share ideas and talk shop ... a real mensch!
After David's presentation, there was a panel discussion "The State of the Art of Photography," led by Anne-Marie Russell, the new Founding Executive Director of the Sarasota Museum of Art ... a new contemporary art museum dedicated to exhibiting art of the late 20th and 21st century. Anne-Marie served as Executive Director of the Museum of Contemporary Art in Tucson and adjunct professor at the University of Arizona prior to accepting her new role at The Sarasota Museum of Art.
The panel consisted of Dr. Anthony Bannon, executive director of the Burchfield Penny Art Center at Buffalo State College. Tony was the seventh director of George Eastman House International Museum of Photography and Film in Rochester, New York.
In addition, Christopher Jones. Christopher is Associate Curator of Photography at The Ringling Museum of Art where he oversees the photography, new media and works on paper collection.
Last but not least is Robert Pledge. Robert was the former editor of the French visual arts magazine, Zoom, le magazine de l'image. In 1976, he co-founded along with David Burnett, the international
photojournalism agency, Contact Press Images.
The panel acknowledged the importance of photography in today's ever changing news world and how images shape our perceptions and opinions. Also mentioned was how the documentary/reportage image has crossed over into the fine art world. Many examples of this can be seen in David's images where they can be viewed in a news paper, magazine, on-line or on the walls of a museum.
It's an exciting time to be a photographer, and Sarasota is an exciting place to make and discover art.
Monday, January 30, 2017
New Beginnings
It's been a crazy 2016...all good! We are now residing in beautiful Sarasota, Florida. I can't believe it, but it has been a year since I left my studio at The Torpedo Factory Art Center in Old Town Alexandria, Virginia. I absolutely loved the art center and my fellow artists. Being a part of such a creative venue has been the experience of a lifetime ... it's irreplaceable.
As most people who are familiar with my work, photographing the Washington, D.C. landscape and our national monuments has played a significant role in my success as an artist. I have been fortunate enough to be represented in a number of important museum and private collections. This success has allowed me the opportunity to photograph in Europe ... specifically Italy and Paris.
We arrived in Sarasota last May with the objective to purchase a home with enough work space for me to continue to pursue my art. We are now living in a lovely home on a beautiful lake, only 10 minutes from the white sand beaches on the Gulf of Mexico.
The good news is that I have been photographing like crazy. Making new images that are 180 degrees from the type of work I had pursued up north. It's so liberating being in a totally new visual environment ... I'm having a ball!
Sarasota is a very friendly arts environment. There are galleries all over town and a vibrant community of painters, photographers, sculptures, print makers and glass artists to name but a few.
Slowly I am becoming involved. For those that are interested in seeing my new work, check out my web site at www.craigsterling.com.
Thanks for everyone's support over the years ... I'm deeply grateful. Stay tuned for the next chapter!
As most people who are familiar with my work, photographing the Washington, D.C. landscape and our national monuments has played a significant role in my success as an artist. I have been fortunate enough to be represented in a number of important museum and private collections. This success has allowed me the opportunity to photograph in Europe ... specifically Italy and Paris.
We arrived in Sarasota last May with the objective to purchase a home with enough work space for me to continue to pursue my art. We are now living in a lovely home on a beautiful lake, only 10 minutes from the white sand beaches on the Gulf of Mexico.
The good news is that I have been photographing like crazy. Making new images that are 180 degrees from the type of work I had pursued up north. It's so liberating being in a totally new visual environment ... I'm having a ball! Sarasota is a very friendly arts environment. There are galleries all over town and a vibrant community of painters, photographers, sculptures, print makers and glass artists to name but a few.
Slowly I am becoming involved. For those that are interested in seeing my new work, check out my web site at www.craigsterling.com.
Thanks for everyone's support over the years ... I'm deeply grateful. Stay tuned for the next chapter!
Wednesday, February 25, 2015
Michael Kenna - Black & White vs Color Photography
Why Black & White?
Having my studio at The Torpedo Factory Art Center in Old Town Alexandria, Virginia for the past 14 years has provided a unique public venue for my work. One of the questions I am frequently asked is "why black & white and not color?" As most people know, I only work in black & white and have never been interested in working in color ... but why?
In a recent article published Black & White Magazine, British landscape photographer, Michael Kenna, known for his exquisite black & white images, was posed the question, "why black & white and not color?" For those not familiar with his work, Kenna works exclusively in black & white and makes his prints in the traditional wet darkroom. In an age when digital imaging allows for prints in enormous sizes, Kenna prints in only one size, roughly 8" x 8" ... and they are spectacular! His work is shown in museums and galleries around the world.
For me personally, his response as to why he works in monochrome vs color sums it up perfectly...
"Kenna’s old school outlook extends to his fidelity to black and white. Despite four decades of shooting in monochrome, he has no desire to experiment with color. Black and white, for him, provides an immediate interpretation of the world rather than a literal copy of what we see, where everything is in color. He finds black-and-white photographs to be quieter, subtler and more mysterious than those made in color, and thus more inspiring to the imagination of the individual viewer. Paradoxically, because they don’t attempt to compete with the outside world, black-and-white images persists longer in our visual memory. "
Wednesday, December 3, 2014
A Thought for the Day
There are two types of photographers ...
Photographers that photograph "Things"
and photographers that photograph "Ideas."
Which one are you?
Photographers that photograph "Things"
and photographers that photograph "Ideas."
Which one are you?
Tuesday, September 30, 2014
Invitational Photography Exhibition ... Includes 2 of My Images
Another Great Exhibition!
Multiple Exposures Gallery
The Torpedo Factory Art Center • Alexandria, VA
October 14th - November 23rd 2014
Thursday, July 10, 2014
What It's All About!
I have always wanted to share my experiences through photographs. Photographers can work a lifetime and never really know to what extent viewers connect with their personal vision.
Take a minute and read this email I recently received from Kara, a visitor to my studio in The Torpedo Factory Art Center in Old Town Alexandria, Virginia ... I'm sincerely touched.
Take a minute and read this email I recently received from Kara, a visitor to my studio in The Torpedo Factory Art Center in Old Town Alexandria, Virginia ... I'm sincerely touched.
Friday, December 20, 2013
Video of Craig Sterling - "Photographing the Familiar in an Unfamiliar Way"
After seeing my photographs, many individuals exclaim, "I've seen that before, but never quite like that." What better way is there to describe the imagery that I have created of noted landmarks here in Washington, D.C. and around the world?
This short video by talented filmmaker and photographer Dean Pagani, explores my creative approach for making meaningful images of places that we are all so familiar. Enjoy!
My studio and gallery is located in The Torpedo Factory Art Center in Old Town Alexandria, VA
This short video by talented filmmaker and photographer Dean Pagani, explores my creative approach for making meaningful images of places that we are all so familiar. Enjoy!
My studio and gallery is located in The Torpedo Factory Art Center in Old Town Alexandria, VA
Friday, July 5, 2013
An Art Survey
Jay Leno, Bill Mahr and CNN have all at one time or another conducted surveys out in the street of typical Americans. They ask to name the Secretary of State, Vice President or the Governor of their home state. Much to my amazement, the vast majority of people surveyed don't have a clue ... AMAZING!
As most of the visitors to my Blog are aware, I have been a resident artist at The Torpedo Factory Art Center in Old Town Alexandria, Virginia since 2001. We are a 76,000 square foot art center on the Potomac River right across from Washington, D.C. We are the major draw to historic Old Town Alexandria. We attract nearly 500,000 visitors from all over the U.S. and throughout the world. I suppose it is safe to say that we are THE premiere art center in the U.S. and maybe worldwide.
Over the past few weeks I have been doing a little survey on my own. On a typical week I probably attract 100-150 individuals. I have been asking if they could name 5 famous photographers and or 5 famous artists ... sculptors, painters, etc. Out of nearly 100 very informal surveys, the predominate answer for "famous photographers" was Ansel Adams. Maybe 10% of the people knew specific photos, but not the name of the photographer. Maybe 50% knew of Annie Leibovitz. Names like Edward Weston, Richard Avedon, Sebastião Salgado, Keith Carter or Michael Kenna drew blanks. In fact, many visitors to my studio carry expensive cameras and claim to be photographers!
When it came to naming "famous artists," the overwhelming majority answered, Picasso, Van Gogh, DaVinci, Renoir, Rubens and Rembrandt. Most never heard of Willem de Kooning, Chuck Close, Richard Diebenkorn or Jackson Pollack or Damien Hirst for that matter.
What does this say about the public's knowledge of art? Do we only care about the Kim Kardashian, Beyonce and Duck Dynasty ... I guess so!
As most of the visitors to my Blog are aware, I have been a resident artist at The Torpedo Factory Art Center in Old Town Alexandria, Virginia since 2001. We are a 76,000 square foot art center on the Potomac River right across from Washington, D.C. We are the major draw to historic Old Town Alexandria. We attract nearly 500,000 visitors from all over the U.S. and throughout the world. I suppose it is safe to say that we are THE premiere art center in the U.S. and maybe worldwide.
Over the past few weeks I have been doing a little survey on my own. On a typical week I probably attract 100-150 individuals. I have been asking if they could name 5 famous photographers and or 5 famous artists ... sculptors, painters, etc. Out of nearly 100 very informal surveys, the predominate answer for "famous photographers" was Ansel Adams. Maybe 10% of the people knew specific photos, but not the name of the photographer. Maybe 50% knew of Annie Leibovitz. Names like Edward Weston, Richard Avedon, Sebastião Salgado, Keith Carter or Michael Kenna drew blanks. In fact, many visitors to my studio carry expensive cameras and claim to be photographers!
When it came to naming "famous artists," the overwhelming majority answered, Picasso, Van Gogh, DaVinci, Renoir, Rubens and Rembrandt. Most never heard of Willem de Kooning, Chuck Close, Richard Diebenkorn or Jackson Pollack or Damien Hirst for that matter.
What does this say about the public's knowledge of art? Do we only care about the Kim Kardashian, Beyonce and Duck Dynasty ... I guess so!
Thursday, February 21, 2013
Interesting Exhibition In Old Town Alexandria
Wednesday, January 23, 2013
A Venetian Comparison
 |
| iPhone Image |
 |
| Holga Image |
As it turned out, I returned to Venice in March 2012 ... just a few months later. On my agenda was to revisit Casa Goldoni with a "real camera." After dinner (3 slices of pizza), I headed back over to check out Casa Goldoni. Ah, the door was open and the lights were on. There was no way I could use a tripod due to the position of the iron bars on the doorway. Consequently, I placed my Holga on one of the cross-beams and held it snugly in place with my hand for several bracketed exposures. Got it!
Couldn't wait to see how much BETTER the film shot was in comparison to my iPhone photo. Boy, was I surprised ... same subject, same vantage point and basically the same lighting. Not the same aesthetics though. Check them out for yourself ... two totally different images.
Lesson learned ... sometimes the best camera for the job is the one you have with you!
Monday, October 22, 2012
"Side by Side" Can Film Survive Our Digital Future
I recently watched (2 times!) a documentary narrated by the actor, Keanu Reeves. The title of the film was "Side by Side." The question it asked was "can film survive our digital future?"
This film, in my opinion, is relevant for both still and cinematographers. Since the inception of movie-making, film has been the standard format for recording movie images. What has emerged in the past 20 years has been a totally new format of movie-making ... digital film-making. This has created a groundbreaking evolution in the film industry. This holds true for still photography as well.
Here is a link for the trailer: Side by Side ... The Movie.
I, for one, love film. I am still capturing all of my images on film. I like its grittiness and organic qualities. I especially like the way it records the dimension and latitude of light. During the past few years I have been playing with digital capture, but have not made the leap to "the dark side!" After seeing "Side by Side," I am a lot more open than ever to capturing my images digitally.
In the film "Side by Side," Keanu Reeves takes us on a tour of the past and future of film-making. He explores the development of cinema and the impact of the digital medium via in-depth interviews with Hollywood gurus, such as James Cameron, David Lynch, David Fincher, Martin Scorsese, Steven Soderbergh and many more. Profound ... that's all I can say! Rent it, buy it ... find a way to see it, but don't miss out seeing it. It will be the fastest 99 minutes you will ever spend.
Saturday, June 23, 2012
We Are Spoiled!
Very funny ... what have we turned into!
Here is a snapshot of my friend, Jim Steele cursing at his printer because the paper did not feed correctly; necessitating approximately 20 more seconds to re-feed the paper! Has technology turned us into a bunch of impatient dolts or what! We both had a good chuckle after discussing how we used to work not so long ago ... are we spoiled!
Old school ... after shooting we would have to go into the darkroom and process (soup) the film, wait for it to dry and then make contact sheets ... expose the paper, submerge in developer for about 2 minutes, 30 seconds in the stop-bath and on to the fixer for another 1-3 minutes. From there, on to the wash for 30 minutes to 1 hour and off to the drying rack for several hours, or in some cases a heated print dryer that quickly fried your prints for 5 minutes until dry ... love those little yellow stains on the print and fixer stains on the apron of the print dryer! Better yet, use RC paper ... it develops quickly and drys fast. Thank goodness for instant gratification in the darkroom!
After making a selection of what negatives to print, you had to make sure you had fresh chemicals. If not, you had to mix some new chemistry. If you were out of developer, you had to mix developer in hot water and wait for it to cool down or use bags of ice to help cool the chemistry to 68 - 70 degrees.
The next step was to clean the negative and insert it in the enlarger, crop, focus and expose a piece of photographic paper to make a test print. After arriving at the correct exposure and proper filtration for contrast, it was time to make the final print. This might take several hours or in my case an entire day working with a difficult negative.
After developing, stopping and fixing the final print it was off to a rinse in Perma Wash to help remove residual fixer before being washed in a print-washer for an hour. With the conclusion of washing the prints, it was time to selenium or sepia tone ... and then back to a final rinse for another 30 minutes to an hour. Oh, forgot to mention that you hopefully made a few extra prints, because somewhere during the washing process a wet print would get dinged, scratched or destroyed in some way or another. What fun!
Once the prints were dry, which took several hours, it was time to spot out the dust marks and dry- mount the print for final presentation ... a labor or love or a pain-in-the-ass! It took a lot time and a lot of patients. What used to take many hours or even days, can now take a fraction of that time ... thanks to technology.
While technology has allowed us to speed up the entire picture-making process, there are many of us who still spend hours editing a single image in PhotoShop. There is still a group of individuals that profess that the hand-made gelatin silver print is "better" than a digital print. I would not say "better," I would say "different" ... two totally different mediums ... it's like the difference between chocolate and vanilla!
Here is a snapshot of my friend, Jim Steele cursing at his printer because the paper did not feed correctly; necessitating approximately 20 more seconds to re-feed the paper! Has technology turned us into a bunch of impatient dolts or what! We both had a good chuckle after discussing how we used to work not so long ago ... are we spoiled!
Old school ... after shooting we would have to go into the darkroom and process (soup) the film, wait for it to dry and then make contact sheets ... expose the paper, submerge in developer for about 2 minutes, 30 seconds in the stop-bath and on to the fixer for another 1-3 minutes. From there, on to the wash for 30 minutes to 1 hour and off to the drying rack for several hours, or in some cases a heated print dryer that quickly fried your prints for 5 minutes until dry ... love those little yellow stains on the print and fixer stains on the apron of the print dryer! Better yet, use RC paper ... it develops quickly and drys fast. Thank goodness for instant gratification in the darkroom!
After making a selection of what negatives to print, you had to make sure you had fresh chemicals. If not, you had to mix some new chemistry. If you were out of developer, you had to mix developer in hot water and wait for it to cool down or use bags of ice to help cool the chemistry to 68 - 70 degrees.
The next step was to clean the negative and insert it in the enlarger, crop, focus and expose a piece of photographic paper to make a test print. After arriving at the correct exposure and proper filtration for contrast, it was time to make the final print. This might take several hours or in my case an entire day working with a difficult negative.
After developing, stopping and fixing the final print it was off to a rinse in Perma Wash to help remove residual fixer before being washed in a print-washer for an hour. With the conclusion of washing the prints, it was time to selenium or sepia tone ... and then back to a final rinse for another 30 minutes to an hour. Oh, forgot to mention that you hopefully made a few extra prints, because somewhere during the washing process a wet print would get dinged, scratched or destroyed in some way or another. What fun!
Once the prints were dry, which took several hours, it was time to spot out the dust marks and dry- mount the print for final presentation ... a labor or love or a pain-in-the-ass! It took a lot time and a lot of patients. What used to take many hours or even days, can now take a fraction of that time ... thanks to technology.
While technology has allowed us to speed up the entire picture-making process, there are many of us who still spend hours editing a single image in PhotoShop. There is still a group of individuals that profess that the hand-made gelatin silver print is "better" than a digital print. I would not say "better," I would say "different" ... two totally different mediums ... it's like the difference between chocolate and vanilla!
Friday, June 8, 2012
A New Direction?
A long time ago I used to photograph people. I have always had a affinity for faces and personalities. Without bragging, I was actually a pretty good portrait photographer. Anyway, life took over and my body of European work and my images of Washington, D.C. landmarks began to take off. Consequently, I spent the past 20+ years continuing to build those bodies of images and basically put portraiture on the back burner ... until recently.
I made this image of my wife, Lesley while in Venice in November 2011. It reminded me of Irving Penn's "corner portraits" made in the late 1940's of writers and various celebrities. Technically, the only difference was the background ... well, actually the big difference was the photographer! Penn used 2 white studio-flats (as illustrated below by the portrait of Truman Capote) and my image used 2 walls at a 45 degree angle covered with flocking wall paper.
Penn's images are so distinctive ... so Penn. According to Mr. Penn, "the confinement seemed to comfort people, soothing them,” he once explained. “The walls were a surface to lean on or push against. For me the picture possibilities were interesting; limiting the subjects movements seemed to relieve me of part of the problem of holding onto them.”
To be perfectly honest, in some small way, I felt my image was a copy or rip-off of the "master." Everything in art it seems has been done before. I think most of us that are serious about our work will reinvent things we have either seen or have been influenced by at one time or another. I need to get over it!!!!!
Anyway, I made a nice print, but never got around to framing it and bringing it home. It sat on top of my flat-files in my studio. A lot of visitors to my studio would ask about the image. In January, a couple from California asked if it was for sale because they wanted to purchase it for their collection ... really, OK. Since January, two other collectors have purchased this image ... go figure!
I have to say, taking the photograph of my wife was not an accident. I must have made 8-10 exposures. Using the corner, she did all the work ... and she loved the portrait ... me too. I must say, aside from selling several prints, the feedback I have received from strangers and friends has been great. It has really renewed my long time interest in making portraits. Ummmm, might this be
a new direction?
I made this image of my wife, Lesley while in Venice in November 2011. It reminded me of Irving Penn's "corner portraits" made in the late 1940's of writers and various celebrities. Technically, the only difference was the background ... well, actually the big difference was the photographer! Penn used 2 white studio-flats (as illustrated below by the portrait of Truman Capote) and my image used 2 walls at a 45 degree angle covered with flocking wall paper.
Penn's images are so distinctive ... so Penn. According to Mr. Penn, "the confinement seemed to comfort people, soothing them,” he once explained. “The walls were a surface to lean on or push against. For me the picture possibilities were interesting; limiting the subjects movements seemed to relieve me of part of the problem of holding onto them.”
 | ||
| Truman Capote by Irving Penn, 1948 |
Anyway, I made a nice print, but never got around to framing it and bringing it home. It sat on top of my flat-files in my studio. A lot of visitors to my studio would ask about the image. In January, a couple from California asked if it was for sale because they wanted to purchase it for their collection ... really, OK. Since January, two other collectors have purchased this image ... go figure!
I have to say, taking the photograph of my wife was not an accident. I must have made 8-10 exposures. Using the corner, she did all the work ... and she loved the portrait ... me too. I must say, aside from selling several prints, the feedback I have received from strangers and friends has been great. It has really renewed my long time interest in making portraits. Ummmm, might this be
a new direction?
Saturday, May 19, 2012
Passion
Having a studio and gallery in a public venue (The Torpedo Factory Art Center) has really been a blessing. I know of no other venue where I could gain first hand knowledge of how people respond to my work. I thoroughly enjoy the interaction; be it with collectors, other photographers or just John Q public. It's quite gratifying. Much better than getting feedback from my uncle Morris, who thinks I am a genius and more talented than Picasso!
Aside from the typical questions about what kind of camera I use and is it digital or film, (BTW: I'm still a film guy), many times people ask about my inspiration ... what led me to photograph certain subject matter? I often hear, "I've photographed the same thing, but mine looks nothing like that." Or, I've seen that before, but never quite like that." The conversation usually progresses to how I identify new subject matter. Images of Washington, D.C. landmarks and European architecture and landscapes abound in my work. Why, because I'm passionate about them. I love my city, DC, and I love the whole European thing too. I guess you could say I am passionate about my subject matter. My goal has always been to communicate this passion through my images. If I were not as passionate about my subject matter as I am, I am sure my imagery would show that lack of passion. I strongly believe that if we photograph something we have strong feelings about, those feelings and passion will shine through.
Most of us have begun our photographic journeys making images of landscapes, portraits, flowers and architecture. My friend, Jim Steele has always used the expression, "first we imitate, then we innovate." How true! We have all been there and done that. Once we get proficient at the technical and aesthetic aspect of photography, it's time to get serious. Keep in mind, there is a lot more to photography than cameras and Photoshop. Just like there is a lot more to painting than canvas and brushes. Start thinking in terms of concept and how to communicate your vision.
Suggestion ... follow your gut. Ask yourself "what do I feel passionate about ... I mean, what is it that you are most drawn to?" Is it a person, a location, a game, a thing, or a concept? I think most of us can easily identify our passions. Next, go out and photograph it. I bet the images will be really good ... and you will be on the way to expressing yourself through photography.
Aside from the typical questions about what kind of camera I use and is it digital or film, (BTW: I'm still a film guy), many times people ask about my inspiration ... what led me to photograph certain subject matter? I often hear, "I've photographed the same thing, but mine looks nothing like that." Or, I've seen that before, but never quite like that." The conversation usually progresses to how I identify new subject matter. Images of Washington, D.C. landmarks and European architecture and landscapes abound in my work. Why, because I'm passionate about them. I love my city, DC, and I love the whole European thing too. I guess you could say I am passionate about my subject matter. My goal has always been to communicate this passion through my images. If I were not as passionate about my subject matter as I am, I am sure my imagery would show that lack of passion. I strongly believe that if we photograph something we have strong feelings about, those feelings and passion will shine through.
Most of us have begun our photographic journeys making images of landscapes, portraits, flowers and architecture. My friend, Jim Steele has always used the expression, "first we imitate, then we innovate." How true! We have all been there and done that. Once we get proficient at the technical and aesthetic aspect of photography, it's time to get serious. Keep in mind, there is a lot more to photography than cameras and Photoshop. Just like there is a lot more to painting than canvas and brushes. Start thinking in terms of concept and how to communicate your vision.
Suggestion ... follow your gut. Ask yourself "what do I feel passionate about ... I mean, what is it that you are most drawn to?" Is it a person, a location, a game, a thing, or a concept? I think most of us can easily identify our passions. Next, go out and photograph it. I bet the images will be really good ... and you will be on the way to expressing yourself through photography.
Saturday, May 5, 2012
Exhibits Under the Radar
@ The Federal Reserve Board
Every so often exhibits pop up that are totally under the radar. For whatever reason, these do not make the local news papers or get reviewed by art critics.
Earlier in the week I attended a luncheon and exhibit (Acquisitions: 2009-2011 & Arnold Newman: Famous Faces) at The United States Federal Reserve Board ... better known as "The Fed" or "The Federal Reserve Bank," a beautiful 1930s building at 20th & Constitution Avenue, NW. One of my images was acquired by "The Board" last year: U.S. Capitol from the Washington Sailing Marina.
Stephen Bennett Phillips is the curator and Fine Arts Program Director at the Board of Governors of the Federal Reserve System in Washington. Prior to joining the Board, Stephen worked in the curatorial department at The Phillips Collection in Washington, D.C. for almost 20 years. Stephen has written and lectured throughout the United States and has tremendous depth in his knowledge and love of fine art photography.
The Fine Arts Program at the Federal Reserve Board was established in 1975 by former Chairman Arthur F. Burns in response to a White House directive encouraging federal partnership with the arts.
Today, the Federal Reserve Board holds over 400 works of art donated by citizens and foundations. In his five short years at the Board, Stephen has substantially increased the the photographic collection. I am very proud to have my work included in their permanent collection.
The Board presents three exhibitions annually, which are displayed in the Eccles Building. Exhibitions are open to the public Monday through Friday from 10:00 a.m. to 3:30 p.m., except federal holidays. Reservations are required at least five business days in advance. For reservations and further information, please call 202.452.3778. Definitely worth checking out.
@ The Torpedo Factory Art Center
Studio 9
Studio 9
Another exhibit I have been asked to participate in that is due to open May 10th (with a reception from 6:00-8:00) at The Torpedo Factory Art Center in Old Town Alexandria, VA is: Diverging Mediums: Photography vs. iPhoneography.
The aim of the exhibition (sponsored by The Torpedo Factory's Art in Public Spaces Program) is to raise questions on the nature of defining art in the context of today's technology and phenomenon of artistic democracy. The curator, Hiji Nam, is an undergraduate Art History major at the University of Maryland in College Park. Her belief is that the distinction between the craft and the art of photography lies in the context of the photographer's wider oeuvre, vision and intent. The artist should be able to justify, through their photos, why that particular moment, event, or mood was chosen to be captured and why, more than any other, was and is relevant.
According to Ms. Nam, "The exhibition will be a commentary on the modern tendency of viewing oneself so easily as a creator, which I see as extremely detrimental for the standards of individuals and of art itself. When everyone believes they, too, can be an “artist,” that not only takes away from the truly talented, but also from the goals and standards set by individuals who are content with being just as good as everyone else, which is mediocrity. This complacency has created an age of instant gratification, in a generation of young people obsessed with being heard, instead of listening. Yes, creation is important—but creation is relevant only when thought and consideration precedes it.
The show is an interesting comparison of what I call, "straight photography compared to iPhone photography." I have to say, I feel like a bit of an 'old fart" when my work is viewed in the context of all these hyper-creative images. Many of the iPhone pieces were done by individuals that primarily work in iPhone. It might be interesting to have an exhibition of iPhoneography produced by non iPhoneographers ... traditionalists like me! Bottom line, check out this exhibition ... you won't be disappointed.
Friday, April 6, 2012
Ooops, Mr. Eggleston!
Recently I wrote about the March 12th auction of William Eggleston's prints at Christie's in New York City and how important I thought the sale was to the validation of digital pigment prints. Eggleston's 1973 image of a child's tricycle sold for $578,500 ... a whopping price for a digital pigment print.
Yesterday I learned that a New York collector, Jonathon Sobel, had filed suit against Mr. Eggleston, his son, William Eggleston III and the Eggleston Artistic Trust. In his suit, Mr. Sobel claims that his collection of more than 190 Eggleston prints "has been devalued by the auction held at Christie's on March 12th and that the Trust had violated the New York Arts and Cultural Affairs Law." The suit further claims "fraudulent misrepresentation, negligent misrepresentation, unjust enrichment and promissory estoppel."
So, what is this all about? Mr. Eggleston produced another edition of his works in another medium (digital pigment prints). Most of Eggleston's previous prints were done in the dye transfer process. Mr. Sobel's lawsuit is based upon, in my opinion, the assumption that the works that he owns, are and will be the only representations ever produced. To date Mr. Eggleston, his son and the Trust have not responded to Mr. Sobel's suit.
To read an interview of Mr. Sobel by Photo District News (PDN) click here.
The New York Arts and Cultural Affairs Law states that sellers must be clear about edition size and that they must state how many multiples are already in existence. There is no mention of works to be made in the future.
Fourteen states across the country ... Arkansas, California, Georgia, Hawaii, Illinois, Iowa, Maryland, Michigan, Minnesota, North Carolina, New York, Oregon, South Carolina and Wisconsin ... all enacted print disclosure laws to protect consumers of limited edition graphic and photographic prints. In these laws, the sellers of prints are required to provide buyers with documentation that the artworks they had purchased are part of a limited edition, the number of copies in the edition and that no other editions of the same images exist. Important exceptions, however, are made for earlier limited editions that are of different sizes (a 8" x 10" photograph produced in a 4" x 5" format), different production techniques (a gelatin silver print produced as a platinum print or a photogravure) or different numbering.
There is going to be a lot of opinions written about this specific case. Since the works that Mr. Sobel owns are vintage/original dye transfer prints; in my opinion, there value has been increased by the mere interest, dollar amount of the Christie's sale and demand. According to the art adviser, Allan Schwartzman: "As the market expands, value often does, too." No doubt, the market for Eggleston's work will be on the move ... in which direction is anyone's guess.
Yesterday I learned that a New York collector, Jonathon Sobel, had filed suit against Mr. Eggleston, his son, William Eggleston III and the Eggleston Artistic Trust. In his suit, Mr. Sobel claims that his collection of more than 190 Eggleston prints "has been devalued by the auction held at Christie's on March 12th and that the Trust had violated the New York Arts and Cultural Affairs Law." The suit further claims "fraudulent misrepresentation, negligent misrepresentation, unjust enrichment and promissory estoppel."
So, what is this all about? Mr. Eggleston produced another edition of his works in another medium (digital pigment prints). Most of Eggleston's previous prints were done in the dye transfer process. Mr. Sobel's lawsuit is based upon, in my opinion, the assumption that the works that he owns, are and will be the only representations ever produced. To date Mr. Eggleston, his son and the Trust have not responded to Mr. Sobel's suit.
To read an interview of Mr. Sobel by Photo District News (PDN) click here.
The New York Arts and Cultural Affairs Law states that sellers must be clear about edition size and that they must state how many multiples are already in existence. There is no mention of works to be made in the future.
Fourteen states across the country ... Arkansas, California, Georgia, Hawaii, Illinois, Iowa, Maryland, Michigan, Minnesota, North Carolina, New York, Oregon, South Carolina and Wisconsin ... all enacted print disclosure laws to protect consumers of limited edition graphic and photographic prints. In these laws, the sellers of prints are required to provide buyers with documentation that the artworks they had purchased are part of a limited edition, the number of copies in the edition and that no other editions of the same images exist. Important exceptions, however, are made for earlier limited editions that are of different sizes (a 8" x 10" photograph produced in a 4" x 5" format), different production techniques (a gelatin silver print produced as a platinum print or a photogravure) or different numbering.
There is going to be a lot of opinions written about this specific case. Since the works that Mr. Sobel owns are vintage/original dye transfer prints; in my opinion, there value has been increased by the mere interest, dollar amount of the Christie's sale and demand. According to the art adviser, Allan Schwartzman: "As the market expands, value often does, too." No doubt, the market for Eggleston's work will be on the move ... in which direction is anyone's guess.
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