Tag Archives: Art Work

Re Runs: Sarah Hadley

I’m stepping away from Lenscratch this week to work on a new personal website and prepare for upcoming photo activities…wanted to reintroduce you to some wonderful photographers featured several years ago, today with a post on Sarah Hadley that ran in 2009. Sarah is now the Director of the Filter Photo Festival in Chicago, coming up in October.

Chicago photographer, Sarah Hadley, has packed her suitcases and moved to Los Angeles, and the left coast is lucky to have her. Sarah works both as a fine art and editorial photographer, and manages to have a piled-high plate of awards, grants, and exhibitions. Much of Sarah’s fine art work has a reference to dreams, whether it be imagery of the space where we dream the most in Unconscious Terrain, or dreamy interpretations of places around the world.

I think every photographer talks about the magic of seeing that first image appear in a tray of developer and of being hooked for life. I believe a good photograph asks more questions than it answers, and my photography is a way for me to constantly challenge myself to really look at the world around me.

Images from Unconscious Terrain

There is something intangible about the best photographs, something that reminds us of the moment between wake and sleep, and of the beauty that we see and feel but cannot describe, and of our own mortality. These are the kinds of images I try to make.

Images from Venetian Dreams

Re Runs: Kyohei Abe

I’m stepping away from Lenscratch this week to work on a new personal website and prepare for upcoming photo activities…wanted to reintroduce you to some wonderful photographers featured several years ago, today with a post on Kyohei Abe that ran in 2009 after I saw his work at Photolucida. Kyohei is now the Director of the Detroit Center for Contemporary Photography and continues with his own fine art work. I’m adding a few images from his newer work to bring you up to speed.

Kyohei Abe’s work was unlike most at Photolucida. His clean, conceptual work is incredibly appealing and though he doesn’t reveal his intentions, the power of the imagery leaves room for imagination and contemplation.

Kyohei was born in Nagoya, Japan and earned his Bachelor’s Degree of Science in Architecture from Trident College in Japan. He later moved to the United States and began studying photography at the College for Creative Studies in Detroit, Michigan. He earned a BFA with a concentration in Photography and then Kyohei graduated from Cranbrook Academy in Bloomfield Hills, Michigan, earning a MFA in Photography. Currently, he is a Special Lecturer in Digital Media at Oakland University in Rochester, Michigan.

images from Modern translation

images from New work

images from Imaginary scape

David Bram and The Bram TEN

The name David Bram may sound familiar.  It’s often attached to another well known name: Fraction Magazinean online venue dedicated to fine art photography, showcasing the work of both emerging and very established fine art photographers. We often forget that many of the names that make things happen for photographers around the world are also photographers themselves, and it gives me great pleasure to shine a light on David’s new photographic venture, The Bram Ten.

David ‘s work has been exhibited throughout the U.S. and is included in several private and public collections, including the Palace of the Governors in Santa Fe. His work focuses primarily on his immediate environment in New Mexico. David lives and works in Albuquerque with his wife and two exquisite children. He is an incredible advocate for all things photographic.

The ten images below are the newest addition to the The Ten program created by the Jennifer Schwartz Gallery in Atlanta.

Images from The Bram Ten

Nearly every weekend, I drive an hour north of Albuquerque to a place just south of Santa Fe.  My in-laws have owned this nearly 100 year-old house for about 38 years and it is where my wife was born. It is a place of great comfort and a place where I love to spend time. We spend enough time there to consider it our home away from home.

Paul Bobko, Ocean Wave 06

Paul Bobko, Ocean Wave 06

Paul Bobko

Ocean Wave 06,
Long Island, New York, 2006
Website – PaulBobko.com

Paul Bobko was born in Edwards, California and raised in Houston, Texas. His art work has appeared in national exhibits and publications. Prints from the series Water Landscapes-Suspended Energy have recently been shown in the Texas National 2010 and AIPAD New York 2012. Selections from this series were published in AI+AP (American Photography 24) and the Humble Arts Foundation The Collector's Guide to New Art Photography, Vol. 2. In July and August 2011, the project was exhibited at the Alan Klotz Gallery in New York. Paul currently lives and works in New York City. 

Critical Mass: Bootsy Holler

Looking at portfolios from Critical Mass 2011…

Los Angeles photographer, Bootsy Holler, is a commercial, editorial and fine art photographer who has been shooting professionally and exhibiting for more than a 15 years. Her portraits of musicians, actors, and people in general are always approached with an intuitive and personal style. It’s her fine art work, that allows her to explore memory, family, and the way we live.

Bootsy submitted a project to Critical Mass where she has found a way to go back in time and participate in her family photographs by photographing herself in similar era clothing and pose, making room for herself in photographs from decades past. The series, Visitor, is a fantasy we would all wish to experience, to pay a visit to those we loved, or wanted to know.

I am the keeper of all my family’s photos, old and new. I grew up in a close-knit family, which was lost to divorce and I knew that the family I yearned for would never happen again until I had my own. As a photographer, I notice that the feeling of loss and disconnect reoccurs in my work and I’ve found that often my images reveal something about family and/or loneliness. And as I grow older, now married with a child, I cherish these family photographs more and more. I’ve often wondered what it might be like to experience the frozen moments in my family photographs and be connected once again to those I love. My project, “Visitor”, has allowed me to step back in time when my perception of the world was innocent and filled with possibility.

My goal with “Visitor” is to reinterpret my intimate family snapshots, explore time, and blur boundaries. I created a look driven by the era of each original photograph, pulling a wardrobe from a collection of clothing that I inherited from my grandmother, who was a seamstress and created many of these garments. Using Photoshop, I’ve placed myself into each world I want to revisit, to connect with family, some of whom I never knew.

In my efforts to be authentic to the original photograph, I’ve matched the format and lens of the original image: some soft grain, brown tones or blown out whites to help stay true to the old, authentic vintage feeling of each picture.

Through the magic of digital photography, I have placed myself into each original image, “shot” at an impossible time of my own creation across generations; as a whole, each is an artifact that lets me connect the family that fell apart. When I reflect on my “visits” with my relatives, I once again feel part of a family history and legacy that is unbroken.

Low Tech/High Art

Opening on October 28th, Low Tech/High Art, an invitational exhibition of toy camera artists will open at the Business of Art Center in Manitou Springs, Colorado. The exhibition will run through December 31st, along with a display of toy cameras.

Curator Carol Dass writes:
In this digitally dominated age it’s refreshing to see images produced with film and actual analog cameras. With that said, I invite you to view Low Tech/High Art, work by artists who have chosen to use toy cameras to create their compelling images. The photographers are a diverse group from across the country united in their passion for producing images using cheaply made cameras with substandard lenses for everything from commercial work to fine art.

A sampling of some of the images and image makers follow:

C. Gary Moyer

Michelle Bates

Jennifer Shaw

Anne Arden McDonald

Carol Dass

Gordon Stettinius

Heather Oelkaus

John Bridges

Mark Sink

Mary Ann Lynch

Matt Chmielarczyk

Brad Wilson

Brad Wilson knows how to take a portrait. His site is filled with stunning commercial and editorial portraits of a wide array of sitters, each captured with dignity and respect. He brings these same qualities to his fine art work. Brad’s soulful images of animals are quite remarkable and reflect an intimacy rarely seen in animal photographs.

Chimpanzee #4, Los Angeles, CA, 2010

Brad began his studies in art at The University of North Carolina at Chapel Hill and continued on to study at various workshops and work with notable photographers until he began his own career in 1996. He now lives in Santa Fe, is published around the world, which includes images on over 400 book covers around the world, and numerous advertising campaigns, annual reports, and music packages. He has numerous European exhibition slated for 2011, in Switzerland, London, and Belgium.

ANIMALS: There is something appealing about a purely instinctual, intuitive existence. Perhaps it is the common human longing for a simpler life, or the desire to be fully present in each moment – largely free of our recent past or imagined future. For me at least, animals embody this special type of immediacy. Not long ago I began to wonder what it would be like to work with them in a studio environment without cages or scenic landscapes or any other distractions. What would they reveal and what could I create? This whole complex project was really born of those few basic curiosities. A few months and many, many phone calls later, I was standing in front of a chimpanzee, then a tiger, and later an elephant. My journey into the unknown had begun.

Chimpanzee #2, Los Angeles, CA, 2010

The first thing I learned was that I was not really in control, nor was I going to be. For the most part, the animals did what they wanted within the confines of the photography set. Waiting and patience quickly became an integral part of the project. So in the middle of what I can only define as a gentle and unpredictable chaos, I tried to find a specific moment – a moment where mood, composition, and stillness combined to create something uncommon, something unexpected. I was looking for a final image that could stand completely on it’s own, regardless of context, and that also transcended the obvious beauty and power of my subjects. This series of photographs is the result of that exploration.

Chimpanzee #1, Los Angeles, CA, 2010

Bull #2, Los Angeles, CA, 2011

Cheetah #1, Los Angeles, CA, 2011

Cheetah #3, Los Angeles, CA, 2011

Elephant #1, Los Angeles, CA, 2010

Elephant #4, Los Angeles, CA, 2010

Giraffe #3, Los Angeles, CA, 2011

Lion #3, Los Angeles, CA, 2010

Orangutan #1, Los Angeles, CA, 2011

Orangutan #3, Los Angeles, CA, 2011

Tiger #1, Los Angeles, CA, 2010

Zebra #2, Los Angeles, CA, 2010

Zebra #3, Los Angeles, CA, 2010

Paul Bobko

I am always amazed how artists and photographers find new ways to interpret the natural world, in particular the ocean. The appeal of water in motion is unending and Paul Bobko came to his own unique interpretation while sitting on a surfboard waiting for the perfect wave. It was during this meditative and focused time, that Paul began to see the shape and energy of the wave in a new light. The series, Water Landscapes-Suspended Energy, is now on exhibition at the Alan Kotz Gallery in New York City and runs through August 19th, 2011.

California born, Paul lives and works as photographer in New York City. He received a BBA for Finance/international Business at the McCombs School of Business at the University of Texas. His art work has appeared recently in the Texas National 2010 show, has been published recently in the American Photography 24 annual (AP24) and in the Humble Arts Collector’s Guide to New Art Photography Vol. 2.

Water Landscapes-Suspended Energy: This series of work was photographed on the shores of the New York and California coasts. The initial inspiration for this project originated from viewing waves in close proximity as a surfer. The composition of each image is similar to that of a formal landscape with the photograph taken straight at the horizon. This formal consideration comes directly from the point of view and perspective one experiences when in the water immediately before passing through an approaching wave.

As the wave moves towards the shore, the energy that propels it’s motion gives way to the ocean floor. The forward movement is slowed while forces push the wave higher and higher until a point where the wave seems to hesitate before the ocean’s energy is released and the wave breaks. As this energy changes shape, the formal structure of the landscape breaks down and the seeming passive forms become active. This series attempts to capture this moment and attempts to create a shared experience between the photographer and the viewer.

While the energy from the ocean is constant and ordinary, every wave is unique– an endless number of possibilities. Apart from the point of view chosen, my control over the choice of image is dependent on chance occurrence. Many waves pass by while many images are captured but the choice to take a photograph is dependent on primarily aesthetic considerations. The right location, the right weather and wave conditions are all required and sought out but ultimately I have no control over the subject just like the audience of my images. My decision to take a shot is based primarily on my desire to capture an appealing sculptural form that possesses the energy of the ocean. I’m looking for a poetry in the shapes, colors and patterns as light passes over and through the ocean.

With the point of view (looking straight at the horizon)that is chosen, the viewer may initially perceive a water landscape that appears tranquil or even static. My hope in many of the images is to create a tension as the viewer realizes that the photo is not that of a static landscape but of a powerful ocean wave that is momentarily suspended and captured by the camera. Many of the waves I’ve chosen along with the lighting conditions and production decisions have followed my photographic intentions to present images of waves that appear abstract in their forms; forms which may be confused with landscapes other than water. Each viewer will react to the images and interpret their significance according to their own experiences and imagination, my hope is that viewer will be affected in some way by the beauty and energy that exists in these ocean landscapes.

It has been a pleasure to work on this project. Due to an injury, I have not been able to surf for many years. The process of choosing the locations, the days on which I can find the right sized waves and the physical act of taking these photographs put me back in an experience that was very similar to surfing again.