Tag Archives: Photo Center

Ashley Kauschinger, Bitter Hair

Ashley Kauschinger, Bitter Hair

Ashley Kauschinger

Bitter Hair,
Atlanta, Georgia, 2012
From the Avondale series
Website – AshleyKauschinger.com

Ashley Kauschinger is a narrative photographer who explores identity, memory, and family. She received her BFA from Savannah College of Art and Design and is currently in pursuit of an MFA from Texas Woman's University in Denton, Texas. Her photographs have been exhibited nationally in venues such as Rayko Gallery and Mpls Photo Center. She has recently been published in the PDN Photo Annual and is a 2012 Critical Mass Finalist. Ashley also features and interviews photographers for her blogzine, Light Leaked

Things to submit to….

Lots to submit to…you might consider these!
due date November 11th
This annual call for entry seeks to showcase the newest ideas in contemporary photography. Emerging
artists have an opportunity to have their work seen by a nationally
recognized figure in the field of photography. Past jurors include
Michael Foley, Clint Willour, George Slade, Carol McCusker, David Bram
and most recently Debra Klomp Ching. From these submitted entries a
cohesive show emerges for display at wall space. The ND13 exhibition
will be in Santa Barbara, California in January, and Seattle, Washington
in February. The juror is Ann Jastrab, from the Rayko Photo Center in Los Angeles.
Due date: January 4th

This competition is open to artists working with plastic cameras with
plastic lenses. The more obsolete, flawed, and lo-tech, the better.
Images should be taken with cameras with limited controls, such as
Diana, Holga, Lubitel, Lomo, Banner, and Ansco cameras. Beautiful prints
from less-than-gorgeous cameras – that’s what we’re looking for! This
is RayKo’s largest exhibition of the year with artists from all over the
globe submitting work, and hundreds of attendees at the reception.


Due date: November 30th

We began publishing photographs on One, One Thousand
in November 2010. Since then – and thanks to continued support from
photographers, readers, and the greater photography community – we’ve
had the pleasure of sharing more than 40 portfolios and projects.
They’ve all been made in the South, and we believe they offer unique
perspectives on both the complexities of modern Southerness and the
diversity of art coming out our region in the first part of this new
To celebrate our 2 year anniversary, we’re organizing a special January 2013 edition of One, One Thousand. An amazing jury will be selecting a group of 4 photographers to be featured on our site.

2 Year Anniversary Jury:
Tom Griggs, Editor, fototazo
Maggie Kennedy, Photography Director, Garden & Gun
Jennifer Shaw, Coordinator, PhotoNOLA
Aline Smithson, Editor, Lenscratch

due date Nov 15th 

Photography in any process is eligible with no limitations as to size or materials. Each artist may submit up to five works on online only.  No mailed or emailed entries will be accepted.

AND if you have a sense of humor, you might enjoy this…

The Visual Conservancy’s Sunset Contest
The Visual Conservancy
announced a new photography contest today.  The Stillwater, Minnesota-based group decided to
differentiate their contest from others that encompass wide varieties of
subject matter over a list of genres. 
The result may be the most focused photographic competition yet. 

“It occurred to us that
there was an astounding number of one particular type of photograph being
taken,” said Carl Corey, whose farm and studio serves as the de-facto
headquarters for the Conservancy. 
“I mean, it’s only sunset for a few minutes everyday, yet you look on
Flikr or Facebook and it’s pretty clear that as soon as the sky starts getting
a bit of color, everyone and his uncle is out there with a camera, snapping
away.  I’m not talking just folks
taking vacation taking snapshots on their camera phones, either.  There was a guy who wanted to get into
our group who presented about thirty shots of sunsets he’d taken with an 8×10
camera.  Every other picture he had
was of a sunset.”
“A sunset, or a
broken-down windmill,” clarified Dan Gerber, Visual Conservancy co-founder and
the group’s un-official standard-bearer. “I’d say his portfolio was 70/30
sunsets and windmills.”
“Maybe 75/35,” Mr. Corey
corrected. “You’re not counting all those windmills that were shot at sunset.”
“(I) Forgot about
those!”  Dan laughed.  Mr. Gerber then recalled for me the
precise moment when the idea for this photo contest hit him.  “We kind of knew we weren’t going to
invite this person to join the group, based on his work, but we started joking
that it was a shame there wasn’t a contest for who could spend the most money
shooting sunsets, because this guy would have to win it.”
“We realized that there
was a viable niche that was not being filled.  We did some informal research and concluded that it was
possible to launch a contest for very little investment, charge a fee and then
see if you get enough participation to make it worthwhile.  We will, of course, have all works
judged by a panel.”
Dan, who had been nodding
vigorously, jumped in.
“The glory is, the
photographers who win our various categories will have to pay for their own
shipping, framing and a special fees relating to their show.  We haven’t decided where we’re going to
have a show, but it could be New York—or Hudson.  We have a pretty nice community center.”
“What Dan means,” Corey
interjected, “Is that we’re currently weighing a couple of options vis-à-vis
the venue.  Whatever that ends up
being, the thing to remember here is that because of this contest, several
lucky men and women will be able to present their photographs as the work of a
nationally-recognized, award-winning photographer, whether or not that image
happens to be a sunset.”
“Or a windmill,” Mr.
Gerber added.
The Visual Conservancy’s
first annual Sunset Competition will be accepting entries from now until
November 15th.  Details
can be found on the group’s Facebook page,

Medium Festival: Marjorie Salvaterra

Featuring photographers seen at the Medium Festival in San Diego….

I admit that I am already a fan and friend of Los Angeles photographer, Marjorie Salvaterra, but I have no hesitancy in sharing the new body of work (still in progress) she brought to the Medium Festival. Marjorie is a diminutive and determined photographer, creating large scale and compelling visual gestures that don’t reflect her stature. Her new project, HER, is influenced by Italian cinema, with a European sensibility and an out- of-the-box approach to image making that reflects the world of women–the land mines of life, motherhood, friendships, relationships that we all navigate through on a daily basis.

Marjorie has exhibited widely including the Rencontres d’Arles, Arles, France,  Clark-Oshin Gallery, Los Angeles,  Robert Berman Gallery, Los Angeles, Rayko Photo Center, San Francisco, and The Center for Fine Art Photography in Fort Collins, Colorado. Her work was included in the George Eastman House Museum auction at Sotheby’s, New York and she was runner-up for the 2009 and 2010 Berenice Abbott Prize for Emerging Photographers and a current finalist for Critical Mass 2012.

I am a decent woman. 
 A pretty good wife — with a great therapist, otherwise I would’ve screwed this one up way too many times. 
 A mother – I think this one I do best except between the hours of 6:15 and 7:30pm and certain whole days at a time. 
 A daughter – I was a pretty terrible daughter growing up. I’m starting to get the hang of it now that I’m a parent. 
 A good sister. 
 And lastly a friend. To some, the best and to others, impossibly guarded. 

I’m forty three years-old and I’m trying to grow as a person but so is my skin. I’m not that interested in holding onto my youth. My life is far greater now. But letting go isn’t as easy as it sounds. Some days I don’t recognize this person who looks back at me in the mirror. She is older, has responsibilities. She has had to learn that sometimes God has a bigger plan for her life than she does. Not everything goes the way she wants it to go. Things happen. Money comes and goes. So do jobs. As well as friends.

People sometimes get sick and her kids will inevitably get lice and share it with her, which is still preferable to pin worms that their friends get. She will cry over losses and and weep when she sees her child standing in a line of other children. Not because everything is wrong. But because everything is right. On the outside, she strives for peace but inside there is a turbulence of holding on too tightly to all these things that have finally brought that peace and true joy. 

With HER, she turns away from the mirror and turns the camera on her own life — examining the psychology of her age and her gender in black and white, through surreal interpretations and exaggerated gestures, reminiscent of Italian cinema, creating photographs that reflect the universal idea of womanhood and assure HER that she is not on this path alone.

Medium Festival: Claire Warden

Several weeks ago, I had the great pleasure of attending the inaugural year of the Medium Festival of Photography in San Diego, CA, conceived by the very capable Scott B. Davis.  It was a three day event kicked off by a keynote lecture by Alec Soth, and continued on with workshops, artist lectures and portfolio reviews.  Most importantly, it was an opportunity to connect with a wonderful community of photographers.  Over the next week (and into the next), I will be featuring a few of the photographers who attended the festival.

Claire A. Warden, a photo-based artist working in Los Angeles, California, brought a terrific project about preserving the natural world, titled Salt: Studies in Preservation and Manipulation. The project includes methodically captured images of plant life preserved in salt, but when exhibited, also includes some of that flora and fauna under bell jars and on the wall.  The fragile quality of the salt is reminiscent of snow and only adds to the delicate nature of the object and the approach to her image making. The images are timeless and exquisite.
Claire received her BFA in Photography and BA in Art History from Arizona State University where she worked along side Guggenheim fellow Mark Klett and former Eastman House curator, Bill Jenkins. She now works in Los Angeles as a fine art photographer and photographing and working at the Getty Research Institute. Claire’s work is in personal collections and has been displayed in galleries nationally and internationally, including Rayko Photo Center in San Francisco, CA, the Center for Fine Art Photography in Fort Collins, CO and the Center for Photography at Madison, WI with upcoming shows at Soho Photo in New York, NY and Agripas 12 Gallery in Jerusalem, Israel. Her SALT series has earned her the Ted Decker Catalyst Artist Grant. 
Salt: Studies in Preservation and Manipulation: Despite the best efforts of science, authentic preservation of living matter is an impossible act. It is an ideal that stands in tension with the transient ephemerality that qualifies life. And yet – or perhaps because of it – this tension makes the humble ambitions of the botanical sciences intriguing. In order to preserve and document specimens for future study, scientists must ‘fix’ the organic complexity of the botanical specimen through human intervention.  

It is a process that, ultimately, restructures the essence of the specimen. In this way, botanical life can only endure as a specimen in a liminal state, the extended occupation of a pause between natural growth and decomposition. It is in this otherwise invisible moment, one reachable only through the intervention of the preservative act, that I find a deep and uncanny beauty. 

I emphasize the manipulation that manifests from preservation through the use of salt. This paradoxical mineral, that is necessary to sustain life—yet, if the delicate balance is outweighed, can extinguish it—reflects the structure of a preserved specimen and acts to preserve it. I submerge each living plant in a bath of salt water and allow the salt to crystallize on and within the living form.

Inspired by the intentions of botanical illustrations as a method to understand and control one’s environment, I seek to impress the human urge to order nature and in the process fundamentally change it. Using the platinum-palladium photographic process for its chemical stability and long-lasting image, these direct contact prints complicate the ideal of preservation, albeit, at the expense of the most authentic act of living matter, decay.

Kirk Crippens

It is rare to gain access to a world behind bars, but photographer Kirk Crippens achieved that task in 2008, and since then, he has been granted one hour with the prisoners on an annual basis.  That access has resulted in the project, Hidden Population, a series of portraits on San Quentin inmates.
Kirk is one of the most prolific photographers making work today, and one of the most generous.  Much of his work explores The Great Recession, with projects that look at foreclosure, job loss, and the collapse of auto dealerships. Kirk had an early start with photography, inspired by
his grandfather who kept a darkroom in his closet. In college, he
ventured into photojournalism, interning at prestigious newspapers around the
US. Based in San Francisco since 2000 he focused his efforts on personal
projects. He has exhibited widely in solo and group shows,  he was  named Top 50 Photographer in Photolucida’s Critical Mass in 2010 and 2011, nominated for the 2011–2013 Eureka Fellowship Program, nominated for Photolucida’s book prize, and exhibited in the
International Photography Festival in Lishui, China. He is currently the artist
in residence at RayKo Photo Center in San Francisco and 2013 he will be the Artist in Residence at Newspace
Center for Photography in Portland, Oregon.
Images from Hidden Population

I was in the midst of a long process of photographing portraits inside San Quentin in May 2011 when the Supreme Court declared the overcrowding in California’s prison system unconstitutional and ordered the population lowered by 133,000 to achieve 137.5% capacity. My project began in 2008, when I petitioned the prison to allow me inside with my cameras. A year and a half later I was granted limited access and began a series of brief one-hour visits with the men. I was allowed inside once a year between 2009-12.

When I first arrived at San Quentin with my cameras, the prisoners were seated facing one another in a circle of metal chairs arranged for a gardening class. Fluorescent lights reflected off the tile floor onto their faces. The warden was present and guards were scattered throughout the room. I was given 45 minutes. Rushed and constricted, I struggled to find resonance. A man with a hand-sewn cap caught my attention, and I isolated him in my viewfinder. As I took in the scene, it occurred to me that I could capture individual qualities of the men from behind while they were participating in the class. By approaching it this way, I could also reference the hidden aspect of the lives they lead, locked up inside the prison.

When invited back in January 2012, I decided to try a different approach that included bringing a tripod and directly asking the men to pose for me. I set up my tripod in front of a cinder block wall in the San Quentin cafeteria and began asking the men if I could take their portrait. Most seemed honored; a few declined. It wasn’t how the guards or warden expected me to work, and I could feel the tension. The guards whispered and huddled together in the corner. Less than an hour later they asked me to leave and ushered me out. Although the series I’m submitting feels complete, I continue to be interested in prison culture and the political issues affecting it. I hope to visit again.

“Equivalents” Competition Exhibition at Photo Center NW

Scratched Print Skylight Hallway © Mary Ellen Bartley

While working on a series of cloud photographs in 1925, Alfred Stieglitz coined the title ”Equivalents” for his work, with the idea that the photographs could correspond to both the reality in front of the camera’s lens and the internal being of whoever was looking at them. Photographs could be representational and abstract, so even a photograph of a mundane subject could provoke a strong emotional response.

W. M. Hunt, the juror of the 17th Annual Photo Competition at Photo Center NW, chose this idea as the open theme for this year’s contest. So, the winning images are eclectic, but all meet Hunt’s criterion for what makes great photographs: their ability “to evoke a sensation that resonates through my being,” regardless of subject matter or technical process. See if the work resonates through your being too at Photo Center NW’s Seattle gallery, or check them out online. And for more of Hunt’s curatorial vision, check out The Unseen Eye: Photographs from the Unconscious, 35% off as part of Aperture’s summer sale, which ends this Friday, August 10.

Sarah Christianson

I first featured the work of Sarah Christianson on Lenscratch several years ago after attending her presentation at the West Coast regional SPE conference.  I was drawn to her photographs and story about her four-generation family farm in North Dakota.  Not only was the work compelling and beautifully executed, but her story stayed with me long after the conference.

Sarah sent me the good news that Daylight will be publishing that same body of work, Homeplace ,in the Fall of 2013, and because it is her first book, she will be sharing in the publishing costs through Indiegogo. Sarah needs support to make this a reality, and if you would like to contribute, go here.

Homeplace: A Photo Book Project from Sarah Christianson on Vimeo.

Sarah  grew up on the family farm near Cummings, North Dakota. Immersed in that vast expanse of the Great Plains, she developed a strong affinity for the landscape and the stories it contains. This experience has had a profound effect on her work, as she enjoys creating narratives about place and personal experience through time, historical research, and the landscape.

Her work has been exhibited internationally and can be found in the collections of several institutions in the Midwest and the National Museum of Photography in Copenhagen, Denmark. She received a BFA in photography at Minnesota State University Moorhead in 2005 and an MFA in photography from the University of Minnesota in 2009.  Since then, she has been living in the San Francisco Bay Area where she teaches photography at City College of San Francisco, volunteers at RayKo Photo Center, and remains an active member of the Society for Photographic Education. She has several exhibitions on the horizon and is getting married in August.  Congratulaltions all around!

Images from Homeplace

Home, for me, will always be a 1200-acre farm in the Red River Valley of eastern North Dakota.  Its original 160 acres were homesteaded in 1884 by my great-great grandfather, a Norwegian immigrant.  My parents are now the fourth, and last, consecutive generation to work our land, as my siblings and I (like so many other young people) have all moved away to pursue other careers.  These circumstances provided me with the impetus  to document our farm and its origins in Norway at this critical juncture.  

I combine my images with materials from my family’s archive, such as documents and snapshots, to create a rich multi-layered narrative.  Just as different layers of texts intermingle on reused ancient manuscript pages, the history of our farm is marked again and again on the land as a palimpsest. As world populations shift from agrarian to urban lifestyles, our small family farm is only one amongst many that are approaching a crossroads.  What will happen to them?  Who will maintain these traditions and what does this tradition mean?

Collin Avery

Massachusetts photographer, Collin Avery, is at the beginning of what looks like a long and happy career as an imagemaker. While many of his peers are watching Curb Your Enthusiasm or still figuring out a life direction, Collin is going full speed ahead. He uses his camera as a communicative tool to emphasize the quiet subtleties of his world….and it seems to be working. Just this year his work has been exhibited in the Photo Center NW, 16th Annual Photo Competition, Seattle, WA, juried by Karen Irvine, the Soho Photo National Competition, Soho Photo Gallery, NYC, juried by Lyle Rexer, Inanimate, Flash Gallery, Lakewood Colorado, juried by Adam Lerner, and The Photoplace Open 2011, Photoplace Gallery, Middlebury, VT juried by Alison Nordstrom. He will also be featured in the Aground exhibition at Photo Center NW opening August 5th in Seattle.

In the project entitled, “Here Nor There,” I am continuing to examine my interest with the intricacies and oddities of my immediate environment. As a child, I always remember being very keen to my surroundings and paying close attention to the quiet nuances often overlooked by others. Growing up I would avoid confrontation; oftentimes imagining I could disappear with a hope of avoiding my social awkwardness.

As I matured, I realized that I thrived on being an outsider that lacked in social normalcy. I am an observer and my fear is confrontation. I do not consider this a negative attribute, although my friends and family alike would argue differently. By photographing people and objects, I am creating a delicate juxtaposition between the awkward interactions and subtle nuances in my life, confronting moments that I once chose to avoid.