Cali Gorevic
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I am one of that almost extinct species who still expose black and white film in a manual camera to process and print in my own darkroom. In the darkroom, I can sculpt with light, shaping my perceptions and visions. My images are not so much representations of what my eyes saw, but what my mind saw, and it is this which I seek to share through my photographs.
Trees were my first serious subject and although I have other bodies of work, I return to trees regularly. I love them for their strength and their dignity. I also like mysterious places - wildernesses that do not appear on maps, forest landscapes where fairy tales can happen. Although the human eye sees little, one knows that there is magic afoot. Surely after the sun sets, sprites and satyrs appear and trees dance.
I like to share what Pablo Neruda had to say about art and creativity: All paths lead to the same goal: to convey to others what we are. And we must pass through solitude and difficulty, isolation and silence, in order to reach forth to the enchanted place where we can dance our clumsy dance and sing our sorrowful song but in this dance or in this song there are fulfilled the most ancient rites of our conscience in the awareness of being human and of believing in a common destiny. Pablo Neruda, 1971
Michael L. Watson
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As a child I would dream of climbing high peaks and having incredible adventures in some far off corner of the world. Early on, climbing came naturally to me and I began to bring camera along as a way to document climbs and friends and soon found myself torn between two competing passions: the desire to climb and photograph.
After completing my masters in mathematics my desire to photograph could no longer be held at bay. Quickly I found that my style of photography was better suited to a larger camera so I bought a medium format and shortly after, traded that in for a large format 5x4 metal field camera. The contemplative nature of the view camera and the high degree of perspective control offered suited me perfectly.
In retrospect, many of my adventures have constituted more than most would willingly chose to endure, but my reward has been in the beauty I've found and in the photographs I have brought back. Many times I have not been the first person to visit some remote area but my sense of discovery is quite powerful none-the-less. While the intent was and is to communicate with the viewer, my photography is both introspective and highly personal.
Geoffrey Leven
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'Between The Light' documents the changing of light as it moves through time, capturing the flower's translucent, inner glow and fragility. The images are achieved, in camera in a studio setting with a range of natural and found light conditions that seem to capture flowers as characters. Sometimes stark, romantic and even humorous, these painterly pictures, seem to exist in a world all their own and become the property of the viewer’s own imagination. As an artist and former perennial gardener, I became aware of how the light caused flowers to change through the day. I began to photograph Daylilies, as morning light moved onto them and then witnessed the 'magic hour' light of late afternoon, as it moved through them, causing a dramatic, transparent finish. Every day, the light is different. Sometimes there is barely a minute left of daylight to capture that special moment. With the ever changing light and the subject sometimes on the verge of folding up, this is not unlike shooting a moving target as the light fades to dusk. Pushing past Polaroid’s, one of a kind “retro” technology, I am now able to hook this intimate print up with the tools of the digital darkroom, then onto a unique Epson printing system that utilizes stable, pigmented inks onto fine, Hahnemuhle German etching paper. The marriage between this “older” Polaroid technology teamed up with the latest digital domain and state-of-the-art printing system, produces an archival photographic work on paper, often reminiscent of a 19th Century painting detail. The prints are available in signed and numbered in editions of 35.
Mitch Dobrowner
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Landscapes are living eco systems and environments. They have existed well before, and will hopefully be here way beyond the time we are here. When taking photographs, time and space seem hard for me to measure. Whenever I shoot a ‘quality’ image, I know it. At those moments things are quiet, seem simple again – and I obtain a respect and reverence for the world that is hard to communicate through words. For me those moments happen when the exterior environment and my interior world combine. Hopefully the images presented on this website help communicate what is visualized during those times. My work today is produced using a digital workflow. All darkroom work is performed in a dry darkroom with minimal dodging and burning. Prints are produced using pigment inks on archival quality 100% cotton rag paper.
Marc Sheridan
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Marc captures the moment by using natural light, contrasting elements (and movement whenever possible). Although he has an extensive variety of color photos, his favorite genre is black and white landscape photography, drawing his inspiration from his idol, Wynn Bullock.
Susan Lukin Bobrow
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I have been concentrating on macro photography and portraiture for the past several years. I approach the botanical macros as if they are, in fact, opportunities for portraiture, so perhaps the two genres have become blended in my work. Macro photography has brought a new universe to me, one that shows what we could see if only we were willing to look very closely. I want to bring that usually unseen or at least unnoticed world forward so that it no longer goes without regard. And there is a special satisfaction when I can bring organic form to a level of abstraction.