Survey of Contemporary Landscape
Diane Reeves, Pyramid, Nevada
The investigation and image capture of the landscape dates back to the earliest photographs made by a camera in 1826 by Joseph Nicephore Niepce and the landscape still remains as one of the classic photographic genres.
Photographers have romanticized the landscape as part of the Pictorialist movement in the early 1900’s and incorporated it into the Modernist movement of the f/64 group in the 1940’s through the late 1960’s. The landscape photograph evolved with the Conceptual art movement, harking back to the New Topographics exhibition in 1975 at the George Eastman House exhibition. Today landscape photographs have become ubiquitous, either in the multitude of family vacations or the documentation of the surrounding urban/rural environments posted on Instagram, Facebook, Twitter, Flickr or other social media.
The images in Contemporary Landscape in this on-line exhibition are a broad investigation of the myriad ways in which we investigate the landscape through art and photography. It is a photographic survey of current landscape practices; whether investigating “classic” unadorned nature or the gritty urban landscape, as an abstract concept or a straight rendition while being created using digital capture, analog/film, digital manipulation or in combination with other medium and artistic expressions.
The 13 artist/photographers in this exhibition include: Paul Anderson, Jan Brueckner, Ellen Butler, Frank Cancian, Gerhard “Gerry” Clausing, Jim McKinniss, Jim Koch, Stan Kuran, Janos Lanyi, Scott Mathews, Marc Plouffe, Diane Reeves, Douglas Stockdale.
Cheers!
Douglas Stockdale, Exhibition Curator
Survey of Contemporary Landscape
Jan Brueckner
Frank Cancian
Jim Koch
Stan Kuran
CONNECTIONS
copyright Jim Koch
CONNECTIONS exhibition
Photography is a medium that allows us to connect: to communicate with other individuals as well as with the world as our ever-present backdrop. While in our current time digital processes seem to create distance, the medium of photography cuts through this digital omnipresence and enables us to address human concerns and to draw parallels and achieve insights that are at the core of our existence. Time, place, light, and emotions inspire the photographer to create images which are intended to engage the viewer in our shared human experience, and a multitude of human emotions can be elicited through images that range from the tangible to the abstract and metaphorical.
The images in CONNECTIONS present individual interpretations of the myriad ways in which we connect to each other through photography. As the images were created, a connection between the subject and the photographer was established. A second level of connection may be shown or implied through the elements depicted in the photograph. A third connection then is created by the viewer’s interpretation of the image. Thus the process of CONNECTIONS is indeed a multifaceted and creative one that reaches beyond the depiction itself and is intended to share human experiences and interpretation, facilitated though the medium of photography.
Artists & photographers who are included in this exhibition include: Diane Andrus, Diane Reeves, Douglas Stockdale, Ellen Butler, Frank Cancian, Gerhard Clausing, Jan Brueckner, Janos Lanyi, Jim Ashcroft, Kathy Shapiro, Jim Koch, Marc Plouffe, Michael Weitzman, Paul Anderson, Raquel Landworth-Kleinhenz, Robert Staeck, Roger Bennett, Scott Mathews, Stan Kuran, & William Edwards (listed by first name). Copyrights belong to each artist/photographer.
Curated by Douglas Stockdale
Exhibition:
Diane Andrus
![ellen butler Anne [right]](https://thephotoexchange.files.wordpress.com/2018/08/ellen-butler-anne-right.jpg?w=720)
Frank Cancian
Jan Brueckner
Jim Ashcroft
Kathy Shapiro
Michael Weitzman
Raquel Landworth-Kleinhenz
Robert Staeck
Stan Kuran
Douglas Stockdale at LACP Fine Art Exhibition opening Friday, May 25th, 2018
America, Middle Ground/En Medio Tierra, 2016 copyright Douglas Stockdale
As a member of the Photographers Exchange, I am very excited to announce that two of my photographs from my Middle Ground/En Medio Tierra project were selected by Scott B. Davis for the Los Angeles Center of Photography (LACP) annual Fine Art Exhibition. The two photographs are America, above and the photograph San Diego Port of Entry, below.
The theme for this year is Expanding Boundaries. Although my project has as it’s primary subject a series of barriers, a form of physical boundary, the series also documents how these barriers are deteriorating and include passage ways that allow access. Thus providing an element of hope to individuals in order they might contemplate that they can overcome any barrier that they might encounter in life.
The exhibition opening is this Friday, May 25th, 2018 at the LACP facility in Los Angeles from 7pm – 10pm. LACP is located at 1515 Wilcox Ave., Los Angeles, CA 90028
The LACP exhibition will is available for viewing from May 25th thru June 22nd.
I am equally excited that this LACP exhibition of Middle Ground/En Medio Tierra is overlapping the full exhibition of this body of work at Fabrik Projects. Another two-fer for this body project! As a reminder, my artist book of this body of work is available from me or from Fabrik Projects as well.
Cheers!
Doug
Annual Print Exchange & Membership Meeting: March 15th, 2018
Sandstone Creek, Vail, Colorado, February 2018 copyright Douglas Stockdale
The annual print exchange and membership meeting for the PhotoExchange, a group of photographers who meet monthly at the Irvine Fine Arts Center, Irvine, CA will be this Thursday, March 15, 2018 stating at 6pm. There will also be some food, usually a few kinds of pizza, vegetables and cookies, with some non-alcoholic beverages.
I have discussed this interesting, if not a bit wacky, print exchange earlier, as this print exchange has been an on-going event by this group for about twenty years. Reminds me of a white-elephant Christmas gift exchange.
Those who participate bring a photographic print, not necessarily matted, but it might help, more about that in just a moment. You will be guaranteed to leave with a print, perhaps not your first choice. The process starts with a judging of all of the photograph by the participants and the photographer who brought the photograph that has the most “likes” gets to choose another photographic print. The photographer whose photograph was just selected then has a few minutes to talk about their photograph before selecting a photograph of their choice. This process of selecting prints, then the selected photographer chooses a print continues until all of the photographic prints are gone. Unlike a white-elephant exchange, the selection is only from the the remaining photographs on display, not a photograph that somebody else has already selected.
Seems in the past that photographs with mattes usually obtains more likes or are chosen early in the process, when then entitles the photographer who brought that photograph to choose a print of their liking sooner.
This is also the membership meeting for those who wish to continue to belong, or want to join, for the year to bring their annual dues of $35.00. Preferably a check as the group does not have access to make a credit card transaction unless someone wants to consider using PayPal with Larry Pribble.
Note: as you may suspect, like last year’s post about this event, I am included the photograph that I am bringing this year. The photographic image is 6″ x 6″, archival matte, Edition of 1/10, pigment print on Museo Portfolio Rag, Extra Smooth Matte Finish, 300 gsm weight. For those who would like to purchase a copy of this limited edition print, either in this size or larger, message me at doug@douglasstockdale.com
Let me or Gerry know if you have any questions,
Cheers!
How to Make Digital “Contact Sheets”
If you have wanted to create sheets that show sets of images in your folders or series, in order to print them like the “contact sheets” from analog times, this is fairly easy to do. Reasons for doing so might be that you want to keep a printed visual record of what’s in your project folders or project collections, or you might want to document possible sequences for presentations or for photo books, to name just some reasons for using this process.
Here’s an example that goes through six easy steps. You need to have both Bridge and Photoshop running on your computer. I am currently using Bridge CC 2017 and Photoshop CC 2017 on the PC, but this works similarly on the Mac and with older versions of the two programs as well.
Step 1: Open Bridge and open the folder that contains the files that you want to print on a sheet, in the right order. Here I am using a folder with twelve “Bodyscapes” files of mine as an example.
Step 2: From the menu, select Tools > Photoshop > Contact Sheet II.
Step 3: The “Contact Sheet II” window will be activated in Photoshop automatically:
Step 4: Select the size you want the pages to be. For instance, I usually use 8×10” for printing properly on 8.5×11” sheets.
Step 5: Select the number of columns and rows you want – 4×4 is a good place to start. Do not use filenames as captions unless you want them to be appearing.
Step 6: Hit the “OK” button, and BINGO! The contact sheets will appear in Photoshop as if by magic, in sequence, and can then be saved and/or printed.
And there’s my contact sheet for this folder!
Enjoy!
Gerry
ContactSheet-001.jpg:
Interview: Michael Weitzman – CollectorWorks
Photographs copyright Michael Weitzman
This is the second of a series of interviews of photographers who are or have been members of The Photographers Exchange, a group of photographers and artist that meets monthly at the Irvine Fine Arts Center (IFAC). Michael Weitzman has been regularly featured on YourDailyPhotograph and has recently become represented by CollectorWorks. This interview was about that transition. Previously we interviewed Jim McKinniss on his similar transition to be represented by CollectorWorks.
Editor, Douglas Stockdale (TPE): Michael thank you, we appreciate the opportunity to discuss your photographic background and what led you to become part of Daniel Miller’s CollectorWorks (CW). Since each of you have a diverse style, perhaps it would be a good start if you could describe what you photograph and how you then process that imagery?
Michael Weitzman (MW) I typically shoot with plastic and lo-fi cameras, which enables my imagination to roam freely seeking new narratives from the mundane and often overlooked subjects. I enjoy immensely the handmade print utilizing a variety of traditional and alternative processes.
TPE: One of the common threads for this series of photographer interviews is that each of you has a shared background of being part of The Photographers Exchange. How did participating in The Photographers Exchange monthly meetings prepare you for being included in CollectorWorks?
MW: The Photographers Exchange is a great forum to showcase your work and get feedback and ideas from a good cross section of artists. It also pushed me to not be a “one trick pony”.
TPE: What was the process that eventually led to being included in the CW? If I recall, you have been featured somewhat regularly on YourDailyPhotograph (YDP) prior to this.
MW: Credit is due to fellow member Jim McKinniss. Jim attended a group exhibition that had three of my photogravures. He approached me and said you should talk to Daniel Miller or at least sign up for YDP. Miller just might be interested. The rest is history.
TPE: Miller has been quoted as saying that he has a particular following and has a great idea of what will sell and what will not. Have you found that to be the case as well for the photographs you have had featured and sold?
MW: My first photo sale was from a “lith” print on YDP. I decided to hand deliver it and meet Miller. We had a good exchange and I left with the impression of the old APPLE Computer term “Think Different”. Subsequently, I have sold several photographs, mostly alternative processed either through YDP or CW.
TPE: It would appear that the CW is a virtual gallery, does Daniel Miller have any of your photographs in his inventory or is this truly a virtual gallery?
MW: Miller maintains an inventory of my photographs and occasionally will exhibit them along with others from CW at his Duncan Miller Gallery in Santa Monica.
TPE: As a result of being represented what other opportunities has this opened up for you?
MW: Lots of exposure, networking, and sales. For 2017 I was part of PHOTO L.A. and had the honor to present my work in front of many collectors and gallery owners. The energy and buzz was amazing !
TPE: What are the next steps that you now intend to take as a result of this representation?
MW: I’m thinking a book. The beauty of having my images presented thematically or as a story is very appealing to me.
TPE: If a photographer was interested in being represented by CollectorWorks, which recommendations would you offer?
MW: Find photographers, painters, sculptors, musicians that you admire and respect. Look at their work, study them. Rinse and repeat. Do work from the heart whatever that might be. Quoting Miles Davis “Sometimes you have to play a long time to be able to play like yourself”
TPE: Thank you, it was a pleasure to discuss this with you and we are wishing you success as you continue your creative endeavors.
MW: Doug, thank you very much for the opportunity. It was a pleasure.
Annual Print Exchange meeting – March 16
Trubuco Canyon, 2016 copyright Douglas Stockdale
This week The Photographers Exchange is having the annual print exchange meeting. Except with a slight twist; everyone who brings a print will leave with some else’s print, it is just the print you leave with maybe different than the one your heart truly desires.
This turns into a fun and wacky meeting; first all of the prints are laid out and everyone has a change to pick their top three prints. The print with the highest score allows that photographer who brought the print to choose one of the other prints. The photographer whose print is just selected, then gets to choose one of the remaining prints. and so it goes. Typically as the night wears on, the selection of the available prints becomes more and more limited.
Meeting will be held (as usual)
Irvine Fine Arts Center (IFAC)
date & time: Thursday, March 16 starting at 5:30pm
So if you are in the O.C. area on Thursday, I hope you can make it (and bring a print! the only requirement to attend). There will also be some pizza, veggies, & soda.
BTW the print I will be bringing is featured above and is an open edition, 6″ x 6″ inkjet with archival white matte (11 x 14″) ready for framing. I think its a winner ;- )
Cheers!
LACP Spring Open House
Ciociaria published by Punctum Press, Rome, Italy
For those on the Left Coast, Los Angeles Center for Photography (LACP) is having a Spring Open House on March 18 & 19th, 2017 at their L.A. facility; 1515 Wilcox Ave., Los Angeles, California.
Over the two days there will be a series of events (see below) during which I have been asked to participate on Saturday to host a table of my personal photobooks, including Ciociaria and my artist book Pine Lake. Probably also have a portfolio as well. Nice!
And of course I will be discussing my Introduction to Photo Book Design workshop that begins on April 1st at LACP. I have told that there are a few remaining spots still available for this dynamic two-Saturday workshop.
LACP Spring Open House:
Featuring on Saturday, March 18
NOTE: Saturday (not Sunday) is entirely FREE and open to the public. RSVP is not required.
Schedule:
10 am – Doors Open
11 am – Screening of the Robert Frank documentary film Don’t Blink. RSVP your seat to info@lacphoto.org. (Seating limited to 60. Outside of that standing room only.)
12:45 pm – Short presentations/demonstrations by various vendors
2-5 pm – Portfolio and book walk featuring the work of LACP Members
Throughout the day:
• Silent auction fundraiser to support LACP (preview images here: https://lacphoto.org/gallery/images-up-for-auction-2017/)
• Used photo equipment for sale (printers, darkroom equipment and more)
• Rare collector photo books for sale (some signed by artist)
• Various organizational vendors including ASMP Los Angeles, APA Los Angeles, Freestyle, Blurb, KEH Camera, The Artist Corner, The Impossible Project and Photo Independent/Fabrik Media
• KEH Camera buying used photographic equipment
• Raffle prize drawings
• Wine and beer served from 2-5 pm
Featuring on Sunday, March 19
• 18 “mini” classes and seminars.
NOTE: A one-day pass is $100 for Members; $200 for Non-Members. Individual classes are $20 for Members; $40 for Non-Members. Seating is limited.
To purchase classes individually, please click the corresponding class links below.
10:00 am:
1) “Portrait Studio Lighting” with Jennifer Emery
2) “Perfect Exposure” with Julia Dean
3) “Optimizing Your Images in Camera Raw Before using Photoshop” with Ed Freeman
11:00 am:
1) “How to use the Canon 600 EX RT Flash” with Julia Dean
2) “Introduction to the Holga” with Tom Alleman
3) “Black & White Conversion using Lightroom” with Rollence Patugan
12:00 pm:
1) “Custom White Balance” with Rollence Patugan
2) “The Singular Vision (Ways of Seeing)” with Andrew Southam
3) “Lightroom Slideshow Module: Show the World Your Talent” with Michael e. Stern
2:00 pm:
1) “Mastering the Core Features of Your Camera” with Ibarionex Perello
2) “Getting Known/Getting Shown: How to Get Your Photographs Out into the World” with Sarah Hadley
3) “How to Sequence and Design a Photo Book in Blurb” with Julia Dean
3:00 pm:
1) “How to Shoot Events” (And Making a Living)” with Kevin Weinstein
2) “Introduction to Instagram” with Kat Bawden
3) “Lightroom Develop Module: Breathing Life into RAW Files” with Michael e. Stern
4:00 pm:
1) “The Direct to Client Market” with Jennifer Emery
2) “Monitor Calibration: Why You Really Need to Calibrate Your Monitor and How To” with Eric Joseph
Cheers!
Ed Ruscha’s innovative photobook at OCMA
Every Building on the Sunset Strip copyright 1966 Ed Ruscha
Currently OCMA (Orange County Museum of Art) is exhibiting Pop Art Design and included are a few works by Ed Ruscha, but probably the most photographically interesting is a very long display of Ed Ruscha’s 1966 creative photobook Every Building on the Sunset Strip.
This was a deadpan photographic project in which a 35mm motor-drive camera was load with a bulk feed and photographed the adjacent buildings while driving up and then back down Sunset Blvd, which was commonly called the Sunset Strip. The resulting photobook then takes advantage of the street name’s pun by creating a long continuous strip of images. On the top of the page is one side of the street and below this in reverse is the other side of this street.
This photobook design was very innovative for its time with stiff covers and the interior was bound to display as an accordion (also known as Leporello and Concertinas) layout, which is to say each page was connected and continuous. A very long strip of photographic images. My photographs of this exhibit were a grab shot and do not do it very much justice, thus go check it out and see the real thing!
The OCMA exhibition runs thru April 2nd, 2017.
Landscapes: Call for Entries, Deadline Jan. 25, 2017
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