The Photo Exchange

Stephen Wilkes “Day to Night” at Peter Fetterman Gallery

Posted in Uncategorized by Jim McKinniss on September 28, 2014

Eiffel Tower copyright by Stephen Wilkes.


Rockefeller Center copyright by Stephen Wilkes


Trafalgar Square copyright by Stephen Wilkes


Santa Monica Pier copyright by Stephen Wilkes.

Day to Night is an ongoing global photography project that visually narrates the events and human activity of an entire day using a uniquely innovative photographic process. The images are created by photographing from one camera angle for up to 15 hours, continually observing and capturing thousands of specific moments throughout the day and night in some of the world’s most famed locations. While photographing, Wilkes is observing the view, watching for spontaneous events occurring in the scene and narrating a visual story as the hours goes by. A select group of these images are then painstakingly blendedinto one seamless photograph over several months, capturing the changing of time within a single frame.

Equal parts documentary street photography and architectural landscapes, the images in Day to Night appear aesthetically surreal while maintaining an honest representation of the cultural influence of people in their urban environments. Earlier works in the project show the day’s transition at iconic locations in Manhattan including Times Square, the Flat Iron Building, and Central Park. Wilkes says, “I discovered that the photographs began to highlight a form of emergent behavior within the daily life of the city. Studying the communication between pedestrians on sidewalks, cars and cabs on the street, these individual elements become complex life forms as they flow together.”

As Wilkes further developed and focused his process, later images such as Jerusalem (2012) and Presidential Inauguration, Washington D.C. (2013) include thousands of people shown in the position they were at during various times of day while maintaining a seamless transition of changing light. High-traffic scenes like in Santa Monica Pier (2013) and Union Square (2014) keep the viewer engaged with countless narratives of people embracing, playing sports, sun-bathing, or hailing a cab. New pieces debuting in the exhibition include Tunnel View, Yosemite (2014) and Eiffel Tower, Paris (2014) as well as works from New York City, Israel, and London.

Throughout the history of photography, there have been artists such as Eadweard Muybridge, Berenice Abbott, and Harold Edgerton, whose processes used technology to affect the possibilities of what a single image could convey. Stephen Wilkes is taking the concept of time and changing the way we look at a single still image, fusing hundreds of moments into one seamless scene, marking a new step in the ever-evolving medium of fine art photography. Beyond the narrative of light, Wilkes utilizes customized technology to achieve large-scale prints of breathtaking clarity and detail. The Day to Night series has een featured in TIME Magazine, The New York Daily News, CBS Sunday Morning, The Telegraph UK, and countless online blogs and publications. Stephen Wilkes (b. 1957) was educated at Syracuse University’s S.I. Newhouse School of Public Communications. His photographs have been exhibited in galleries and museums around the world, and featured in numerous leading publications including The New York Times Magazine, Vanity Fair, and Time, among many others. Awards and honors include the Adobe Breakthrough Photography Award, the Alfred Eisenstaedt Award for Magazine Photography, Photographer of the Year from Adweek Magazine, Fine Art Photographer of the Year 2004 Lucie Award, and the Epson Creativity Award. Wilkes’ work is in the permanent collection of the International Museum of Photography at the George Eastman House, the Museum of Fine Arts Houston, the Dow Jones collection, James A. Michener Art Museum, Snite Museum of Art, Jewish Museum of New York, Library of Congress and numerous private collections. Wilkes is based in Westport, CT. An opening reception for the artist will be held on Saturday, September 27, 2014 from 6:00-8:00pm.

Peter Fetterman Gallery
2525 Michigan Avenue Gallery A1
Santa Monica, CA 90404
Telephone: 310 453 6463

Hours: Wednesday – Saturday 11am – 6pm and by appointment.

General Inquiries:

By Jim McKinniss

A Legal Battle Over Vivian Maier’s Work

Posted in Uncategorized by Jim McKinniss on September 12, 2014

Vivian-Maier_55_230-06_72dpi-629x640 Vivian-Maier_55_230-12_72dpi-632x640 Vivian-Maier_59_372-07_72dpi-637x640 Vivian-Maier_68_744-07_72dpi-636x640

All photos above are copyright by Vivian Maier.

The following text is the lead paragraph from a New York Times article on September 5, 2014

The story of the street photographer Vivian Maier has always been tangled — she worked much of her life as a nanny, keeping her artistic life a secret, and only after she died in 2009, at the age of 83, nearly penniless and with no family, were her pictures declared to be among the most remarkable of the 20th century. Now a court case in Chicago seeking to name a previously unknown heir is threatening to tie her legacy in knots and could prevent her work from being seen again for years.

To read the complete article follow this link:

By Jim McKinniss

Melanie Gaydos

Posted in Uncategorized by Jim McKinniss on September 3, 2014

Born with a condition called ectodermal dysplasia, Melanie Gaydos refuses to let her unconventional looks stop her from realizing her dream of becoming a high-fashion model.

To read more about Melanie follow the link below.

This photo is copyrighted.

This photo is copyrighted.


This photo is copyrighted.

This photo is copyrighted.


This photo is copyrighted.

This photo is copyrighted.

This photo is copyrighted.

This photo is copyrighted.



By Jim McKinniss

tPE member John Montich at El Camino College Art Gallery

Posted in Uncategorized by douglaspstockdale on August 18, 2014

smaller email image

Myth And Image

John Montich, a long time member of the Photographers Exchange, will be exhibiting in a group show at the El Camino College Art Gallery (Torrance, CA).

The exhibition dates are August 25 thru September 18, 2014

Opening reception: September 4th, 7 – 9pm


tPE member Barbara Ruffini selected for Los Angeles Center of Photography

Posted in Uncategorized by Jim McKinniss on July 11, 2014

RUFFINI-All That We See Or Seem

All That We See or Seem copyright by Barbara Ruffini.

Long time member of The Photo Exchange, Barbara Ruffini, has had a photograph selected for the Grand Opening and Member’s Exhibition at Los Angeles Center of Photography.

According to Barbara:

The image is part of a greater on-going series of exploration I call, The Space Between
This image in particular is about looking. Looking, seeking, wondering, imagining, dreaming … what we see, what we think we see, what we hope to see, and what we dream. There is also an underlying note of whimsy, of course. After all, the mask, which blinds, has eyes painted upon it. (wink).

LACP is located at Hollywood at 1515 N. Wilcox Avenue, on the corner of Sunset Blvd. in Hollywood, CA

Opening date is Saturday, July 12, 7 – 11 pm



By Jim McKinniss


Posted in Uncategorized by Jim McKinniss on July 7, 2014


Photo copyright by Nan Goldin


I subscribe to and so get its daily updates. I recommend the blog to everyone.

Here is the link to today’s post (July 7, 2014)

By Jim McKinniss

DANIEL WHEELER: GULP, (Generative Urban Landscape Project) 2005-2008 at Duncan Miller Gallery

Posted in Uncategorized by Jim McKinniss on July 4, 2014

Photo copyright by Daniel Wheeler.



Photo copyright by Daniel Wheeler.


Photo copyright by Daniel Wheeler.



Photo copyright by Daniel Wheeler.



Duncan Miller Gallery is showing its second exhibition of Daniel Wheeler’s GULP series featuring large-format color landscapes of Southern California. Wheeler documents Los Angeles through the waters of a series of back yard swimming pools.

The artist statement regarding this project:

In this photographic project, the ubiquitous Southern California pool becomes a medium through which the surrounding landscape is interpreted. The peculiar garden that is urban Southern California would not exist without water. Here it is viewed through that chlorinated lens. Descending into water, my movement, and the exhalation of my breath, causes distortion of the surface. Pictures are made looking upward. The water is clear, but distorts; the landscape can be intuited but the perspective is indeterminate. The resulting cognitive dissonance forces viewers to sense, rather than read, the images. Verisimilitude has never been my goal: instead it is to provide a sensual springboard for interpretation. My work has addressed issues of self, place, and memory through an appeal to the viewer’s body, using sculptural forms and architecture to do so. This new project takes me back to photography, which was my first love as an artist.

Comprising over 50 large-scale images so far, as well as sculptures and performances in development, GULP represents a new direction for me, while developing directly from the work I have been doing for the past twenty-five years. In installations, drawings, performances and sculptures, I have used the Los Angeles landscape as muse and the body as basic element. In one precursor to GULP, I spent eight months drawing urban street trees on a daily basis, as a way of examining them, but also as a way of mapping my own state of mind.Comprising over 50 large-scale images so far, as well as sculptures and performances in development, GULP represents a new direction for me, while developing directly from the work I have been doing for the past twenty-five years. In installations, drawings, performances and sculptures, I have used the Los Angeles landscape as muse and the body as basic element. In one precursor to GULP, I spent eight months drawing urban street trees on a daily basis, as a way of examining them, but also as a way of mapping my own state of mind.

I found that the project (and the exhibition s effectiveness) benefited from the large number of drawings produced. Although each tree was unique, drawing over 175 of them in a uniform way allowed for reflection on the act of observation itself. The whole became a kind of accumulative phenomenological self-portrait , while situating itself specifically in this place, at this time.I found that the project (and the exhibition’s effectiveness) benefited from the large number of drawings produced. Although each tree was unique, drawing over 175 of them in a uniform way allowed for reflection on the act of observation itself. The whole became a kind of accumulative phenomenological self-portrait , while situating itself specifically in this place, at this time.

Using the sensual immediacy of large-scale photographic imagery I aim to cajole viewers out of their learned response to the environment into a more sensory experience of it, and back into their bodies, so to speak. The images are generated by an action, the descent under water. When viewers stand in front of the finished pictures, they find themselves inserted into the action and by extension into my presence there. The physical nature of the finished objects is therefore intimately connected to their effectiveness. The scale of the images (40 to 60  square), the intensity of the color, the reflective surfaces play crucial roles.

Duncan Miller Gallery is located at 2525 Michigan Avenue, Unit A7, Santa Monica, CA 90404

310 838 2440

By Jim McKinniss

Minor White: Manifestations of the Spirit at the Getty Museum

Posted in Uncategorized by Jim McKinniss on June 26, 2014

Photo copyright by Minor White.


Photo copyright by Minor White.


Photo copyright by Minor White.


Controversial, misunderstood, and sometimes overlooked, Minor White (American 1908–1976) was one of the great photographers of the twentieth century. His photographs demonstrate an understanding of the aesthetic and technical aspects of photography as well as its potential to be a medium of spiritual transformation. White’s work as an artist, teacher, editor, and critic exerted a powerful influence on a generation of photographers and still resonates today. This retrospective exhibition features White’s masterpiece, the eleven-print sequence Sound of One Hand (1965).

This exhibition runs July 8–October 19, 2014

1200 Getty Center Drive

Los AngelesCA 90049

Tuesday–Friday and Sunday 10:00 a.m.–5:30 p.m.
Saturday 10:00 a.m.–9:00 p.m.
May 30–August 29, 2014 open Fridays to 9:00 p.m.
Closed Mondays

By Jim McKinniss

Laurie Schorr: Photogravure

Posted in Uncategorized by Jim McKinniss on June 19, 2014

Reality copyright by Laurie Schorr.


Passion copyright by Laurie Schorr.



Honesty copyright by Laurie Schorr.


The following is taken from the 

Photogravure is photo mechanical process developed in the 1830s and refined in the 1870s. In this process, metal plates are coated with light-sensitive material, exposed to UV light, inked, and run through an etching press. The resulting intaglio prints are rich, archival, and have exceptional tonal range and detail.

Looking at Laurie Schorr’s series Internal Topographics, I feel as if I am navigating the story of her life. Her photogravure prints incorporate self-portraits and still lifes that reflect her personal journey. Each unique print is rich with metaphor. The antique and tactile quality reminds me of discovering a box of keepsakes from a distant relative. I wonder why she held onto and documented the glass bottles filled with maps and sand, what places the maps depict, and their significance to her life.


By Jim McKinniss

Mary Ellen Mark talks to Alison Stieven-Taylor

Posted in Uncategorized by Jim McKinniss on June 12, 2014

Hippopotamus-4 photo copyright by Mary Ellen Mark.


Italian American Club photo copyright by Mary Ellen Mark.

Amanda and her cousin Amy, Valdese, North Carolina, USA, 1990

Amanda and her cousin Amy, Valdese, North Carolina, USA, 1990 copyright by Mary Ellen Mark.

Heather and Kelsey Dietrick, Twinsburg, Ohio 2002

Heather and Kelsey Dietrick, Twinsburg, Ohio 2002 copyright by Mary Ellen Mark.


The following text is a reprint from June 9, 2014 issue of L’Oeil de la Photographie.

American photographer Mary Ellen Mark has been taking pictures for more than 50 years. In May the Stills Gallery in Sydney hosted her first solo exhibition in Australia featuring a number of images from the eighties and nineties including some shot for National Geographic in 1987 for a story on Australian Immigrants.

More recently she’s worked in Australia as a stills photographer on three of Baz Luhrmann’s films – ‘The Great Gatsby’ and ‘Moulin Rouge’ in Sydney, and ‘Australia’ in the remote town of Kununurra in Western Australia, 3,040 kilometres (1,889 miles) from Perth. I can tell by the way Mark pronounces” Kun-un-urra” that she is still savouring that quintessential Australian outback experience. Of her time with Baz and his multi-Oscar winning wife Catherine ‘CM’ Martin she says, “Great people, brilliant”.

Internationally Mark is equally renowned for her film stills as well her documentary photography and she’s managed to successfully live in both worlds without losing her visual signature. She is credited with shooting more than 50 films including ‘Tootsie,’ ‘One Flew over the Cuckoo’s Nest,’ ‘Apocalypse Now’ and Fellini’s ‘Satyricon’. Mark tells me these commissions, and her magazine work, have funded her personal projects, which lie at the heart of her photographic practice.

Like other notable photographers Mark studied painting and art history before photography came into her life. “When I went to university I wanted to be either an architect or painter, a fine artist; I found being a painter very isolating. As for being an architect, that’s very academic, very difficult and I am not a good engineer,” she laughs.

At graduate school Mark took a major in photojournalism; it was a light bulb moment. “Photography became an immediate love for me. I had always read books about photography and was always fascinated with great photography. But it hadn’t occurred to me that it was something I could do myself until I got to graduate school and picked up a camera in my very early twenties”.

Following graduation Mark secured work with publications she’d grown up with such as LIFE. “In the Sixties there was a real life for a photographer working in magazines. Magazines needed great photography and they believed in it. I wanted to be an artist and take pictures that move people and that would last far beyond my lifetime. I wanted to become really great at what I did,that’s always been my goal”.

“I always thought of magazines as kind of my grants. A lot of the time they’d let me go and work on my ideas. It was a great time, but it’s changed. I think work for magazines now is very illustrative, and I’m not an illustrator, I’m a storyteller. Today images in magazines are controlled by post-production, that’s the real artist not the photographer,” says Mark. “Magazines are not interested in work that is very personal. They want work that can be changed with a grey or blue filter in post-production. If young photographers are interested in what I was, in telling stories, they have to pursue that. Don’t let technology push you around”.

While Mark hasn’t made the shift to digital – she still shoots medium format and 35mm film – she says, “I am not against it. I teach and most of my students shoot digitally and some make great pictures. But for me it is a different mindset as it involves the computer. It’s a different thought process, and I know film so well and I love the prints…I don’t want to give that up”.

It isn’t nostalgia colouring her view when she speaks of the constant bombardment of imagery from cyberspace. Mark says the current level of activity in photography has “lowered the bar. I don’t think people know what good photography is anymore, not just the public but those working on magazines also. There is no discrimination, everything is uploaded, downloaded, and we are inundated with images. People are not dazzled anymore by how difficult it is to take great pictures”.

Continuing she says, “We used to look at magazines and see the pictures of great photographers who took incredible images that stuck in our minds forever. Now we are seeing average nothingness. I mean it is true that anyone can take a picture, and some make good pictures, but it is very hard to make great pictures, very hard and I don’t think people know the difference anymore. I think people are becoming numb”.

I ask – ‘who, in your opinion, are the ‘great photographers’? The phone line goes quiet while she mulls the question. “I’m looking at my wall in the studio, I have a lot of prints up here, people whose work I really love,” she tells me down the line from New York. “For me the photographers who were the great photographers are still the great ones – W. Eugene Smith, Irving Penn, André Kertész, Manuel Álvarez Bravo, Margaret Bourke-White, Helen Levitt…A great contemporary photographer is Graciela Iturbide from Mexico. With the great images I think they heighten peoples awareness about life and about art and humanity”.

We talk about photography as an agent of change and Mark tells me, “I think the kind of photography that can contribute to change are photographs that relate more to war and disaster. I have a lot of respect for the people who have done great photographs of (these), but I’ve never had the nerve to do that. As far as looking at things like poverty for example, I am not sure that photography contributes to change, but I think it opens peoples minds to look at humanity in a more heartfelt way”.

Throughout her career Mark has been drawn to stories that fall outside the mainstream – brothels in Bombay, street kids in Seattle, pregnant teens, circus performers – creating visual explorations that peel back the layers of the human experience. Very much her own woman – Mark is one of few that have rescinded their Magnum Photos membership – she is still resolute in carving her own path.

Like many great photo essays her idea for ‘Falkland Road: Prostitutes of Bombay’, which became one of her most lauded projects,­ came by chance. “When I first went to India in the late sixties someone took me to Falkland Road. It made a lasting impression on me and I said I’m going to come back here to photograph these women. It took ten years to pull it together, but I did go back and photograph them. You have to be determined. I’m proud of that work and nothing has come close to it as far as the intimacy and the look into the lives of these women. People still struggle with how to deal with that work”.

‘Falkland Road: Prostitutes of Bombay’­ became a book, one of the 18 she has published. ‘Man and Beast’ was released this year and is her latest, featuring works from Mexico and India. Here Mark’s images explore the complex relationship between humans and animals, one of the topics of fascination for this erudite photographer.

Currently she and her filmmaker husband Martin Bell are working on a sequel to Bell’s 1983 film Streetwise. Again this story began by chance. Mark was on assignment in Seattle for LIFE magazine shooting a story on runaway children. After photographing these children and hearing their stories, Mark went home to Bell with enthusiasm to pursue the story in greater depth. Bell agreed and later that year the pair returned to Seattle to make the documentary film. Since then they’ve been following the life of one of that film’s protagonist, Tiny, who they met as a 13-year-old prostitute living on the streets of Seattle. Mark says Tiny is now a mother of ten. There is also a book of this work.

“All my projects mean something to me,” says Mark. “I develop relationships with many of my subjects and l love going back, I really believe in going back. It’s very moving when a project ends and yes, it’s sad. But I’ve always felt you are only as good as the next thing you do so I’ve made myself move on.” At 74 years she has no intention of slowing down, there are too many stories left to tell.

It is late in the day in New York as we end our interview. Mark’s voice is full of an energy that belies her years. As we get ready to hang up she says, “Call me if you need anything else, if you have more questions. It was a pleasure”.


By Jim McKinniss


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