Kim Weston has been a fine art photographer for 30 years specializing in large format photographs. His main body of work consists of silver contact prints made from 8×10 negatives. In addition to the 8×10 format he prints in 11×14 and 16×20 sizes. Kim also photographs with a Mamiya 67 that he inherited from his father Cole Weston. He prints in Platinum and lately he has added paint to his photographs.
Kim is a third-generation member of one of the most important and creative families in photography., He learned his craft assisting his father Cole in the darkroom making gallery prints from his grandfather Edward’s original negatives. Kim also worked for many years as an assistant to his uncle Brett, whose bold, abstract photographs rank as some of the finest examples of modern photographic art.
“My painted photographs have given me a release from surface importance and visual certainty. I can take my image and tweak it to another dimension which if I think about it was my original direction and interpretation of the subject to begin with.”
Opening reception for artist: July 7, 7-9 pm
Duncan Miller Gallery
10959 Venice Blvd, Los Angeles CA 90034
By Jim McKinniss
The Korean photographer Ahae was born in Kyoto, Japan in 1941. He is a famed naturalist and photographer who has been taking 2,000 – 4,000 photos a day for his current project. This project is called “Through my window”; a show of approximately 100 prints and 1,200 photos by slideshow from the visionary Korean naturalist photographer Ahae. The exhibition ran from April 29 to May 7, 2011 at Vanderbilt Hall in Grand Central Terminal in New York City. Prints range from 11 inches by 17 iches to 16 feet by 32 feet. Average photos are 40 x 60 inches. Prints range from plexi-mounted frameless photos to duratran lightboxs and a grand lightbox 16 feet by 32 feet. There was also be a four-panel projection slideshow that is 26 feet high nd 32 feet wide.
Through My Window will also be showing from July 15 to August 14, 2011 at the National Gallery Prague, Czech Republic.
By Jim McKinniss
Fine art photographer, Susan Burnstine has just released her new book Within Shadows. I have been given the opportunity to provide copies of the book for sale to our members. This beautiful hardcover book, produced by Charta Editions contains 100 pages with 45 duotone images of Susan’s work. The book is priced at $47.50 plus tax. A portion of the sales will be donated to The Photographers’ Exchange. You can choose to pay for and pick up your order at the next Photo Exchange meeting and you will save on shipping charges. To reserve your copy of Within Shadows, please contact Larry Vogel at: email@example.com
Last night I went to the IRIS Nights lecture at the Annenberg Space for Photography to listen to Mark Laita talk about his new book called “Created Equal.” Mark is an entertaining speaker and his talk was one of the best I have attended at the Space.
The work Mark showed consisted of portraits of people he has met and are all done in a style very reminiscent of Irving Penn’s “Small Trades.” Each photo is a diptych and each of the individual photos in the pair was taken with an 8×10 double reflex view camera which he has specially made.
The following is extracted from an interview TurnStyleNews.com:
You’ve probably seen Mark Laita’s commercial photography – the cherry red Mini Cooper, glossy iPad, and ever so drinkable bottle of Johnnie Walker Blue – but you might not guess the same photographer is behind Created Equal, a provocative series of diptychs portraying Americans from all walks of life.
Created Equal is different from my other work in that it’s not politically correct. Perhaps it’s a reaction to all the years of working for advertising clients, producing work that was pleasing to look at. Almost all commercial work has a committee or focus group making certain that the end result is “nice.” I felt the need to produce something that was raw and real, as life truly is, not just what we aspire to.
The more shocking to our sense of what’s “right,” the better. That’s why I sought out the worst pedophile I could find (with a list of the most horrible convictions you can imagine) and a beautiful and innocent little girl (photographed with her mother’s consent of the pairing of images). If the viewer cringes from the pairing that’s great. I think a lot of us don’t think what you see in Created Equal exists in our city, but take a look at your neighborhood’s Megan’s list website sometime and tell me how “nice” your town is. Every city in the U.S. has sex offenders, prostitutes, drug addicts along with wonderful humanitarians, philanthropists and leaders. I aimed to depict our country as it is, not as we would like to think it is.
You can read the complete interview at http://turnstylenews.com/2011/02/14/slideshow-mark-laitas-created-equal/
By Jim McKinniss
The Center for Fine Art Photography has announced the winners of the Black and White exhibition. The Center is located in Fort Colins, Colorado. Their mission is “Promoting the art of photography by supporting the growth of creative artists through exhibitions and educational programs.”
The Artist’s and public reception is August 5, 2011 from 6-9pm. The juror for this exhibition is Catherine Edleman.
You can follow this link to view the selected images: http://www.c4fap.org/exhibitions/2011BW/index.html
- The Center for Fine Art Photography, Inc.
- (in the Poudre River Arts Center)
- 400 North College Avenue
- Fort Collins, CO 80524
- 970. 224.1010
- Gallery Hours:
- Mon – Fri: 9am to 5pm
- Saturday: 10am to 3pm
- Sunday: Closed
By Jim McKinniss
Cuba’s attempt to forge an independent state has been a project under development for more than 100 years and a source of fascination for nations, intellectuals, and artists alike.
A Revolutionary Project: Cuba from Walker Evans to Now looks at three critical periods in the nation’s history as witnessed by photographers before, during, and after the country’s 1959 Revolution. The exhibition juxtaposes Walker Evans’s 1933 images from the end of the Machado dictatorship with views by contemporary foreign photographers Virginia Beahan, Alex Harris, and Alexey Titarenko, who have explored Cuba since the withdrawal of Soviet support in the 1990s.
A third section bridging these two eras presents pictures by Cuban photographers who participated in the 1959 Revolution, including Alberto Korda, Perfecto Romero, and Osvaldo Salas.
This show runs through October 2, 2011.
By Jim McKinniss
In his second show at the gallery, Brohm will exhibit photographs from his vintage Ohio series from the early 1980s, a body of work which cemented the artist’s place within the then nascent group of young German photographers investigating color photography as a serious field of practice. Produced as one of the first artists to receive a Fulbright scholarship strictly within the realm of photography, Ohio will be shown in conjunction with a monograph recently published by Steidl in 2010.
Brohm’s works of this era exemplify a radical shift then taking place on how photography was viewed. Undertaken within a few years after two seminal photography shows –Museum of Modern Art’s William Eggleston in 1976 and New Topographics: Photographs of a Man-Altered Landscape in 1974- Ohio is a case study of a then relatively new practice of using color photography to fully depict the environment around us, which in the works’ chromatic range furthers the documentary expanse of the depicted landscape. The objective coolness in these pictures renders color as an elemental form, one serving to further accentuate the contours of the scene. Brohm’s Ohio is a place of bleached house paints, washed bricks, and faint neon signs – colors of a distant fragment of time.
Ohio is in itself an apt setting for Brohm’s works to be viewed. A northerly state with traditionally southern leanings, it exists at the plane between America’s drive toward urbanization and its historically sober, rural leanings. With studied restraint, the environments of Ohio are shown in unvarnished objectivity – fixed moments from the ever-evolving American identity. Belying their outwardly deadpan representation of middle America is a country in a stage of flux, a psychological tension borne from modern life that Brohm captures with an assertive calm. Stretching the boundaries of normative documentary photography, the Ohio series are traces of a shifted past, vivified through the prismatic lens of a not so distant memory.
Gallery Louisotti is located at Bergamot Station in Santa Monica. Phone (310) 453-0043.
By Jim McKinniss
If you are planning to purchase plug-in software, check out these companies who have supplied me with discount codes to pass along to my groups and workshop students. More information available at my website
The following text is taken from a blog post by Ken Jackson at The Other Eye. Copyright to this text belongs to Ken Jackson.
“We are blessed to be living in one of the best periods of history to practice expressive photography, at least in terms of the tools and processes available to us. Consider that nearly every analog process ever invented (if not every material-so many lovely papers and films are long gone) is available to us to use, as well as a large variety of ubertechdigital tools. I can choose to work in a purely analog process, go purely digital, or use any of a number of hybrids of the two. For example, I might make a pinhole exposure on 120 b&w film, soup the film, scan the negative, massage the image in Photoshop, output an enlarged negative with my Epson 3800, hand-coat a piece of fine art paper and contact-print a platinum-palladium ziatype. Crazy, man. I’ve exposed film, scanned it and outputted beautiful digital prints, I’ve used digital capture and made negatives for contact printing, and I’ve done pure digital workflow.
The point is that I can choose from a variety of processes and workflows – whatever is most appropriate to express my vision. It doesn’t have to be an either-or. There is a long history of photographic processes and imagery to learn from, to use, and to draw on for inspiration.
Commercial photographers tend to be very technology-driven in order to stay competitive, and that has been the pattern for the last 180 years. As a result they’ve pretty much all gone digital by now.
That doesn’t have to be the case for people who practice expressive personal photography. It is liberating to realize that the way I work doesn’t have to be dictated by the manufacturers and promoters of digitalia, or by false popular notions of technological “progress.” And that is a wonderful thing.”
Ken Jackson is a fine art photographer who creates much of his work using alternative processes. Ken lives in Carrboro, North Carolina with his wife Rochelle Moser.
You can read more at http://othereye.wordpress.com/
By Jim McKinniss