In Books, Photographer on December 6, 2013 at 10:06 pm
Juliet Harrison is a unique equine photographer – creating portraits of horses that speak volumes about her frequent interactions with them. Her work immediately evokes all the senses of any equine lover – they are intimate in ways that those who ride or work with horses are familiar with, and her first coffee table book, “Track Life,” is no exception. Featuring her devoted images alongside words by famed racing writers and other insiders of the sport, this inspirational book is now available and can be ordered through Paper Trail Press.
For more information: Juliet Harrison Photography
In Camera, Exhibits, Gallerist, Gallery, Photo Print Collector, Photographer on December 2, 2013 at 8:35 pm
DNA Entwined by Christopher Kennedy
Christopher Kennedy coined the term Photo Luminism for his work, which is created in-camera using depth of field, motion and different types of lights to create unique abstract images. Experimenting with every aspect of his digital camera to produce these images, which often take multiple shots to accomplish the desired effect, Kennedy prints his final images on brushed aluminum.
A sampling of Christopher Kennedy’s work can be viewed at the Red Filter Gallery in Lambertville, NJ.
For more information: The Midweek Wire
In Article, Black and White Photography on December 1, 2013 at 12:07 pm
“At first glance a photograph can inform us. At second glance, it can reach us.”
Minor White by Imogen Cunningham
Minor White, born in 1908 in Minneapolis, Minnesota, had the advantage of learning from some of the first great photographers that graced this earth. But it would take him awhile to truly embrace the realm of photography; he didn’t join his first camera club until the age of 30. Originally, he was more focused on the world of botany and the eloquence of written prose – his first artistic project was a five-year endeavor to create 100 sonnets while waiting tables and bartending in Portland, Oregon. After serving in World War II, White settled in New York and attended Columbia University. While it was a boon to have Meyer Schapiro help cultivate his own style, the greater boon would be White’s exposure to a circle of photography’s royalty: Alfred Stieglitz, Edward Weston, Walter Chappell, and more. Stieglitz would be particularly influential.
Unlike photographers such as Weston, Diane Arbus and Henri Cartier-Bresson, who celebrated the subjects of their photos with a candid methodology, White had a more romantic idea of how a photograph could function as art, perhaps harkening back to his days of writing. By rendering the subject of his photos to secondary importance, they became a metaphoric abstraction that enlightened the viewer to something more than first revealed. White adopted this from Stieglitz, who had called his own photographs of the methodology “equivalents,” and fully embraced it. His collection abounds with mysteries of eyes in sandstone, roses found in branches, natures own yin yang between shadow and light, and much more. The technical mastery White’s embraced visual transcendence plays with our perception and ability to identify despite the photos themselves being clear and precise.