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Posts Tagged ‘John Custodio’

Preview: On the Road: Structures, John Custodio, Soho Photo Gallery, NYC, NY

In Gallery on May 1, 2017 at 3:30 pm

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As part of 5 solo shows being exhibited, starting this week, John Custodio’s striking On the Road:Structures, will surely be enough to make a visit to Soho this month.

“Once or twice a year I take to the road on long trips across the country, looking for interesting landscapes to photograph. In my travels I’ve noticed and photographed what, for want of a better term, could be called “structures”—  lone buildings, towers, monuments, objects, remains of dwellings —  isolated within the landscape. Some are merely functional, some are commemorative, and some are surviving remnants of what once was, but they all serve as a fascinating counterpoint to the wider expanse around them.”

Custodio’s work will be joined by Barry Guthertz, Robert Kalman, Bruce Wodder, Jaime Johnson, and the Park West Camera Club 80th Anniversary Exhibition. The opening reception will be May 2nd from 6 to 8pm, and the closing date will be June 3rd.

For More Information: Soho Photo Gallery

Artist Spotlight: John Custodio

In Black and White Photography, Photo Print Collector, Photographer on March 1, 2010 at 5:38 pm

1L - HP/IGFS
1S - HP/IGFS

“Crown Point”

One of the more notable masters of photography was Minor White. Our earliest introduction was to a folio of his New England barn photographs that underlined his “spiritual” approach to image making. What lent a special aura to this work was the use of infrared film.

A new generation, now using digital tools, has come on the scene. An artist with a great talent using IR imagery is John Custodio.

We asked John to comment on his work in this area:

1. What are you trying to accomplish with your IR images?

To give the viewer a different viewpoint as seen through the infrared spectrum.

2. IR photographs have a long, varied history but many tend to have a "flatter" appearance than normal Black and White. How do you achieve your range and depth of tonality?

Since all my "darkroom" work is in Photoshop, I have complete control of how the image looks, so I can adjust contrast both globally and locally. Also, many of my IR images rely on the "false color" effect exhibited by digital sensors exposed to IR. I’m not working with a totally neutral grayscale, but with a toned palette that ranges from blue-yellow to red-magenta (depending on how I convert the raw file in the raw converter). 

3. What attracts you to “Black and White” as a medium for expression?

Its graphic quality and simplicity. But my current work is divided into 3 categories – Full color: If the color in an image is what defines it; Black and White: Again for its graphic quality and simplicity or If color would be uninteresting or a distraction; and most of my IR work: Neither full color nor black and white (a toned palette as described above).

4. Any specific technical tactics you employ that are keys to success in any of your images?

I would say the entire process I use in Photoshop. But specifically, how the file is converted in the raw converter determines the color palette of the final image. Also I use diffusion a lot, it softens hard edges and gives the image an ethereal glow.

5. You converted a Canon 5D to IR?  … an "expensive" camera. What was your thought process on taking that path?

Since a good portion of what I shoot is infrared, and since I usually like to print up to 16×20, I didn’t want to use a lesser quality camera, the 5D being a full-frame 12.8 megapixel camera.

Please see John’s gallery at: John Custodio