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Dan Budnik is a noted for his portraits of artists and photographs of the Civil Rights Movement and Native American Life.

Born in 1933 in Long Island, NY, Budnik studied at the Art Students League of New York in the early 1950’s. After working as assistant to Philippe Halsman, he joined Magnum Photos in 1957, eventually photographing material for Life, Sprots Illustrated, Vouge, and Time magazines. In 1963 Budnik persuaded Life to have him create a long-term photo essay showing the seriousness of tthe Selma to Montgomery march.

For more information about Dan Budnik and to see examples of his other works, please see his artist page and/or contact the gallery.

 

 

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Running White Deer, Wicklow Ireland, 1967 by Paul Caponigro

"In my many year of photographing the landscape and prehistoric stones of Ireland I had come to realize that the life of the place generated a quiet magic. During my photographing, there was usually a herd of White Deer. They were randomly roving on the grounds on an estate and so I asked permission of the owner and set myself to the task of how to photograph them. Catching them in small groups was unsatisfying but I remembered the talent of the Irish sheepdog and enlisted the help of the owner and his dog to corral a substantial number of these white beasts. I visualized the deer as being spread out before the trees of the estate and set about choreographing the event. Some 25 or so of these deer were collected at one end of a long field and at my signal the dog was to chase them in my direction. My camera was set up so as to include on my ground glass the grassy field as foreground and the trees and background with myself hidden in the trees so as not to be seen. Not knowing what to expect, I signaled and to my delight and surprise one of the deer took the lead and the others followed one behind the other. In the subdued light of the day my calculated exposure required the widest lens aperture and a slow shutter speed of one second. I did not and could not know what impression would appear on my film but to my delight on processing the film found a beautifully impressionistic feel made by the running white deer. As to capturing something magical, I knew that to be the case when two white swans flew directly over my head and camera moments after releasing the shutter of the lens."

Between the years of 1955 and 1957, Caponigro studied with Minor White in Rochester, New York, where he was introduced to various philosophical disciplines. In 1958, he had his first one-man exhibition at George Eastman House. Two years later, he began teaching photography at Boston University. In 1962, he published his first portfolio of original prints. In 1966, he was awarded a Guggenheim Foundation Fellowship and received another in 1975. In 1976, he traveled to Europe, in particular Ireland and England, in order to study the great stone architectural creations there. He received another grant, this time from the Arts Council of Great Britain to photograph in Northern Ireland. Caponigro's technical genius is apparent in each image and is proof of his printing philosophy, "Technique must serve and not dominate a craft which requires creative movement." His hope is that his viewers will allow the prints to speak for themselves. "One might become aware of suggestions whispered by the interaction of tonalities within each print. It is a silent realm worth exploring."

Running White Deer is an extremely evocative image that has enchanted viewers for almost half a century.




 


 



 


‘Saccharine Perch’ by Tom Chambers
AP#1, 2009
Image size 20 x 20 inches, framed to 32 x 32 inches

This image is featured on the cover of Tom’s upcoming book, Entropic Kingdom.
Signed copies are available for pre-order.

Tom Chambers was born and raised on a farm in the Amish country of Lancaster, Pennsylvania. Tom completed a B.F.A. in 1985 from Ringling School of Art, Sarasota, Florida with an emphasis in graphic design and strong interest in photography. For many years Tom has worked as a graphic designer, including the design of packaging and magazines. Since 1998 Tom has devoted himself to photomontage for sharing the intriguing unspoken stories which reflect his view of the world and elicit feelings in the viewer.

Currently, Tom is represented by a number of galleries in the United States and Europe. His work has been shown nationally and internationally through solo and group exhibitions, as well as in a wide range of print and online publications. Recently, NPR's (National Public Radio) "All Things Considered" and "All Songs Considered" presented a collaborative Project Song based on the photograph "Black Dog's Retreat" (October 12, 2009). Tom has received recognition for his photography through a variety of awards, such as Worldwide Photography Gala Awards, First Place Digital Enhanced; Fotoweek DC, First Place Fine Arts (2009) and Second Place Fine Arts (2008); Critical Mass Top 50 (2008 and 2006); and Texas Photographic Society National Competition Third Place (TPS #18, 2009) and First Place (TPS #15, 2006). Tom has received fellowships from the Virginia Museum of Fine Arts and the Virginia Commission for the Arts.

 


Small-format photogravure from Camera Work #14, 1906.

The Pond – Moonlight, is a pictorialist photograph by Edward Steichen. The photograph was made in 1904 in Mamaroneck, New York, near the home of his friend, art critic Charles Caffin. The photograph features a forest across a pond, with part of the moon appearing over the horizon in a gap in the trees. The Pond—Moonlight is an early color photograph predating the first widespread color photography technique (the 1907 autochrome), and was created by manually applying light-sensitive gums.

Edward Steichen (1911-1993)

Edward Steichen and his family emigrated to the United States from Luxembourg in 1881 because his mother believed that he would have a better life in Midwestern America. They lived for a time in Michigan and then moved in 1889 to Milwaukee. Between the years of 1894-1898, Edward Steichen apprenticed as a designer for a lithographic company in Milwaukee, studied painting, and helped to organize an Art Students League.

At this time he decided to become a painter, but in 1896 his father gave him his first camera and he was hooked immediately. He studied with a local photographer and by 1899 he entered his first exhibition at the Second Salon of Philadelphia. He went to New York in 1902 and met with Stieglitz who bought some of his work and the two men quickly became friends. Along with Stieglitz, he was principal in the pictorial movement. Edward Steichen was one of the founders of the Photo-Secession. He helped to organize the Little Galleries of the Photo-Secession (291), and he was instrumental in designing the cover and typography for the Photo-Secessionists' quarterly, Camera Work.


 


In 1914, during WWI, he commanded the Photographic Division of Aerial Photography in the American Expeditionary Forces. He retired in 1918 as a lieutenant colonel and decided to burn all of his paintings and concentrate on photography full time. His experience during the war shifted his creative drive away from impressionistic style photographs to creating sharp, clear close-up images of still lives. He also continued to take portraits and was written up in Vanity Fair as "the world's best portrait photographer". This led him to the position of chief photographer for Conde Nast publications which allowed him to travel to Europe to photograph fashion, famous writers, artists, and politicians. Between 1923 and 1938, Edward Steichen's celebrity portraits and fashion photographs were published in Vanity Fair and Vogue and he was widely recognized as one of the best in his field.

In 1938, Edward Steichen had saved up enough money to close down his studio and move to France where he planned on spending his time as a horticulturist. In 1942, he was once again called into duty and served as a lieutenant commander in the U.S. Navy where he was in charge of photographing the naval aspects of the war. Between 1947-1962, he was the director of the photography department at the Museum of Modern Art in New York.

In 1952, Edward Steichen began to organize an exhibition which would be a compilation of the best photographers in the world. He went to 29 cities in 11 European countries and the endeavor took 3 years, but the exhibition entitled, The Family of Man, was well worth it. The exhibition was seen by more than nine million people in 69 countries and millions of books from the exhibition were sold. Over the span of his 77 year photographic career, this was probably his consummate achievement.

 


 

Pepper No. 30 is one of the best-known photographs taken by Edward Weston. It depicts a solitary green pepper in rich black-and-white tones, with strong illumination from above.

In the late 1920s Weston began taking a series of close-up images of different objects that he called “still lifes”. For several years he experimented with a variety of images of shells, vegetables and fruits, and in 1927 he made his first photograph of a pepper. He received mixed feedback about that image, but two years later he started a new series that focused on peppers alone. He recorded twenty-six negatives of peppers taken during 1929, mostly taken against plain burlap or muslin backdrops.

On August 3rd, 1930 he found a large tin funnel, and, placing it on its side, he set a pepper just inside the large open end. He wrote:

“It was a bright idea, a perfect relief for the pepper and adding reflecting light to important contours. I still had the pepper, which caused me a week's work, I had decided I could go no further with it, yet something kept me from taking it to the kitchen, the end of all good peppers. I placed it in the funnel, focused with the Zeiss, and knowing just the viewpoint, recognizing a perfect light, made an exposure of six minutes, with but a few moments' preliminary work, the real preliminary was on in hours passed. I have a great negative, – by far the best! It is a classic, completely satisfying, – a pepper – but more than a pepper; abstract, in that it is completely outside subject matter. It has no psychological attributes, no human emotions are aroused: this new pepper takes one beyond the world we know in the conscious mind. To be sure, much of my work has this quality...but this one, and in fact all of the new ones, take one into an inner reality, – the absolute, – with a clear understanding, a mystic revealment. This is the "significant presentation" that I mean, the presentation through one's intuitive self, seeing "through one's eyes, not with them": the visionary."



 


By placing the pepper in the opening of the funnel, Weston was able to light it in a way that portrays the pepper in three dimensions, rather than as a flat image. It is this light that gives the image much of it’s extraordinary quality.

Weston made this photograph using his Ansco 8x10 Commercial View camera with a Zeiss 21 cm. lens.

All prints of Pepper No. 30 are silver gelatin contact prints, approximately 9 1/2" X 7 1/2" (24.1 x 19.2 cm) – the exact size of the 8" X 10" film he used. Some slight variations in size exist due to paper shrinkage over time. Most of the original prints made by Weston are now is museums, including the Center for Creative Photography, Metropolitan Museum of Art, Minneapolis Institute of Art and the George Eastman House.

Edward Weston, March 24, 1886 – January 1, 1958 Edward Weston was a 20th century American photographer. He has been called “one of the most innovative and influential American photographers’ and ‘one of the masters of 20th century photography’. In 1937 Weston was the first photographer to receive a Guggenheim Fellowship, and over the next two years he produced nearly 1400 negatives using his 8” x 10” view camera.

 

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