Call for Submissions: ONE

 

Mirrored Staircase © Alan Ross

Mirrored Staircase © Alan Ross

One

This call for submissions was inspired by the words of Aline Smithson.

” I do think it’s time we reconsider the idea that everything has to be created around a project twenty images wrapped up in a neat bow with an artist statement on top.  Projects are great, but what about all the single images we shoot that have no home and get over looked because they are not in that portfolio gift box? ” 

Pink Feathers ©Aline Smithson

Pink Feathers ©Aline Smithson

 

We are asking you send us that one image that does not belong to a series.

One image that you can’t assign to a group but that has meaning to you.

Here is your chance to break out of the portfolio box.

We are honored to have Susan Spiritus of the Susan Spiritus Gallery as our co-juror.

Susan Spiritus has been a leader in the field of fine art photography for 39 years, opening the doors to her Southern California gallery in 1976 so that she could share her passion for photography with others.

The Susan Spiritus Gallery has been actively involved in the participation of PhotoLa, Los Angeles Art Show, Festival of Books and the BTB International Contemporary Art Fair.

She has also reviewed portfolios for Review LA & Santa Fe, Photolucida, PhotoNola, Palm Springs Photo Festival and MOPLA’s Fresh Look. To read more about an article that Susan wrote for us on collecting please visit, Thoughts from Susan Spiritus.

To learn more about the Susan Spiritus please visit her site, at the Susan Spiritus Gallery.

Important Dates:

Deadline: June 16th.

Email notifications will be sent to finalist June 30th.

Announcement on Rfotofolio

Juror’s Award

  • Online interview and exhibition on rfotofolio.org with a link to your site
  • Consideration for future publications.
  • Consideration for group show, time and place to be announced.

Rfotofolio Award

When a photographer sees an image that makes an impression on them, you will often hear it said, ” That is an image I wish I would have taken. “We are looking for photographs that “raise the bar”.

  • Online interview and exhibition on rfotofolio.org with a link to your site
  • Consideration for future publications.
  • Consideration for group show, time and place to be announced.

Merit awards will be chosen by Susan Spiritus and Rfotofolio.

Click here for more information on how to submit your image.

rfotofolio

To learn more about photographer Alan Ross, please visit his site at, Alan Ross Photography.

 To learn more about Aline Smithson please visit her site, Aline Smithson.

Thank you to the photographers that share their work with us.

Jeri Eisenberg Gallery

Crabapple, No. 4 © Jeri Eisenberg

Crabapple, No. 4 © Jeri Eisenberg


To learn more about Jeri Eisenberg please visit her page at, Jeri Eisenberg.

To read our interview with Jeri please visit, The Catcher of Nature. 

Thank you to the photographers that share their work with us.

rfotofolio

Catcher of Nature, Jeri Eisenberg

Loon Lake 2 © Jeri Eisenberg

Loon Lake-2 © Jeri Eisenberg

 

Rfotofolio is pleased to share the work of Jeri Eisenberg, whose work and craft we have enjoyed for many years.

Would you please tell us a little about yourself?

I grew up in the metro NY area, but spent virtually all of my adult life to date in upstate NY, in rural or exurban environments.  For the last 25 years, I’ve lived on 18 acres of land in a home surrounded by third generation woods, not terribly far from the Hudson River.  My father made his living as a commercial artist; my mom was a teacher.  After college, I went directly to law school and practiced law for 15 years.  It was not a good emotional fit, and I finally heeded my husband’s suggestion that I take a break.  I never looked back.

How did you get started in photography?

I first did darkroom work during high school.  My father worked in graphic arts studios in the advertising world as a photo retoucher (pre Photoshop days), so photography was always around me while growing up.  I took a course or two during college, but didn’t become serious about photography till I quit lawyering.  I went back for community college courses to re-introduce myself to the wet darkroom, then started showing locally and working as an adjunct at a local college.  I ultimately went back for my MFA at the age of 50.

Which photographers and other artists’ work do you admire?

I have a theory that, as with music, the visual styles that you come of age with resonate in a special way for you, notwithstanding how many other styles and approaches you come to appreciate.  In terms of my visual sensibilities, I came of age with the late modernists.  I don’t think I’ll ever escape the thrall of Harry Callahan or Mark Rothko.  Nor would I want to.

Would you share with us an image (not your own) that has stayed with you over time? 

This 1950 image of Callahan’s from Chicago:

Harry Callahan Chicago, 1950 © Estate of Harry Callahan

Chicago, 1950 © Estate of Harry Callahan

If no one saw your work, would you still create it?

Absolutely; it answers a need from within.

Please tell us about your process and what the perfect day for you might be.

For my “Sojourn in Season” series – my most exhibited work – the process is really very simple.  I shoot with a defocused lens or oversized pinhole (pretty much the former now that I’m shooting digitally).  I process the images in Photoshop (usually fairly minimally), and print on my desktop Epson on long panels of Japanese Kozo paper.  Finally, I infuse the paper with wax by pulling it over a hot pancake griddle while painting on encaustic medium that is kept molten in a crock-pot.  This makes the paper, and the image, very translucent.

It may say a lot about me that I don’t wish for perfect days, and even have a hard time envisioning what that might be.  I look for good days with periods of perfection, and I’m lucky to have a lot of those.  Those times include walking on a trail in the woods, in an arboretum or in a city park with a high overcast sky in October or May with a camera in hand.  Or a sunny day without a camera in hand.  It also includes watching a newly shot SD card downloading to I-Photo, which provides the same excitement and anticipation that I use to get watching a contact sheet or work print rise in a tray of Dektol.  And, it includes waxing new work with the doors and windows wide open (heat or AC off) and not freezing or sweating as I pull a stack of printed Kozo panels over my griddle.  Those things don’t happen together, and I wouldn’t want them to.  Throw any one of them, or a train ride along the Hudson River on a soft silver day before a day of gallery going in NYC, together with the coffee my husband brings me in the morning (he’s an early riser, I’m not), a phone call or visit from my kids, and a glass of wine or two in the evening, and I’m pretty darn happy.  That’s what I strive for.


 

Crabapple, No4 © Jeri Eisenberg

Crabapple, No.4 © Jeri Eisenberg

 

Winter Berries © Jeri Eisenberg

Winter Berries © Jeri Eisenberg

How did you get started in encaustic work? 

I first started working with encaustic back in the late 1990s.  I was making Van Dyke Brown photograms of discarded x-rays and desiccated plant material.  I started using wax to incorporate some of the plant material directly onto the surface of the prints.  For the next couple of years, wax played very little role in the series I worked on.  But when I started the “Sojourn in Seasons” series, I wanted a way to allow luminance to come from within the images themselves, which the wax does beautifully.  I also wanted to allow the work to be exhibited as objects, floating free off the wall rather than in frames behind glass or plexi.  Waxing achieved these objectives as well.  It was a perfect match as it gave the work a more organic feel, while at the same time protecting it and giving the paper more substance.

What challenges do you face as an artist?

I’m slow and deliberative in most things, but that turns out to be both good and bad for the type of work I do.  I’m not very good at juggling, and I’m somewhat resistant to change.  The latter two are not good qualities in an artist, or for life in general.

Is there one thing that you wish people would stop doing when it comes to the creative process or in the art world?

I’d like to see a whole lot less art-speak, and a little less irony in the art world.  I think beauty can have a restorative effect, and that this notion is too often, and too readily, dismissed.  And, I don’t think beauty should always be a handmaiden to another purpose, which seems to be the prevailing ethos.

If you could go out and shoot or spend the day with another photographer living or passed who would it be? 

I have a hard time imagining myself purposefully setting off with another photographer to shoot. I’m usually by myself when I’m shooting, or with my husband, with him walking, waiting, walking, waiting, and waiting some more. But, I’d love to have a chat, somehow, with Imogen Cunningham. I think she’d be a hoot!

How do you view this time in the history of photography?

I think it’s a wonderfully exciting time – there are more approaches to using light to create imagery than ever before. Finding what best expresses your individual voice and way of looking at the world may seem daunting, but certainly there is greater opportunity to do so than ever before. And I think we’ve finally gotten past the ‘can photography be art’ phase, thankfully.

Under the Norway Maple, No2-2 © Jeri Eisenberg

Under the Norway Maple, No2-2 © Jeri Eisenberg

How do you overcome a creative block?

I’ve been working on my “Sojourn in Seasons” series for almost 10 years now.  I don’t think I’ve suffered from a creative block during this time – more that I’ve been unwilling to leave the series behind yet. I’ve worked on other things intermittently that use similar, but slightly different approaches, yet I keep returning to the waxed Kozo images of trees and plant forms.  I get great pleasure from looking – at art, at the natural world, at aspects of the man-made world.  And so I have a growing list of other subject matter and approaches that I’d like to address.  I don’t foresee being at a loss for imagery once I decide I’m done with a “Sojourn in Seasons”.

Would you like to share a story about one of your images? 

There is a back-story to my “Sojourn in Seasons” series.  I was given an artist’s grant to turn unused storefront spaces in a small upstate city into camera obscura.  I was using mural paper on stands inside the spaces to capture street scenes.  I utilized larger than appropriate apertures just to let in enough light to see where I wanted to set up the stands.  It was the out of focus, dancing light abstracts formed by the city curbside trees that caught my attention however.  I ended up quickly completing the project I had gotten the grant for, using appropriately sized apertures and focused images, and then went on to start the beginnings of my current series.

I turned my sunroom at home into a camera obscura to capture unfocused abstractions of the woods around my house on mural paper.  Then I started using 5×7 RC paper in handmade pinhole cameras that I went into the woods with.  Next I made pinholes for my 35mm camera and captured unfocused images of the woods on B&W film.  I started scanning the wet darkroom work prints, and printing larger, digitally on fine art papers, vellum, mylar and fabrics.  I moved on to color film and film scanning, then to using a defocused lens and ultimately to digital capture.

This evolution of the series to its current format was happening over a timeframe in which my father was loosing both clarity in his sight due to mini strokes and his memory due to dementia.  It became clear to me that the work I was producing was very close to what he then could perceive and hold on to: images that fade in and out of recognizable form. The work straddles the line between the concrete and the abstract, the real and the remembered.  The series took on a greater meaning for me and became metaphorical; it echoes the ephemeral nature of all life.

How does your art affect the way you see the world?

Without question, my artwork has made me more sensitive to seeing beauty in the world around me.  And that alone is reason to continue.

Where can we see your work, and would you like to share any upcoming projects?

Thanks to a visit from my son last year, I’ve finally joined the 21st century and have much of my work up on my own website, jerieisenberg.com.  My work can also be seen on the websites of a number of galleries that represent me.  I just delivered over a dozen brand new images (not yet on my website) to my gallery in Chelsea, Markel Fine Arts.  I’ll also be having solo shows this May in Houston at Catherine Couturier Gallery, and this September in Jackson Hole at Diehl Gallery.  And I expect that a couple of pieces from a brand new series with imagery of Koi will be heading out to one of my galleries shortly.

 

Giant Magnolia© Jeri Eisenberg

Giant Magnolia© Jeri Eisenberg

Thank you Jeri for sharing your work and your words we look forward to sharing more of your work.

To learn more about the work of Jeri Eisenberg please visit her site at, Jeri Eisenberg. 

rfotofolio

 

All publications and images may not be reproduced in part or in whole without permission of Rfotofolio and the photographer.

All rights reserved.

 

From The Good Earth

The earth inspires us all.

Child on the Forest Road By Wynn Bullock 1958 © Bullock Family Photography, LLC

Child on the Forest Road By Wynn Bullock 1958 © Bullock Family Photography, LLC

 To learn more about these photographers please click on the images. 

EROTICA © Ivonne Hop

EROTICA © Ivonne Hop

Bixby  © Kim Weston

Bixby © Kim Weston

 © Beth Moon

© Beth Moon

Dettifoss © Bill Schwab

Dettifoss © Bill Schwab

© Camille Seaman

© Camille Seaman

Coast©J.Rosenthal

Coast©J.Rosenthal

Sea Nettle #17, © Chuck Davis

Sea Nettle #17, © Chuck Davis

The Edge © Mihai Florea

The Edge © Mihai Florea

Thank you to the photographers that share their work, and help us to appreciate the earth that is mother to us all.

rfotofolio

News from Francisco Diaz and Deb Young

 

At The Waters Edge © Francisco Diaz + Deb Young

At The Waters Edge © Francisco Diaz + Deb Young

The Wait © Francisco Diaz + Deb Young

The Wait © Francisco Diaz + Deb Young

The New Girl ©  Francisco Diaz + Deb Young

The New Girl © Francisco Diaz + Deb Young

Soho Photo Gallery presents,
The Playground Series

By The International Collaboration Project Artists Francisco Diaz and Deb Young’

Opening reception Tuesday, May 5, 2015, from 6:00 PM to 8:00 PM and is open to the public.

 Exhibition from May 6, 2015, to May 30, 2015 at Soho Photo Gallery at 15 White Street, New York, NY 10013.

About the International Collaboration Project
The International Collaboration Project was founded by award-winning artists Francisco Diaz (USA) and Deb Young (New Zealand) to bring international artists together in a virtual collaboration of concept-based works designed to create social dialogue. The Project is meant to be a creative “solution” to artistic isolation by blending creative energies of different artists to design exceptional works as an example of true cooperation amongst global strangers. “It’s a time of seeing old things in new ways,” says Young, “which makes this a thrilling time for people in all corners of the world to communicate through visual language.”
The idea of photographers working together on one piece, at times looking through the same camera lens remotely to shape its unique completion, is revolutionary. This new approach requires a conversation first before an idea for a concept is formed; then each collaborator shoots random photos from their own point of view which are then combined to develop the concept into a greater, more intense result. Every piece in each International Collaboration Project series calls into question what is real and what is not real. Individual works present the underlying concept theme but also encourage the viewer to see more, as they look deeper, only to realize that nothing is truly real.

The Playground Series
The Playground Series is a unique visual metaphor for the condition in our highly stratified world where social relationships reflect a low degree of integration and meaningful interaction coupled with a high degree of distance or isolation between individuals; or between an individual and a group of people in a community environment. Francisco Diaz comments, The Playground Series is light and approachable at first glance but is really a dark review of childhood alienation. We want to use photography to talk about cause-related issues in a beautiful, meaningful, authentic way. We hope our work evokes conversation about serious subjects.”

Soho Photo Gallery’s 2015 International Portfolio Competition
Soho Photo Gallery was founded in 1971 by a group of New York Times photographers who wanted to create a venue for photography as fine art. Soho Photo Gallery’s panel of jurors for the inaugural 2015 International Portfolio Competition selected The Playground Series as one of three portfolios for exhibition. Portfolio submissions came from 24 states and 12 countries.
Diaz and Young’s award-winning International Collaboration Project work has also featured in many international exhibitions including 6th Edition Pollux Awards, Malaga, Spain; Approaching the Unreal Exhibition at Modernbook Gallery; Griffin Museum’s Virtual Gallery Exhibition, MA.; The Royal Easter Show 2014 – Most Successful Photographers of the Show, New Zealand; 2015 PhotoSpiva National Exhibition, and numerous online publications.

Elimination Francisco Diaz + Deb Young

Elimination ©  Francisco Diaz + Deb Young

King of the Hill ©  Francisco Diaz + Deb Young

King of the Hill © Francisco Diaz + Deb Young

 

To learn more about the work of Francisco Diaz please visit his site at, Francisco Diaz.

To learn more about the work of Deb Young please visit her site at, Deb Young.

To learn more about the Soho Photo Gallery please visit their site at, Soho Photo Gallery.

To read our interviews with Deb Young, Francisco Diaz, please click on their names.

Thank you to the photographers that share their work with us.

rfotofolio

Coming this week, Jeri Eisenberg

Light, Shadow, and Pear, Our Sunday Gallery

 © Anthony Pagliuca

© Anthony Pagliuca

 © Anthony Pagliuca

© Anthony Pagliuca

 

© Anthony Pagliuca

© Anthony Pagliuca

 © Anthony Pagliuca

© Anthony Pagliuca

An interesting plainness is the most difficult thing to achieve.

Ludwig Meis van der Rohe

 © Anthony Pagliuca

© Anthony Pagliuca

 To view images full size please click on image.

Thank you Anthony for sharing your work.

To learn more about the work of Anthony Pagliuca please our interview with him, In the Morning Light.

rfotofolio

Follow

Get every new post delivered to your Inbox.

Join 3,910 other followers