Congratulations Fran Forman


Depth of Field Site Launch


Depth of Field

Images by Tim Hyde, Sylvia De Swaan , Fred Lyon, Tami Bone, Julie Meridian, Francisco Diaz, Jennifer Schlesinger

Come for a visit to the new Depth of Field site.

You will find information on classes, the photographers and more.

We hope you bookmark us and help spread the word.

Thank you.

Art can make a difference. 

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Coming . . . .

Behind the Glass, with Photographer Anne Berry

Guenon © Ann Berry

© Anne  Berry

Madu Daydreaming © Anne Berry

Madu Daydreaming © Anne Berry

Can I not see another’s woe and not be in sorrow too?

Can I not see another’s grief, and not seek for kind relief?

William Blake 

The quote above is on Anne Berry’s site and speaks to us of what her images are all about.

Anne Berry is one of the photographers whose work we will be honored to share in Depth of Field this September.

Rfotofolio is pleased to share the work and words of Anne Berry.  Her images help teach us empathy for other beings. 

Would you please tell us a little about yourself?

I have lived in Georgia all of my life, except for four years of college in Virginia.  Georgia still has some beautiful land that’s unspoiled by development.  I was raised on these beaches and mountains. My appreciation and love for disappearing natural areas, combined with the influence of Southern culture and literature, with its sense of loss, contributes to the nostalgic quality in my work.

How did you get started in photography?

I studied photography at Sweet Briar College and Atlanta College of Art.  I studied and taught other art mediums and also British literature.  About ten years ago I started to focus entirely on photography.

Which photographers and other artists work do you admire?

There are too many contemporary photographers that I love to even begin to list them.  I am inspired by the work of Kandinsky, Chagall, and Franz Marc.  I am using a different medium, but I believe in the visions of these artists.

And what about their work inspires you?

They see and paint “not only what is purely material but also something less solid” [Kandinsky].  They all capture the essence of the animal, and I admire the way their works evoke and portray emotions and dreams.

Would you tell us about an image that has stayed with you over time?

An image that comes to mind is “Flood Dream”, by Arthur Tress, from the Dream Collector series.  The caption next to the image in Tress’ book of the series describes it perfectly: “resignation and peace in the midst of disaster.”  The composition of the image is powerful, and the photograph has a great balance of mystery and narrative.  The story is evident, but much is left to the interpretation and imagination of the viewer.

Flood Dream © Arthur Tess

Flood Dream © Arthur Tess

Why did you chose to do portraits of animals?

I have always had a connection to animals.  I rode and trained horses until I married.  It took up a lot of time and was one reason that I did not focus entirely on art during college.  With photography I am able to combine my passion for art and my love of animals.

Are there any stories you would like to share?

I have had some interesting encounters with animals and have been extremely close to them, both in the wild and in zoos.  In the Delhi zoo the Hippopotamus exhibit has a rock barrier about 3 feet high.  I happened to arrive at feeding time.  One of the hippos was leaning over the barrier the way a horse would lean over a fence, and I fed him some grass from the caretaker’s wheelbarrow.

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

I have always created art, and I would do it even if no one saw it, but I love to live with art in my home and to share it.  I am happy that photography allows me to reach out to a greater community and to support causes that are important to me.

Please tell us about your process and what the perfect day of photography is for you.

My usual process is digital, but my way of looking and shooting are from film.  I use an analog Zeiss lens with a tilt adapter.  I don’t look at my images until I get home.  I spend the same amount of time on each image and do the same things I would do with film in the darkroom.  One perfect day would be visiting my friend on Cumberland Island, finding a herd of feral horses, walking on the beach, drinking a glass of wine.

© Ann Berry

© Anne Berry

© Ann Berry

© Anne Berry

What challenges do you face as a photographer?

Marketing.  I love to write, and I don’t mind doing tasks on the computer, but I run out of time.  What I find most difficult is initiating contact with people who I don’t know well.

With the rapid changes in how people make and view a photograph how do you view this time in the history of photography?

It might be somehow parallel to how pictorial photographers felt.  They were trying to create something unique and precious, not just a record of a detail or a moment. Technology has made it easier to create a photograph, even a very large one.  A harder task is to make the work interesting and meaningful, and to reveal the artist’s hand and vision in the work.

How do you over come a creative block?

Being around other people who create and talk about art fills me with ideas and a desire to create.  When I taught art, my elementary school students inspired me.  Now I have a supportive group of colleagues who have become close friends.  We re-charge each other’s batteries.

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

Flannery O’Conner states that art is “something in which the whole personality takes part – the conscious as well as the unconscious mind.”  It is a way of looking at the world, and it helps me find both meaning and gratitude.

© Ann Berry

© Anne Berry

© Ann Berry

© Anne Berry

Is there another type of photography or subject matter you would like to tackle?

I am studying and printing in the Photogravure process, and I love the results.  I’m also experimenting with Wet Plate Collodion.

© Ann Berry

© Anne Berry

Thank you Anne for sharing your work, to learn more about Anne’s work please visit her site.  Anne Berry

To learn more about Arthur Tress please visit his site.  Arthur Tress

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

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No portion of this publication may be reproduced in whole or in part without the express permission of Rfotofolio, and the photographers. All Rights Reserved.

Barbara Cole Gallery

To learn more about the work of Barbara Cole please visit her site at, Barbara Cole

To read our interview with Barbara Cole please visit, In the Summer Season.

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

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In the Summer Season with Photographer Barbara Cole

SANCTUARY Sanctuary © Barbara Cole

SANCTUARY Sanctuary © Barbara Cole

We are pleased to share the work and words of photographer Barbara Cole.

Would you please tell us a little about yourself?

I’m Canadian and I’ve lived in Toronto all of my life.  I’ve been married to a great guy for years and years and I have two grown daughters, who are very talented artistically but work in other fields.

How did you get started in photography?

I got started in photography completely by accident.  I had dropped out of high school in the last year because I was ill.  I was about seventeen years old and I passed the rest of the year by doing a bit of modeling and the next year as a secretary.  That was enough to convince me to go back to school again.  One of the clients I had modeled for was a start-up newspaper.  The fashion editor was quite taken with me and convinced that I could be the new fashion editor at the age of 19.  I found the reporting part difficult, but I loved the weekly fashion shoots.  The other photographers told me I had a good eye and they encouraged me to do the shoots myself.  My entire life seemed to take on a purpose after that.

Which photographers and other artists’ work do you admire?

I admire a lot of other artists, each for a different reason.  Stieglitz for his utter devotion to photographers and his passion for photography.  Deborah Turbeville and Sarah Moon because their photography was/is ephemeral.  I loved Steichen for his incredible eye and the breadth of his talent.  I absolutely loved Lucien Freud and I have for ages.  His paintings are ugly/beautiful and incredibly strong.  David Hockney makes it onto the list because his work is so fanciful and enchanting.  Picasso was such a huge talent and his brushwork was fearless.  I love the colour harmonies of John Singer Sargent.  Heinrich Kühn’s autochrome work was flawless and his patience was legendary.  Lastly are Gerhard Richter’s photo paintings.

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

Sure – Gerhard Richter’s Helga Matura, 1966.  There are so many levels to this work.

Please tell us about your newest series?

Wet Collodion is probably the most difficult process I’ve ever learned.  That speaks volumes since for the past fifteen years I’ve been shooting people underwater, with electricity and holding my breath.  With Wet Collodion, until you learn to perfect all of the elements you really can’t achieve your vision.  It took me four years to understand the lighting, the field camera, the cleaning of the plates, the mixing of the chemicals before I was able to find my vision.  I was first intrigued by Wet Collodion because I had a binder full of old Polaroid 35mm Black & White transparencies that could now be printed by this process since Polaroid was out of business.  Darkroom work was all fine and well, but I really wanted to shoot something original and I wanted to stretch the boundaries of this process. Everywhere I looked everyone was doing the same damn thing.  Sepia portraits or historical re-enactments.

As I mentioned previously, for a long time I’ve been exploring the use of water as a medium, as a canvas, as a lens, as a mirror, and particularly the effect it has on the way we see the human figure.  In July of 2013, I was struck by a puddle of water on the pavement. The image in the puddle was of glass buildings overhead against a clear blue sky.  I felt like the water was a window through the sidewalk into another world. The boundaries of the image in this other world were imperfect, they were blurred and they were not static because of the movement of the water.  Nevertheless the water captured the image just as photography captures an image by artificial means.

It seemed to me that this primitive form of capturing the image could well be explored with Wet Collodion.  The emulsion is literally poured over a piece of glass in much the same way as water in a puddle might cover a piece of pavement and play with the shape of the figure within.  The magic of photography allows the image to be captured in a permanent way whereas in the puddle when the water evaporates the image is gone.  These images in “Meditations” are intended to convey the experience of that way of seeing.  The indistinctness of the human figure, the irregularity of the frame in which it appears, and the ephemeral atmosphere all echo, for me, the fleeting impression of life reflected in water.

 Quietude © Barbara Cole

Quietude © Barbara Cole

 Dissolution © Barbara Cole

Dissolution © Barbara Cole

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

Of course. What a question!

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

I used to jump into ideas much quicker but I must say now that I do a lot of thinking before I begin.  I honestly can’t say which is best. I tend to draw out my story boards, either with a pencil or on the computer which provides a clear reference for anyone I need to involve. I think a perfect day is working together on an image with my support staff around me and seeing the idea actualize for the first time.

What challenges do you face as an artist?

I think the greatest challenge is coming up with strong ideas and staying motivated to see them through.  Until an idea gels, I’m pretty miserable to be around.

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

It would have to be Edward Steichen.

How do you overcome a creative block?

Wow – what a great question!  When I start sleeping during the day, eating a lot of delicious cookies and reading way too many books, I realize that I might be blocked!  So I know that it’s time to hear the little voice in my head that’s been telling me I’m a bad artist and I will never have another good idea again.  I understand it for what that voice actually is – FEAR.  I go to the studio and quietly build myself up again.  It seems to work for me.

Thank you Barbara for sharing your work with us.

To learn more about the work of Barbara Cole please visit her site, Barbara Cole.

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No portion of this publication may be reproduced in whole or in part without the express permission of Rfotofolio, and the photographers. All Rights Reserved.


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