A curated online gallery space for fine art photography, we have no bins…
Rfotofolio is pleased to share the very special “Bayou Boy” by Tami Bone as our September print of the month.
Pigment Print on Fiber Based Paper
Print Size – 12” x 12” on 13” x 13” sheet Edition of 8
Signed on Verso
Image Made – 2014
Pricing – $750
“Bayou Boy” is a recent work from Tami Bone’s Mythos series and is inspired by her childhood in deep South Texas, and one that held more than the usual share of mystery. Her mind, always busy with imaginings, was also trying to see past the veil of obscurity that was her normal. Not knowing the people she came from, or how she came to be where she was, led to a heightened sense of wonder. This wonder imbued most everything; as long as she can remember, it has been entwined with a sense of hope and possibility. Mythos developed from these early queries, of trying to see the unseeable and to know the unknowable – longings that we all share in some way or another.
Tami Bone grew up in deep South Texas where she spent a childhood oftentimes free and driven by her imagination. Her photographic work today pulls from impressions made during these early beginnings that make their way into her narrative images. Today Tami lives in Austin, Texas and engages photography as a means of story telling and self-expression, with a knowing that the stories we tell form our personal truths and unique folklore.
She believes that our stories, both true and imagined, are significant and have the power to shape our lives, before finally, they become our lives. While her recent body of work, Mythos, is her own tale, it is a token of the shared mystery that binds us together.
Tami’s work has been exhibited nationally and internationally in invitational group exhibitions, juried exhibitions, and solo exhibitions. She has received numerous awards and recognitions, including being named one of the Best of the Best Emerging Fine Art Photographers by BW Gallerist; selection as a Photolucida Critical Mass Finalist, a Photo Review Competition Winner, and a Review Santa Fe Participant. Her work has been featured in Aether Magazine, and was recently published in the United Kingdom’s Black+White Magazine.
In our effort to develop the Rfotofolio Fund, and to give another resource to photographers, Rfotofolio is initiating the Rfoto of the Month (R.O.M.) program. Each month we will be featuring a different artist or image.
By purchasing a our featured print not only are you supporting the photographer and Rfotofolio, you are able to add a unique piece of art to your collection from a curated list of artists.
We hope you will consider supporting photographers and build your collection by purchasing our print of the month.
The print size and price is determined by the individual photographer.
If you would like to purchase “Bayou Boy” by Tami Bone please click the “buy now” button.
You do not need a Paypal account to use Paypal.
Thank you for your support.
To learn more about Tami Bone please visit her site at, Tami Bone.
To read our interview with Tami please visit, “Tami Bone Visual Poet”.
To read our interview with Bob Sadler please visit, “Poetic Photography of Bob Sadler.”
Also read about how art can make a difference here,“Art Can Make a Difference”.
You can learn about the Inherent Worth and Dignity Living Portraits by clicking on the name.
Thank you to the photographers that share their work with Rfotofolio.
To learn more about the work of Dorothea Lange please visit. Dorothea Lange
To learn about the film “Grab a Hunk of Lightning” please visit their site. “Grab a Hunk of Lightning”.
You may see more images at American Masters.
All images from the Library of Congress.
August is coming to an end, as is the offer of Mitchell Hartman’s “FiftySeven”, as our first R.O.M (rfoto of the month).
Mitchell’s work embodies the grittiness of the city but with an elegant eye.
Thank you Mitchell for being part of our print of the month program.
We look forward to sharing more of your work in the future.
We are pleased to share our virtual walls with Mitchell Hartman, and thank him for supporting Rfotofolio.
“FiftySeven” is part of the “Passengers” series; “Passengers” is a modern exploration of daily life in NYC using the traditional look of the Street Photography genre, and presents to the viewer what is unique about the city. The NYC subway system is—both actually and metaphorically—the nervous system of New York.
For most New Yorkers, the transit system defines the contours of their lives: it knits together their daily parts, and conditions their sensibilities, with smiles, anguish, music listening, and queries of direction. Nowhere else in America do citizens spend so much time underground.
The photographer, born and raised in New York City, invites the viewer to ride alongside each passenger on the subway and when presented on the Newsprint paper evokes everything that makes NYC the publication capital of the world. Of course the paper which will yellow with time adds to emphasize the disposability of the times we live in, invoking feelings and emotions one might identify with their own journey.” Mitchell Hartman.
If you want to learn more about our R.O.M. please click here.
To learn more about Mitchell Hartman please visit his site at, mstudiosny.com
Mitchell’s work can also be found at the Susan Spirtus Gallery
We are pleased to announce that on September 1st we will be sharing the work of . . . .well you will have to wait and see.
Thank you to the photographers that share their work with Rfotofolio, and to those that follow us and enjoy their work.
Rfotofolio is pleased to share the work and words of K.K.DePaul.
Would you please tell us a little about yourself?
I lead a charmed life now . . . but it wasn’t always that way. My family hid a secret since the 1920’s and that legacy of ‘secret-keeping’ has shaped five generations of my family. My work in photography has been about revealing secrets, confronting demons, and reconstructing broken identities.
How did you get started photography?
I have always been involved in the arts. But the year I turned 50, all my hair fell out. My sense of identity was shattered, and my response was to hide. One day, a friend (who is now my husband) suggested that I photograph myself in the mirror. I was horrified at the thought, but one day I went into the bathroom armed with my camera and a roll of Scala B+W slide film. I shot the roll, but I didn’t have the film developed for another 8 months. After a year, my hair began to grow back, only instead of black, it was pure white. I sent those Scala slides off to be developed, now that I figured I was ‘safe’. When I held that first slide up to the light I was shocked at the emotion I was feeling. It was as if I was seeing myself for the first time, and I began to understand the power of the photographic image. The healing happened gradually as I began working with these images and telling my story. I saw the ‘black hair/white hair’ as positive and negative . . . a clear indication toward a life in photography.
Which photographers and other artists work do you admire?
Many years ago I wandered into a library in Paris and discovered Sarah Moon’s, “Little Red Riding Hood” series. This work literally stopped me in my tracks. I also love the mixed media work of Luis Gonzales Palma, Paul Cava, and Francesco Viscuso.
Would you share with us an image (not your own) that has stayed with you over time.
I watch the fairytale films of Sarah Moon over and over . . . I never get tired of them. I love the combination of stills and video and the ambiguous quality of the narrative.
The stories are horrific and beautiful at the same time.
If no one saw your work, would you still create it?
Absolutely. My work is so intensely personal . . . almost like a diary. It’s how I make sense of my life and my close relationships.
Please tell us about your process and what the perfect day for you.
My perfect day begins at the local dog park. When my dog expends a lot of energy in the morning, he sleeps on my studio floor all afternoon. I am a collector. My studio looks like a flea market full of tintypes, insect collections, old books, charts, and mannequins. I surround myself with old photos, and paper. I usually start with a pile of elements that seem to be connected. As I move the elements around, I usually feel a prompt for a memory. It doesn’t come from an intellectual place at this point . . . it’s a visceral response. I feel it rather than know it. Later, when I have a collection of these pieces, I try to find the thread that connects them. This is the point where I begin the rough draft of the project statement.
What challenges do you face as an artist?
I am a mixed media artist trying to make my way in the world of photography. When viewers see my work online, they are often not aware that my work is an actual collage . . . not a photo of a collage. Since my work is ‘one of a kind’, it can’t be editioned and it can’t be exhibited at two places at the same time. I don’t really want to make prints of my work, but I do make handmade books of some of my projects.
If you could go out and shoot with another photographer living or passed who would it be?
My interest is more about the crafting of the photographic object, rather than shooting. I would love to watch artists in the studio . . . in particular, Alfons Alt, Paolo Gioli, and Francesco Viscuso.
How do you view this time in the history of photography?
The processes have changed dramatically since the digital revolution, but the focus (no pun intended) is still where it always has been . . . on compelling storytelling.
How do you over come a creative block?
I take the train somewhere. I find that I get a lot of great ideas/memories when I’m alone on a train.
What do you hope the viewer takes from your images?
I like my work to be somewhat ambiguous, but I try to give hints in my project statement and titles to help the viewer understand the framework that inspired the story. But I also leave room for the viewer to bring his own experiences into my work. I try to show that my very personal stories are, in fact, universal.
Would you like to share a story about one of your images?
My Mother/Myself. This piece is a photobooth frame of my mother at twenty and a photobooth frame of myself at twenty, superimposed. It’s about how young women struggle so hard to be different from their mothers . . . it’s almost as if they have to reject their mothers in order to find themselves. And then you get to an age where you realize that the two of you are versions of the same woman. And it is finally OK. My mom is ninety. She loves this piece.
Where can we see your work, and would you like to share any upcoming projects?
My work can currently be seen at the Griffin Museum of Photography, The Center for Fine Art Photography, and the Gray Gallery at East Carolina University School of Art and Design. My work is in the current issues of “Day Dreaming Magazine” and “Hand Magazine”. I will also be having a show at the Griffin Museum in January 2015 I am working on a new project, Only Child, which is about my complex relationship with my father. For a long time as a photographer, I chased other people’s stories. One day I realized that the stories I knew best were the ones already inside me, just waiting to be told.
Thank you for sharing your work with Rfotofolio, we look forward to seeing more of your work.
To learn more about K.K.DePaul please visit her site at, K.K.DePaul.
To learn more about Susan Friedman please visit her site at, Susan Friedman Photography.
Read our interview with Susan at,“How to Capture a Pegasus”.
To learn more about Slow Exposures please visit their site at, Slow Exposures.
There is still time to see Ellen Jantzen’s work.
To learn more about Ellen Jantzen please visit her site at, Ellen Jantzen.
To read our interview please visit,“The Spirit of Ellen Jantzen”.
Thank you to the photographers that share their work with Rfotofolio.