Art You Don’t Want to Miss

Neil A.Miller

Neil A.Miller

From Art Intersection

October 23, 6:30 – 8pm


Phone:(480) 361-1118

207 N Gilbert Rd # 201, Gilbert, AZ, 85234 



Join us to listen to Neil A. Miller speak about the many options used to photograph people in spontaneous, ”in the moment” situations.

Whether you are photographing on the street or in a party situation, there are various approaches to consider to maximize the results.

Neil A Miller is an Arizona based photographer, videographer, author and educator. Neil has been photographing people in all sorts of candid situations since the early 1960′s.

Neil first exhibited work in 1973 at the f22 Gallery in Santa Fe and the Phoenix Art Museum and has continued exhibiting throughout his career. He is a retired career photojournalist and authored the book Morgan Exploration published in 2009.

To Learn more about Neil A. Miller please visit his site at, Neil A. Miller Photography.

To learn more about Art Intersection please visit there site at, Art Intersection.



Wynn Bullock


To learn more about Wynn Bullock please visit  Wynn Bullock Photography.



From Catherine Couturier Gallery
Exhibition: Ocean | Desert: October 25 – November 26, 2014
Opening Reception and Booksigning: Saturday, October 25, 6-8pm

Catherine Couturier Gallery is delighted to present the newest body of work by gallery artist Renate Aller, entitled Ocean | Desert. The artist will be in attendance at the opening reception on Saturday, October 25 from 6-8 p.m. signing copies of her newest book from Radius Books likewise entitled Ocean | Desert.

This new project by German-born photographer Renate Aller is an extension of the ongoing series entitled Oceanscapes. Aller has continued to make images of the ocean from a single vantage point—for which she is internationally known—but for the last several years, has begun to photograph sand dunes in Colorado and New Mexico.

She has now paired the resulting images in a fascinating new series that continues her investigation into the relationship between Romanticism, memory, and landscape in the context of our current socio-political awareness. There is both a visual and visceral relationship between the two bodies of work, as though the minerals of the sand dunes carry the memory of the ocean waters that were there millions of years before.
Renate Aller: Ocean | Desert will be on view from October 25 – November 26, 2014.

Catherine Couturier Gallery is located at 2635 Colquitt St., Houston, TX 77098.

To learn more about Renate Aller please visit her site at, Renate Aller.

To learn more about the Catherine Couturier Gallery please visit their site at, Catherine Couturier.



Fred Lyon

Fred Lyon

To learn more about Fred Lyon please visit his site at,Fred Lyon.

To learn more about the Harvey Milk Photo Center please visit their site,Harvey Milk Photo Center. 


Thank you to the photographers that share their art.

Arthur Meyerson Gallery

White Stallion, Mexico 2004 Arthur Meyerson

White Stallion, Mexico 2004 Arthur Meyerson


To read our interview with Arthur Meyerson please visit, “Captures the Rhythms of Color”.

To learn more about Arthur Meyerson please visit his site, at Arthur Meyerson.

Thank you to the photographers that share their work.

What Will You Create ?

Camille Seaman Gallery

© Camille Seaman

© Camille Seaman


 Please tap on image to view slideshow.


 To read our interview with Camille Seaman please visit,“Camille Seaman, Showing the Connection”.

To learn more about Camille Seaman please visit her site at,Camille Seaman.

Camille Seaman,Showing the Connection

Rfotofolio is pleased to share the work of Camille Seaman.

© Camille Seaman

© Camille Seaman

Would you please tell us a little about yourself?

My high school year book quote was, “Wow! Look at that turtle go!” I didn’t decide to become a photographer until I was thirty-two years old.  Most of my life has been about exploring, doing things I like doing and making things, I like making.

How did you get started photography?

I loved making pictures with a camera even as a small child.  I never took formal classes for it.  I traveled all over the world with a camera but never thought of myself as a photographer.  When I was thirty-two years old, I was really fed up with the darkness and cynicism I was seeing in our daily news.  I thought there must be someway to counter it, and show that there was something beautiful and awesome about life and the gift of this planet.  I methodically made goals for myself and was fortunate enough to have a meteoric rise of my work.

Which photographers and other artists work do you admire?

There are far too many to list.  I look at everything, not just photography, but also painting, drawing, films, music, poetry etc.  Two photographers that inspired me to want to be great are; Steve McCurry for his incredible use of available natural light, color and composition.  The other would be Edward Burtynsky who just blows my mind with the scale, color and deeper questions his work makes me ask.

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

Probably, I do not just make images for others to see.  I make them as part of a compulsion; a need to communicate what I felt and saw in a particular moment in only the way I can communicate with a camera.

© Camille Seaman

© Camille Seaman

© Camille Seaman

© Camille Seaman

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

Hah!  My process. Do I have one?  I look. I make sure I am feeling something before I lift my camera to my face. Sometimes that takes a long while and sometimes it is immediate.  I am so tired of seeing technically proficient images that have no soul, no feeling. What is the point of an image like that?  I was taught to crop with my feet, and make the image in camera not in computer.  I have no patience for Photoshop or filters or gimmicks.  The world is awesome as is.  Just be sensitive to what great light is, what is needed in an image and what is distracting from what you are trying to relate.  Stay playful, joyful and when you are tense, put the camera down.  Be aware of your intention, your language inside and out.  I do not “shoot”.   I make an image.  The violence in a word has repercussions.

What challenges do you face as a photographer?

Challenges?  It is easy to look for the same image over and over.  it is harder to make new ones, things you have not seen before.  I challenge myself during my long-term projects (10 plus years) to keep looking.  I do not always succeed, but I try.

If you could work with another photographer living or passed who would it be ?

I think I could have a fun time making images beside Atget.  He never went out on a “shoot”.

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

In many ways photography has finally come of age as a respected art form, an important medium.  I hear many people complaining about how difficult it is to make a living as a photographer, how the good old days are gone.  It is true that everyone thinks they are a photographer.  I do not feel threatened by any of what is going on.  I know why I do what I do and that no one on this planet sees the world quite the way I do.  People do not collect my images because they look like Ansel Adams, they like my unique voice with a camera.  That is where the value is.

How do you over come a creative block?

I have never had one.

What do you hope the viewer takes from your images?

I want them to have a personal moment with the image.  Some feel fear, or awe.  Others see beauty and sadness.  I want them to feel something that will hopefully inspire the start of a relationship with this planet.

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

When I get up on a storm-chasing day, anything could happen.

We’re usually are somewhere deep in Middle America, in a motel like something out of a movie with the cars parked out front.  We pile into the meteorologist’s room, sit on the bed, and he projects the day’s weather from his computer onto the wall.  We analyze the data and decide where we’re headed.  Then, we’ll go to some greasy-spoon diner, again like something out of a movie, where it’s all, “How y’all doing today, what can I get ya?”

After that, it’s usually many, many hours in the car.  The thing with these storms is that they take all day to form.  All that warm, moist air has to hit a certain temperature in order for it to start-up.  A super-cell isn’t part of a storm front, it’s an individual cloud up to fifty miles wide.  It needs perfect conditions to attract all that moisture, and blow up like a beautiful cotton ball in the middle of the plains.  Only two percent of super-cells create tornadoes, but when one starts to happen, we get into ‘chase mode’. There are no bathroom breaks, no pulling over to get a drink, no chance to check the map.  These storms are moving, some of them at twenty miles an hour, some at sixty.  It’s like the whole car is taken over by this euphoric silence.  You see people on TV shows yelling, “Drive faster! Drive faster!”  but our cars are never like that.  For a photographer, it’s not ideal because it’s dark under there, the wind is blowing, and there is no time to set up a tripod.  If you’re too close, it’s so huge you can’t fit it in your frame, so we look for the sweet spot; just far enough away to get the perfect image.

© Camille Seaman

© Camille Seaman

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

Maybe it is the other way around.   The way I see the world affects my art.  I was raised by my father’s tribal affiliation, Shinnecock Montaukett, a small fishing tribe.  As a child, I was shown how everything is interconnected; the rain, the snow, the ice.  We were taught that there is no separation, so when I see one of these storms, I think, “Oh my goodness, who among us is this?  How is this a manifestation of who we are?”  I use to photograph icebergs.  With them it’s, “How is this a manifestation of who we were?” How many ancestors is this, human and non human?   How many lives?

This point of view is a part of why my photographs resonate with people.  I get emails saying, “I never thought of ice that way before!”  That’s amazing, because I’ve shifted someone’s consciousness.  The first time I stood under a super-cell storm, I was so deeply moved because the experience was so much more than I could have imagined.  I had seen storms on TV, but this was different.  It was an incredibly tactile experience, with the smell of charged particles in the air, and of the warm, moist earth.


© Camille Seaman

© Camille Seaman


Thank you Camille for sharing your work and your words.

To learn more about Camille Seaman please visit her site at Camille Seaman.



Today is the Day !

Recipe for a Long and Happy Life

by Ruth Bernhard

Never get used to anything.

Hold on to the child in you.

Keep your curiosity alive.

Trust your intuition.

Delight in simple things.

Say “yes” to life with passion.

Fall madly in love with the world Remember: Today is the Day!

Lifesavers 1930 © Ruth Bernhard

Lifesavers 1930 © Ruth Bernhard

Ruth Bernhard once said that film was so hard for her to afford in the early stages of becoming a photographer, that she would set up a still life in her apartment and study it for two weeks,watching the light and shadows during the day. Then she would expose the film.

Perhaps a good exercise for us all would be to pretend our cameras only has one exposure left, and observe.

Happy Birthday to Ruth Bernhard one of the greats.

Books on Ruth Bernhard,

“Ruth Bernhard – Between Art and Life” by Margaretta Mitchell and Ruth Bernhard.

” The Eternal Body” Ruth Bernhard

Photography West Gallery has a wonderful collection of books and prints.

Ruth Bernhard Archives are at Princeton University Art Museum.


“There is no such thing as taking too much time, because your soul is in that picture.” Ruth Bernhard





Chuck Davis,Our October R.O.M.

Rfotofolio is please to have as our October R.O.M.the beautiful “Bull Kelp#1, Point Lobos” by Chuck Davis.

Bull Kelp © Chuck Davis

Bull Kelp © Chuck Davis

 “Bull Kelp #1, Point Lobos”
11″x14″ paper size (image area, 9″x13″)
Medium: toned silver gelatin print
Mounted on 4-ply white archival board with 4-ply window matt
Print is signed on the front mount, with my photographer’s stamp on the verso.

Price 500.00

Story behind the photograph:  this image was photographed underwater at the Point Lobos State Underwater Reserve at a location called Bluefish Cove on July 8, 1999 — just about 15 years ago exactly.

Truth be known, I had set out that day with a rebreather (so I could be extra-quiet in the water) and my underwater camera to photograph some of the usually shy and stealthy harbor seals that were frequenting the Cove, but upon descent to the bottom from our dive boat I was greeted by a wonderful surprise:  before me were a series of brand new “baby” bull kelp fronds “sprouting” up off the hard reef substrate.  Bull kelp is an “annual” marine algae and occurs in giant kelp forests off this part of the Central California coast, usually in the open spaces where it competes for space with giant kelp, in that eternal saga of life and death and rebirth, that is so visible in these giant kelp forest ecosystems.  This particular bull kelp was indeed dancing in front of me, buoyed by its spherical float or “pneumatocyst” and its blades were morphing, rising and falling, expanding and contracting,  into a series of intriguing forms before my eyes.  I was feeling like I was witnessing a siren luring me in for a closer look begging for attention and waving at me.  This bull kelp was very new, and free of any encrusting marine debris, and it has its own subtle sheen on the float, even in the flat subdued light of the deep kelp forest.  The blades seemed to render the float Medusa-like.  I spent the next hours  or so not moving from that very spot, just observing, seeing/feeling and exposing frames of film (with just the available ambient light) as this marine algae literally danced in front of my camera, pulsed by the powerful force of the open Pacific wave surge above.

This experience reminds me once again of Minor White’s quote, “It isn’t just what it is . . . but what else it is . . . .”  On this photographic dive, this bull kelp was definitely “something else” ,way beyond just a piece of brown algae, in my mind’s eye.  A dive I will long remember. – Chuck Davis

About Chuck Davis from the Tidal Flats site.

From the freezing climes of Antarctica and Greenland to the heat and humidity of the Amazon, Chuck Davis has worked as a specialist in marine and underwater photography and cinematography.  His motion picture film credits include work on several IMAX films, including, “Ring of Fire” (underwater lava scenes), “Whales”, “The Greatest Places”, “Amazing Journeys”, “Search for the Great Sharks”, and two Academy Award-nominated IMAX films, “Alaska: Spirit of the Wild” and “The Living Sea” (underwater/marine scenes of Monterey Bay). Davis’s cinematography experience has also included numerous expeditions worldwide with the Cousteau filming teams working with the late Jacques-Yves Cousteau and his son Jean-Michel during production of “The Rediscovery of the World” TV series. He has also worked on feature films such as Warner Brothers’ “Sphere” and documentary projects for the Discovery/Learning Channel, BBC, PBS, CBS, ABC, A&E, NBC/Universal and National Geographic Channel.  Recent cinematography projects include work as the Director of Photography for Jean-Michel Cousteau’s “Ocean Adventures” PBS TV series, the Smithsonian’s “Who We Are” (a special dome-theater film for the National Museum for the American Indian, in Washington, D.C.), and the avant-garde production, “Crystal Palace”, filmed in Papua New Guinea for Director, Mathias Poledna.

A widely published still photographer, Chuck’s images have appeared nationally and internationally in magazines such as B+W, Orion, Life, National Geographic, Audubon, Nature’s Best, Defenders, National Wildlife, Outside, Scientific American, Terre Sauvage, BBC Wildlife, Italy’s FOCUS/Extra, Ocean Realm and numerous Cousteau publications.

His fine art black and white and color work has been represented in special exhibitions by the Ansel Adams Gallery, the Christopher Bell Collection Gallery, the Oceans Gallery in Los Angeles, in multi-photographer exhibits at the National Geographic Society/Explorer’s Hall in Washington, D.C., Nikon House/New York, The Center for Photographic Art, Brooks Institute and the San Francisco International Airport.  Davis’s work is included in numerous private and corporate collections. He is also the author/photographer of “California Reefs”/Chronicle Books.

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.

The photographers that participate in our R.O.M. graciously donate part of the proceeds from the sale of their work to the Rfotofolio Fund.

By purchasing 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 “Bull Kelp# 1, Point Lobos” by Chuck Davis please press the “buy now” button.

You do not need a Paypal account to use Paypal.

Thank you for your support.

Buy Now Button

Thank you Chuck for sharing your work with us.

To learn more about Chuck Davis please visit his site at, Tidal Flats.

To read our interview with Chuck please visit,“The Other Earth”.



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