A curated online gallery space for fine art photography, we have no bins…
We will be announcing the Juror’s Award,the Rfotofolio Award and the Merit Awards on November 2nd.
Emails will be going out in the coming week.
Thank you to all the photographers that took the time to enter.
Thank you to Joanne Teasdale for her time and thoughtfulness in making her selections.
To read our interview with Joanne please visit,The Searcher, Joanne Teasdale.
To visit her site, please go to, Joanne Teasdale Contemporary Artist.
To learn more these photographers please visit their sites and our interviews.
Rfotofolio’s interview with Morgan Fisher.
Rfotofolio’s interview with Fran Forman.
To read our interview with Ann George please visit,“Beauty from the Ashes”.
To learn more about Ann George please visit her site at, Ann George Photography.
Thank you to the photographers that share their work.
Rfotofolio is pleased to share the work and words of photographer Ann George.
Would you please tell us a little about yourself?
My native ground is a small Louisiana town where traditions are strong. My modest roots and southern values from where I grew up guide me and sustain me. I love “found objects” and all things old and unusual, which guides my vintage eye in my work.
When I was a little girl, I was too busy building forts out of sticky sharp smelling pine needles, gallivanting on my bike, swimming in a lake called Valentine and catching fleeting fireflies to be exposed to the arts, nor was there an opportunity. My daddy painted and penned his Louisiana as I watched. This was the only art I counted. The results were treasured by my family and hung proudly on our wall. It was the closest thing to a gallery I ever knew.
I flew through high school drenched with a flurry of friends and memories, which were as far away from the arts as the moon and followed that path through college, finally settling on a nursing degree. This profession turned passion led me to start a chain of hospitals based on a different approach to providing care. Other than raising my four boys, this, I thought was my life’s work and calling and the source of my passion.
“How did you get started photography?
While working in New Orleans, I meandered through the French Quarter and happened upon the A Gallery For Fine Photography, now located on Chartres Street. I had never visited a gallery before, much less a photographic one. I didn’t think I would be interested, however, I liked the look of the quintessential New Orleans vintage feel of the place and so I stepped inside.
What happened next caught me totally off guard. There, in the tiny tight landing before a set of discreet stairs, hung the image that changed me. “Susana San Juan”. It inflicted a type of burning radiation under my breastbone. A surging glow of light developed in my solar plexus–warm, gooey and piercing at the same time. I had an instinctive calling that was directly opposed to the intelligent. It was as if someone dumped a bucket of understanding of the creative blessings of photography over me and I was dripping wet with enlightenment. At once I understood why all the fuss about art.
I hungrily devoured more and more of these works by Josephine Sacabo. “El Vuelo”, “El Arbolito”, “El Final”, and “El Camino”.. . which I now proudly own, all called to me. I had to will myself to leave the gallery. Knowing not one thing about photography, I wanted to create an image one day that could make me feel what I had just experienced. I followed Josephine’s work, sharing it with everyone I knew.
In my little spare time, I began teaching myself how to photograph by reading profusely and practicing, developing friendships with other photographers and going to workshops when I could. I think I owned every photography magazine and book I could afford. The Internet was not as prolific at that time and I don’t even think Google was invented yet. It took me awhile to grasp the technical, as I was still totally engrossed in my career and family. I considered photography as a hobby. My life’s work and career calling was my nursing and my hospitals-or so I thought.
It was not to be but for a season of my life. As fate would have it I was diagnosed with MS, and the nurse became the patient. This, among the needs of my family and demands of the business, led me to prune what I thought was “my best fruit to save the vine”. I let go of my beloved hospitals, and said goodbye my co-workers, friends, and patients who believed in our mission and in me.
To ease my pain, I picked up my camera and began to photograph, reaching for “THAT ONE” image. I have yet to create “THAT ONE”, and have now relaxed about striving to please myself at that level. For me, creating the one that melts my soul into a putty of gooey cream is now not my point. I am satisfied to share the fire that is lit in me with others and for their work. More importantly, I feel blessed for the relationships I’m building through the excuse of photography.
I still love the fluttery, giggly feeling when an image I am working on reveals itself and pleases me. I respond to the cocoon of working on my own projects by accepting each image created through my work as a gift. Whether or not anyone sees them but me.
What challenges do you face as a photographer?
You asked about my challenges as an artist and I have to say the biggest difficulty I face in creating my work is the physical limitations as a result of MS. My left side has been affected and I don’t have much use of my left arm and hand. I have learned to do almost everything I need to do, to do what I want to do. If I can’t I do it, I just get help. I barrel through, always thinking of the end result I am trying to obtain and just figure it out.
Moving from film and the traditional darkroom freed me to focus more on the creating and less on my physical limitations. Even still, I like others, went kicking and screaming into the digital age for no reason. I thought I missed the texture and depth I felt my silver gelatin prints possessed. I sought different ways with paints and glazes and varnishes to deepen my love for the medium alongside it’s aesthetic. I am totally in love with the options and tactile depth I feel I can coax out of my work using the computer, printer, glazes and varnishes. To appease my soul for historical and vintage aesthetic, I also print my work as photogravures that produce the deep and long-range tonal values I love. I still love getting dirty and this process fills that void.
I am a visual being. I see the ends of things before I begin and then I work towards that end. This was true for me even in the vision I had for my hospitals, even in remodeling and decorating my southern home. With photography this is overwhelming as the options of photographic endings for me are limitless. I choose to narrow my field of vision through storytelling either by loosely depicting a book a poem or a human circumstantial journey. I sense this easier for me given my southern background and its affinity for storytelling, gossip, and literature and tradition.
Did you have a mentor?
Although I truly do not believe in coincidences, it is curious how things still surprise me when they come full circle. As It turns out the author of those images that enlightened me long ago became my mentor and most avid supporter. Yes, it was Josephine Sacabo who saw my work and embraced me. She taught me the photogravure process and took me under her wing then pushed me out of the nest, as she called it, to expose my work for public consumption. She is the only reason you are seeing my work now.
How do you over come a creative block?
Most artists I talk to about creative blocks seem to be able to create in chaos and produce their best work during the pain of circumstance. I am not that artist yet. I have been waiting for the way out of this latest block and finally see inspiration peeking out from around a corner. I am beginning to work again and the images and desire to do them are talking to me. I can only assume that for me that time, trust, patience, and faith are my answers. I know the choreographer of my steps, the crafter of my designs and the sculptor of my creative heart. I am always caught by surprise in the midst of my creative process. The theology of beauty, as I see it, is in its end, is beauty from ashes. An excerpt from the book, God’s Creative Gift—Unleashing the Artist in You,by Jody Thomae says this. “I believe that the most beautiful creations of humanity are those that are born out of pain. There is something reflected in the glory of it that resonates in the human heart—something we recognize unconsciously. Somehow we realize this beauty born out of pain, the beauty from ashes. Somehow it connects us to the Divine. Even when we might choose not to believe or acknowledge God, his glory cannot be denied. “
What do you hope the viewer takes from your images?
What I hope the viewer takes from my work is an awakening of his or her own creative spirit within, as well as, to invoke an emotional response. To use this spirit to re-interpret the world of disorder and meaning and reminder of a universal language that can only be spoken through the vision of allegory or symbolism in art.
How does your art affect the way you see the world?
How I view this language of art affects the way I see the world. We are really all the same and none of us is immune to pain and suffering and the quest for meaning and purpose in it. I now see photography, in a “sense”, as a language. It is a powerful way to communicate which cannot be fully communicated with words. Imagine yourself desiring to communicate with someone who cannot speak English. Words have no meaning. How do you tell them what it is you want them to hear? You may choose to do this through gestures and signs, facial expression, mood, props – all visual and non-verbal. They may or may not understand what you are saying but enjoy the interlude either way. I attempt to express the disorder in my world and the human condition through the visual global language of photography. Although I would love for the viewer to “get it” the sense of pleasure of this interlude is just as rewarding.
Although it is a departure from my dark and moody work, one such image that is most easily understood in this light is “Indifference”. I will refrain from explaining it and allow the viewer to interpret through this visual language.
Would you like to share any upcoming projects ?
I am currently waiting for my new project to reveal itself. I have at least three or four ideas percolating that I am working on and will reveal soon. I continue to work on my “Evangeline” series and adding to it as I am moved. I am playing now with color and find it very satisfying. One other incredibly satisfying collaboration is with The Posse. Myself along with four other photographers; Anne Berry, Bryce Lanyard, S. Gayle Stevens, and Lori Vrba join together with free flowing ideas to create pop up shows of our work at different venues. We all shoot differently, process differently, and use different ways to communicate the photographic language. Our community is our excitement. The process of sharing ideas and working together and the end results of our efforts you can seen in last years Slow Exposure which took place in Zebulon, Georgia. The Posse returned to Zebulon to Slow Exposures this past September with “Time, Place and Eternity: Flannery O’Connor and The Craft Of Photography”.
Where can we see your work?
You can see my endeavors on my website. My work is represented at Nevares Fine Art, NY, NY and Lionheart Gallery, Pound Ridge, NY. I am currently showcased on Artsy and 1stdibs through the Lionheart Gallery where my work will be exhibited this fall.
Thank you Ann for sharing your work and words.
To learn more about Ann George please visit her site at, Ann George Photography.
Please join us for our interview with Ann George.
To learn more about Ann George please visit her site at, Ann George.
Rfotofolio is pleased to share the work and words of Diana H. Bloomfield.
Her images show us it is the photographer not the camera that makes the art.
How did you get started in photography?
Back in the late 1970’s and early 1980’s, I was working in an administrative post at Princeton University. When I left a position there, I was given a small Rollei 35mm camera as a parting gift. I thought that was very sweet but was also a little surprised by the gesture. It was my very first ‘real’ camera, so I thought I should take a course and learn how to use it. At the time, I lived near Bucks County Community College, in Newtown, Pennsylvania. They had a terrific art department, especially in photography. I got to study with some wonderful photographers and teachers, and my first course was a large-format course with Nancy Hellebrand. I think I got in that class purely by accident as I feel sure a pre-requisite was needed. But I learned so much in that particular class, as well as in an accompanying darkroom class.
Knowing as little as I did turned out to be a real gift. I’ve said this before– but I think everyone’s first photography class should probably include working solely with a large format camera. They’re so manual– no internal light meter, no auto-focus– nothing, really. And nothing is done for you, so you really do have to sit up, take notice, and pay attention. You make the decisions, not your camera. I love looking at an image upside down on the ground glass, too, which taught me so much about composition. I stayed with photography because I was good at it, and it just seemed very natural to me. I think it was the first thing I’d ever done that I felt came to me easily, while at the same time offered some challenge. I also received a lot of encouragement from my teachers, so I stayed with it. And I liked that an image could tell a story.
Which photographers’ and other artists’ work do you admire?
Wow– so many I could name whose work truly inspires me– and almost all of the work is very unlike what I do. Still, I’ve always loved Bill Brandt’s early 1930‘s London images, as well as the very different and much later series of nudes he photographed– which, even today, seem incredibly fresh and inspired to me. And although he did not photograph those images (the nude series) with a pinhole camera, I feel like he could have. I read somewhere where he said he used an old Kodak camera for those, with an extreme wide-angle lens and an aperture almost as small as a pinhole. They’re wonderfully evocative and strange, with all those odd perspectives, and the relatively harsh way of printing them– lots of grainy b&w contrast– really adds to the appeal. They’re almost sculptural in the way he photographed them.
Emmet Gowin’s early work of his family I’ve always admired, too– just so memorable– and lovingly rendered. One of the most powerful series of images I’ve ever seen is Nicholas Nixon’s, “The Brown Sisters”. Only 25 images, and seen all together, they just take my breath away. I never tire of looking at, and am quite envious of, Helen Levitt’s early NYC images. I wish I’d done them. And thinking about women photographing other women, Joyce Tenneson’s work is also just so honest and powerful– very distinct. Especially outstanding is her “Light Warriors” and “Transformations” series. Aside from her amazing imagery, she is also just a fantastic teacher and always remembers and is supportive of her students. I’m also very drawn to Eric Lindbloom’s beautiful book, Angels at the Arno, which he made some years ago, with a ‘Diana’ toy camera. I pull out that book quite often and just look at the images. Again, I wish I’d made them.
Perhaps my very favorite photographer– whose work I think is incredibly beautiful and lyrical and smart, and also still seems remarkably fresh some 80 years after he made them — is the Czech photographer, Frantisek Drtikol. I was unfamiliar with his work until I saw it in a NYC gallery many years ago. In fact, his work may have been the first imagery I saw that made me want to move to a less literal way of image-making. I am particularly drawn to the nude series he created in the 1920’s– which could have been done yesterday; they still look innovative. I just love the style, the lighting, the compositions, the fluidity– and the almost art-deco look of them with all the geometric shapes and shadows he creates. With the nude series, he eventually moved from photographing real women, to photographing paper cut-outs, I think, that he used as silhouettes with the same sort of lighting and clever shadow placement.
Aside from photographers, I am also inspired by traditional print-makers. Rockwell Kent is one of my favorites from the WPA (The Works Progress Administration) era, along with Claire Leighton. A contemporary print-maker whose mezzotints I admire is Mikio Watanabe’s– quiet and elegant all.
And what about their work inspires you?
In all of those I’ve mentioned, their one commonality, it seems to me, is honesty. Their images translate as very honest, very real — not self-conscious or a false note among them. They’re evocative, powerful in their own way– and timeless. They also seem fresh, inspired, and original– not at all derivative.
Please tell us about an image (not your own) that has stayed with you over time?
Just one? The very first image that comes to mind — an image I think about all the time, really– is Bill Brandt’s, “Dancing the Lambeth Walk,” which he made in the late 1930’s, in London. I’m not exactly sure why that particular image has always stayed with me, but it probably has to do with the seeming spontaneity and the gritty sort of printing. There are a couple of other images I could mention that have stayed with me, too– but you did ask for only one– and Brandt’s photo was the first that came to my mind when I read your question.
Please tell us about your process and what the perfect day of photography is for you.
My perfect day of photography might be to wake up to a cold day with snow coming down like crazy (which, of course, is not all that common in NC)– so let’s make that pouring rain–and my husband, Peter, gets up early and goes out to my studio, which is in our back yard, and he gets a wood fire started in the wood stove out there. And once the fire is roaring and it gets warm, which doesn’t take long, I go out there with my sweet border collie, Tucker, who settles down with his toys. Maybe Midnight, our twenty year old cat will stay out there curled up by the fire, too. I just print all day– probably gum printing. This is all done to the sound of music from a tube amp a friend made for me and rain on the studio’s metal roof.
By the end of the day, before it gets dark, the rain has finally ended, and Peter, Tucker, and I go for a walk. It’s warmed up outside a little, and the light is that late afternoon soft watery kind of light, with just the right amount of remaining sunlight peaking through the clouds. I’ll take pictures all along the way, of course. When we return from our walk, we’ll go back into the studio and have a glass of sherry by the fire. We’ll look at the ‘perfect’ prints I made during the day and talk about all the photographs I’ll make and print tomorrow. That’s probably a pretty perfect day right there– made only better by having our daughter, Annalee, home, too– in which case, I’d also spend some time photographing her.
I could come up with some other scenarios, though they probably all revolve around spending a day in my studio just printing and listening to music and taking a break to play or run with Tucker. Oh– and maybe in-between all that printing and enjoying the wood fire and the music, someone will — out-of-the-blue — call to tell me I’ve just been awarded a big grant or a big solo show somewhere, or they want to buy a slew of my work– or something equally amazing.
What drew you to Pinhole Photography?
I was teaching a beginning photography course at the NC State University Crafts Center– a basic “how to make better pictures” kind of course, which I taught for nearly fourteen years. As the years rolled on, and more and more people started bringing in these very expensive and overly complicated digital cameras with all the bells and whistles, we started spending inordinate amounts of time on discussing which dial to turn– or what this or that dial or knob did. We were just never getting to the fun and creative aspects of photography.
Of course, I knew that photography just isn’t that complicated– or certainly shouldn’t be– so I tried to think of a way I could demonstrate how very simple a camera really is, and how the act of photographing itself could and should be as easy as the simplest camera– and that the hardest part, really, is coming up with ideas and concepts. So my first thought was to bring in a pinhole camera and show them how this light-tight box, made out of black foam core, with a small opening as the aperture– worked the same as any camera– that to make interesting images, you don’t have to spend an inordinate amount of money on a camera you don’t understand, or even on a fancy lens. I made some images with the pinhole camera and showed them how a basic camera really works. I think it showed them that the photographer is really in charge of his or her imagery, not the camera. And somewhere along the way, I really loved working with the pinhole camera myself. I loved the long exposures, odd perspectives, and the almost filmic quality– all that fluidity and movement– that was missing in my still images from other cameras. The lack of sharpness meshed with my visual narratives that always seem connected to memory, or like fragmented dreams.
What challenges do you face as a photographer?
Well, I always have ideas, still— for which I am very thankful– but the challenge is to translate those ideas photographically in ways that are fresh and yet also timeless. No matter what I’m working on, I feel my vision is a consistent one, so I think the real challenge is to not become derivative, even of my own work. Other challenges are more about the business of art (or should I say the art of business?). Despite the popularity of photography, or maybe because of it– that sense that photographs are not really part of the fine art world– that they are somehow not as valuable, on all levels, as the almighty oil on canvas — I have always found to be frustrating. So there’s the challenge to educate people about what it is that I do, and that this particular art form is just as valuable and meaningful and powerful as any painting or piece of sculpture– that in no way is it a lesser art. And, often, a single photograph– like a good book or a passage from a well-written book– can tell you so much, possess an immediacy, and just leave you awestruck.
How do you over come a creative block ?
I hesitate saying this, but I’m not sure I’ve ever had a creative block. I do sometimes finish a series, or think I’ve finished one– and I’ll say to myself– ‘Oh well. That’s probably the best (and last) series I’ll ever do.’ But then another idea always surfaces. And, of course, most of the series I work on seem to last indefinitely– are ongoing– so I’m never at a loss and can switch back and forth, from one to the other. I never get bored. I use lots of different cameras and print in various processes, so if I ever feel blocked, I would just use a camera or a process I haven’t used in a while. Sometimes taking a workshop on something that’s unfamiliar and out of my comfort zone can really energize me, too. And I love looking at other people’s work, so just getting out and going to a museum can be inspiring, as well as talking to friends who are also artists. Or, really, just going out for a walk or run– there’s so much to see out there– and so much more to learn.
I’m also a writer or, I like writing which for me is akin to photographing. One seems to inform the other, so being creatively blocked just seems like a foreign concept to me. I’ve been a life-long runner, too, and while that sounds like it doesn’t have much to do with creativity– just getting out there and running really also keeps me thinking all the time– about ideas and what I want to do and learn next. Additionally, a good run is amazingly energizing. I suspect if everyone took up running (or a yoga practice, which I only just started myself this past year)– the term, ‘creative block,’ just wouldn’t exist, and everybody would just generally be so much happier.
How does your art affect the way you see the world?
Well, I’m not sure my art really does affect the way I see the world; rather, the way I see the world affects my art. So much of how I view the world is really based on memories. I feel the past is always with us, and how we (or, at least, I) view the world is all tied up with an inescapable past– and our fragmented memories of that past. Whenever I talk like this, someone will invariably bring up the fact that I’m a native Southerner, and the past is a ‘problem’ only we seem to have an obsession with and for. I’m not sure if that’s true, but most of my work is connected to the past and all those beautiful, fugitive memories. So, in that way, the way I view the world definitely affects my art.
What do you hope the viewer takes from your images ?
Most of my images are narrative– the figurative work especially– sort of metaphorical portraits– and, singly or together– I would like for viewers to see a story in the images, or become so inspired as to create one of their own. I would hope that they evoke something in viewers that re-awakens their own beautiful memories.
What is on the horizon for you?
I’m not entirely sure, but I’m confident whatever it is will be stimulating and inspiring. I always have exhibits coming up, and I continue working on new ideas and printing. If I look ahead to five years, I’d love to have a book of my work completed, either as a hand-made limited edition, or as a traditionally published book. Of course, I would welcome a fellowship, and I’d like to learn ever more historic printing processes. I enjoy teaching workshops, so I’ll continue with that, too. To see other people get as excited learning about pinhole or these historic printing processes as I do, is inspiring in itself. And, really, I’d love to just keep working and being able to generate new ideas that I can translate into meaningful imagery.
Where can we see your work?
My work is represented by Tilt Gallery, which is located in Scottsdale, Arizona, and by Adam Cave Fine Art, here in Raleigh, North Carolina. You can also see my work at my studio here in Raleigh, and I am honored that some of my images are included in various publications and several recently published and greatly informative– and beautifully reproduced– books on alternative processes, including Christina Z. Anderson’s, Gum Printing and Other Amazing Contact Printing Processes, published in 2013; in Jill Enfield’s, Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques, also published in 2013; and will also be included in Christopher James’ long-awaited upcoming third edition of The Book of Alternative Processes, hopefully due out sometime in the Fall of 2014.
Thank you Diana for sharing your work and words with us.
To learn more about Diana Bloomfield please visit her site at, dh bloomfield photography.
Join us tomorrow for the Diana Bloomfield Gallery.
From Art Intersection
October 23, 6:30 – 8pm
207 N Gilbert Rd # 201, Gilbert, AZ, 85234
ART AS A VERB, FEATURED, LECTURE
NEIL A. MILLER – RESPONDING TO THE MOMENT
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.
To learn more about Wynn Bullock please visit Wynn Bullock Photography.
From Catherine Couturier Gallery
NEW WORK AND NEW BOOK BY OCEANSCAPE ARTIST RENATE ALLER
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.
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.
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.