Noir/Chroma Spotlight:Peter Dušek

Jan 3 – Feb 28 2019

Opening reception January 17 2019

Peter Dušek, Alan Dunlop, Susan Kerr, Kerry Hayes, Marlene Hilton Moore, Leah Oates

Hush

Hush

What is your process

My process is one of great searching for a something in nature, uncluttered, yet in perfect balance, that best represents the essence of the world. I try to look for the small, overlooked aspects, and rarely the obvious. These elements can be found everywhere, but they are often lost among nature’s or manmade chaos, so it is difficult to find them in a way that they can be isolated and shown to the viewer. My motto is “as little as possible, as much as necessary” leading to the perfect balance between too little and too much. I often find myself, like a painter, subtracting from what I see, whether it’s in the camera using camera placement, darkness, fog or a snow storm to hide or reveal “just enough”. Later, on the computer, I often subtract clutter that distracts; clutter that when looking at the scene, the eye may see but the mind ignores. I often photograph in the winter on snow, using its lightness, along with the sky, as an empty canvas, only adding the “brush strokes” of the objects that I want to show.

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Noir/Chroma Spotlight: Marlene Hilton Moore

Jan 3 – Feb 28 2019

Opening reception January 17 2019

Peter Dušek, Alan Dunlop, Susan Kerr, Kerry Hayes, Marlene Hilton Moore, Leah Oates

Sister to Botticelli_14555

What is your process?

My photography exclusively depicts photographs of an individual woman and her place. I approach the medium of photography conceptually and orchestrate each series to my vision of the individual woman who is the subject of the work. I develop a concept that integrates the woman, her place, and a dress and then I abandon to the joy of discovery. Fleeting glances, pointed gaze, and body language all reveal a distinctive identity. I allow the camera to be a critical tool but the evocative image is the defining ingredient.

Do you see common themes in all of your work?

Women and their place is the subject of my photographic work. There is the essential
theme of a woman, a place, a dress and a vision. Accidental elements of light, motion, and mood create unique moments that add to the resonance of each image.

In your opinion, what makes an image powerful.

Photographs that capture what is universally human yet exhibit personal and intimate
identities are powerful. Images presented within the framework of beauty and truth create indelible artwork.

Noir/Chroma Spotlight: Alan Dunlop

Jan 3 – Feb 28 2019

Opening reception January 17 2019

Peter Dušek, Alan Dunlop, Susan Kerr, Kerry Hayes, Marlene Hilton Moore, Leah Oates

Alan Noir

What is your process?

For several years now I have been pursuing my own creative vision, looking for ways to break the rules of traditional photography and transport the viewer to an alternate, more abstract reality. I think this quote by actress Mary Lou Cook says a lot “Creativity is inventing, experimenting, growing, taking risks, breaking the rules, making mistakes and having fun”.
My work has evolved from blending multiple images into collage-like works using Photoshop to – more recently – capturing fragmented images in-camera.

Do you see common themes in all of your work?

Whether photographing nature, people or the city streets the common theme is to explore time space and motion.

In your opinion, what makes an image powerful.

There are many elements that make a good picture, it can be the quality of the light, the angle, the subject matter, the overall composition.
Ultimately a good photograph, in my opinion, is one that makes people stop, take a second look and ask questions. It should communicate something to the viewer, draw them in, tell a story, and arouse some emotion.

Alan Chroma

Noir/Chroma Spotlight: Leah Oates

Jan 3 – Feb 28 2019

Opening reception January 17 2019

Peter Dušek, Alan Dunlop, Susan Kerr, Kerry Hayes, Marlene Hilton Moore, Leah Oates

Large to Size, Prospect Park, Brooklyn, Lily & Branch # 2 copy

Prospect Park, Brooklyn, Lily & Branch # 2

What is your process?

I shoot with film with a 35 mm camera and a medium format camera and utilize different lenses with adaptors, light leaks and multiple exposures onto the film. I then have the whole roll of film scanned and I edit and manipulate the images digitally. From this process and I create artist books and photographic prints.
Do you see common themes in all of your work.

The common themes in my work are the intersection between nature and an urban environment, transformation and flux.
The Transitory Space series deals with urban and natural locations that are transforming due to the passage of time, altered natural conditions and a continual human imprint. In everyone and in everything there are daily changes and this series articulates fluctuation in the photographic image and captures movement through time and space.
Transitory spaces have a messy human energy that is perpetually in the present yet continually altering. They are endlessly interesting, alive places where there is a great deal of beauty and fragility. They are temporary monuments to the ephemeral nature of existence.

In your opinion, what makes an image powerful.

You know I’m really not sure what makes an image powerful. It’s something to do with composition, skill and the subject being photographed but these three aspects do not alone make a a powerful image. I think a powerful image gives off an energy and illuminates an aspect of life that becomes more apparent in the images which makes it powerful.

leahoates.com

Endangered

Endangered
November 12-December 24
Reception: November 15 | 6-9pm
Artist Talk: December 4 | 6-7:30pm

Artists: Monica Glitz and Philip Jessup

Philip Jessup 5.jpg

Philip Jessup

Monica Glitz and Philip Jessup are two contemporary Canadian photographers who have devoted their bodies of work to exploring the sublime in endangered spaces that—at least for now—have been saved by government conservation efforts.

Glitz has photographed UNESCO World Heritage sites over the past twenty years, from Angkor, Cambodia to Easter Island, Chile to Stonehenge, England. Her images look back in time and capture the awe of ancient splendor.
Jessup has photographed significant natural landscapes endangered by sea level rise that governments are seeking to conserve, from Sian Ka’an Biosphere Reserve, Mexico to Mandalay National Wildlife Refuge, Louisiana to Assateague Island National Seashore, Virginia. His images express the beauty we could lose if we don’t turn the tide on climate change.

Local communities benefit from tourism and other services generated by the archaeological sites and natural landscapes these two photographers visit. For instance, indigenous Mayan guides and lobster fishermen have formed business cooperatives to promote thriving local businesses.

Both photographers have developed unique styles that distinguish their respective bodies of work. Glitz made the curatorial decision to pursue producing her images using a historical, and very permanent, printing process. Her images are printed using gum bichromate, a hand coated process that will last hundreds of years, perhaps outliving the subject matter. Jessup shoots in medium format and strives for brilliant color and arresting spatial compositions that hark back to the Japanese woodblocks of Hirosige.

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Monica Glitz

Call for Submissions: Noir/Chroma

Jan 3 – Feb 28 2019
Opening reception January 17 2019

The Connections Gallery is seeking submissions for a two month exhibition in early 2019.

This exhibition, Noir/Chroma, showcases exquisite black and white images and images exploring colour. No specific theme.

Photographers will each have one 30″x37″ mounted print.

This exhibition is being printed in its entirety by Bob Carnie, each photographer will receive their mounted print once the show comes down. There are two choices for production methods of images. The hybrid historical-contemporary Lambda will be used to produce the black and white silver gelatin prints, or artists can have their work printed via inkjet for black/white and colour. Bob will work together with the photographers to choose their best image and printing method. Promoting the printer/photographer dynamic, printing will be a collaborative effort.

Logistics

Each artist will have either:

1- 28×28” approx. Lambda print mounted on 30″x37″ art board

OR

1- 30″x37″ inkjet print mounted on the same size board

Exhibition fee + Production: $700 plus tax


Submissions

Send up to 5-10 JPEGS

Bio

Statement


Contact

Carissa Ainslie carissa@alternativephotoservices.com

Portfolio Workshop December 2018

IMG_2896.JPG

What: Portfolio Workshop

Where: Alternative Photo Services at 1840 Danforth Ave, Toronto

When: December 27-December 30 2018

Spots: Minimum 4 maximum 6

Cost: $1,000 plus tax + materials (material list provided upon request)

This workshop is for anyone who is looking to build a portfolio of alternative prints. Students will be printing their own work under the guidance of printer Bob Carnie using gum bichromate and/or platinum palladium.

Print sizes range from 8×10 all the way up to 20×28.

Once the prints are finished, they will be custom matted using cotton rag 4 ply board.

To sign up or ask a question, email Bob or Carissa

bob@alternativephotoservices.com

carissa@alternativephotoservices.com