CONTACT Photo Fest: Turf

April 1-May 14 2019​ |Opening Reception May 2

Darren Calabrese, Carl MacNeil, Dinao MacCormick, Chad Tobin, Steve Wadden

A collaborative exhibition of fictional, documentary, and contemplative photographs exploring literal and abstract concepts of home. It combines selections from ongoing personal projects of five Canadian photographers from the East Coast who comprise the Hot Fog Collective.

On a spectrum between place and feeling, individual meanings of home emerge. Turf asks how the individual shapes the place, and how the place shapes the individual.

The artists illustrate relationships with land, identity, community, and changing geographic and social landscapes. While raising questions about intuition and perception, they imagine home as a sense of being and creative process as a means of transportation.

Curated by Hot Fog Collective

Darren Calabrese

Turf 02

Atlantic Canadians are a coastal people. Living on the periphery, we are connected through our relationship with the sea – an existence that is both isolating and freeing. The tensions of living off the sea have long existed, but today the region is suffering through an historically high rate of unemployment that is forcing many to fight to hold onto their livelihoods, communities, and identity. This is a movement full of stories that, in concert, are both stark and life-affirming. Calabrese works to explore the relationships and communities formed along the eastern coastlines, which he believes are a pathway not only to our history, but to our future.

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Endangered

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

Artists: Monica Glitz and Philip Jessup

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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

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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

In/En Transition in Montreal

In/En Transition

June 12-17 | Reception June 14 6-9pm

Galerie Carte Blanche | 1853 Rue Amherst, Montreal

Philip Jessup,  Eliza Moore,  Liza Murzin,  Matthew Plexman,  Frances Patella, Bob Carnie

Eliza Moore

Eliza Moore

Frances Patella

Frances Patella

Matthew Plexman

Matthew Plexman

Philip Jessup

Philip Jessup

Liza Murzin

Lisa Murzin

Bob Carnie

Bob Carnie

In En Transition Spotlight: Jean-Francois Leblanc

In/En Transition

March 2-31 2018  | Opening Reception March 2 | Artist talk March 3

In/En Transition presents an exchange of photography by exhibiting six Quebec artists in Toronto, and six Ontario artists in Montreal, reinforcing a sense of community between the two provinces.

Artists- Toronto- Connections Gallery
André DenisNathalie GarceauJudith BellavanceCaroline Hayeur, Jean-Francois Leblanc, Guy Lafontaine

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How has your process changed over your career as a photographer?

I believe a good image should not only contain information that invites reflection, but also be aesthetically pleasing and trigger emotion. It must be self-explanatory, and not require words. In my practice, photography is a means of recording a scene directly, without artifice. The image is constructed when it is shot, and not subjected to major modifications afterwards. This concept of photography respects the ethics of photojournalism and the documentary process. Subjectivity and creativity are expressed in the choices made and in the very act of photographing and not in subsequent image alteration.

Bio

Jean-François Leblanc has dedicated himself to photography since 1982, when he got his
Bachelor’s degree in Communications at l’Université du Québec à Montréal. He started his career as a photographer while working for many neighborhood community newspapers in Montreal. In 1984, he became the official photographer of Montreal’s International Jazz Festival. In 1987, while working full-time for Le Matin, a new Montreal daily, he decided to create Agence Stock Photo, a collective of photographers committed to photojournalism.
His artistic approach has always been coherent during his career as a photographer. The
recipient of grants from the Canada Council for the Arts and the Conseil des Arts et Lettres du Québec, he has presented, since 1984, many exhibitions on his personal projects at, among others, the Montreal Maisons de la Culture network, and also during the Mois de la Photo period in Montreal. Abroad, his work was presented in Mexico during the Mes de la Foto in Merida, in over forty Europeans cities through the FNAC galleries network and during the Rencontres Internationales de la Photo d’Arles in France. His work can be found in the collections of the Quebec National Museum of Fine Art, the network Accès-culture of the City of Montreal ( PADORAC), the Cirque du Soleil and Post Canada.

Service Spotlight: Lambda Silver

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Robertson Davies –  by Nigel Dickson

Lambda Silver Gelatin prints are prints made from any type of digital file, either scanned from film as in this case or from current state of the art digital cameras.
In our lab we expose the file on a Durst Lambda 76 and then take the paper downstairs and process as we would an enlarger based print. We have one of Canada’s largest commercial fibre base darkrooms and can handle prints up to 30 x 72 inches .
The paper is Ilford Galerie grade 4 and the contrast and tonal adjustments are controlled in Photoshop, Capture One or Lightroom. Or these adjustments can be tweaked at time of printing on the imaging device.
These prints are the ultimate in reproduction and exhibit the traditional silver gelatin look: deep blacks, silvery midtones and brilliant highlights.
As with all silver gelatin prints, the image resides in the emulsion and to the viewer the image glows from within.
These prints follow the same Ilford archival process sequence and can be further enhanced with toning, selenium or split sepia or a combination of both.
Silver prints are the museum and top gallery standard for exhibiting and collecting and are designed for the very best images for long term storage or display.