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

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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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Noir/Chroma Spotlight: Susan Kerr

Jan 3 – Feb 28 2019

Opening reception January 17 2019

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

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Tofino #20

What is your process?

Both the Noir image and the Chroma image were captured digitally. I like to wander until I find something that moves me; I really need to feel inspired to take a picture.

Initially, I sort through my images, pick the ones I like, and rate them. Then I let them sit for quite a while before I go back and make final selections. It’s an ongoing process that takes time to select the images that I want to print and display.

Do you see common themes in all of your work?

Generally, yes and particularly with these images. I am looking for more than a “tree” or “kelp” I want to find the essence of my subject and hope to bring that to the viewer, to show what may go unnoticed; not only visually, but also in terms of the feeling that one experiences when near the subjects.

In your opinion, what makes an image powerful?

I think an image is more powerful when the photographer feels a real connection to their subject and there is some understanding of what is going on in front of the camera.
For example, there is more to a forest than just trees.
There are many collaborations taking place. For me the old growth forest, its elements and the interactions provide a somewhat mystical experience.
In addition, there must be technical understanding so that what you want to present looks as you intended. The capture, the post production, and the final print must be executed with technical expertise.
However, that is not enough if the photograph does not convey to the viewer what the
photographer intended.

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Nereocystis luetkeana

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

Vancouver and Capture!

Carissa just returned from Vancouver where she was stationed for ten days. We rented a pop up space for two weeks in Chinatown, installing Series, Clearcut and Ipseity.

Series

From Front 2

SERIES brings together five photographers with five different stories to tell. Salina Kassam, Thomas Brasch, Larry D. Hayden and Skip Dean have explored their own environments through the photographic medium.


Clearcut

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The intersection of man and nature is a dominant theme in Matthew Plexman’s work. Clearcut captures the evolution of an old logging road in northeastern Ontario: old sections are blocked off and new routes added, leading to new areas of logging activity. The borders between clearcut and forest are abrupt at first—open areas of chewed-up earth and toppled trees abut untouched woodland. Over time, the process of healing begins and the borders blur. Plexman attempts to find beauty and symmetry in the tension between destruction and regeneration, inviting dialogue about the conflict inherent in our dependence on nature for both resource extraction and emotional sustenance.


 

Meeting New People

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Carissa had the pleasure of meeting some really interesting folks on her travels. Sally Buck and Kent Lins popped up their photos in cube vans every weekend during the Capture Photo Fest.

She also got a fantastic tour of the new Emily Carr University campus by photo studio tech Geoffrey, and met up with Kathy from Beau Photo.

With a bit of down time, she also got to take in some of the sights of Vancouver and Whistler.