Take flight

Currently, 'Space' is showing at the Lafayette City Center Gallery, but as it closes, some birds will come to roost. As part of The Griffin Museum of Photography's sattelite exhibition schedule, the next collection moving in is titled:


I have always been enchanted by our fethered friends, therefore Im especially happy to have a piece hanging in this show! 'Common Pigeons' is an image that exemplifies to me that when one may least expect it, nature can surround the senses and captivate one's imagination. 

As always, Thank you Paula Tognarelli! ...who, as Lenscratch describes, is our Patron Saint of Photography! Check out this Mixtape

Synapses in NYC

Thank you New York Center for Photographic Arts and Mark Sink, juror, for Honorably Mentioning 'Synapses' in the Black and White 2017 exhibit. 


The exhibit is opening on April 20th from 6-8pm, showing from April 17-28, 2017. 

                                            &   Congratulations to all the other artists showing                

                                          &   Congratulations to all the other artists showing






a Jurors Statement...

As I prepare to submit to another call for a juried show at PhotoPlace Gallery, I came across this statement from Brett L Erickson, fine art photographer and juror of the Man in the Landscape exhibit. I greatly appreciated the time taken to share such a thoughtful insightful point of view. Perhaps you will too... 

Juror’s Statement:

Robert Adams, in his excellent essay called “Civilizing Criticism,” asks, “What are legitimate bases for the judgment of photographs?” Perhaps an equally intriguing question might be, “In an emphatically subjective process such as a juried show, what is the meaning of successes or failures?” I will not attempt such a Quixotic endeavor as forwarding a universal answer, for any cursory survey of history will show critics have nearly always been lost to time, in comparison to many artists now immortal who were judged errant in earlier days. 

Photographers also brave risk in shows. Conversely, jurors toil little, and risk less, in comparison to the emotional vulnerability and personal sacrifice photographers trade for revealing images. All a critic can offer is an explanation of his or her process, the method of reconciling one’s internal sensibilities with the selection of a set of resonant images from the stock at hand. Here, then, I explain my own methodology of selection, and suggest caution in any inference of success or failure. I have witnessed, and have been party to, groups of selectors who, upon reviewing a body of work, found little commonality in the photographs each deemed “best.” The lesson: Keep shooting, take each show result with a healthy dose of salt, and be bold.

Ultimately, a juror’s job is one of exclusion by way of questions. I prefer to ask six, in order. Does the image fit the theme? Is it technically sound? What was the photographer trying to do? Was it successful? Does the work ask good questions? Is it New and Poetic? Elements such as these aid in how photographs can both resonate—though seldom universally—and challenge.” 

A group photography show is thematic, because there must be a cohesive vision among the images to be displayed, and thus necessitating the question of “Does it fit?”. Similarly, a show should be unified in a standard of technical achievement. A first-year art student’s painting may seem disjointed and weak next to a Pissarro. But while the subtleties of expression and technique are still developing, it does not mean the art student is without skill or merit (Cézanne thought of Pissarro as a father). But the two works are at different points of development at that point in time.

Strong photographs must also find, ask, and suggest answers to questions. Such interrogations of the visual and physical world can be complex or simplistic, profound or superficial. Good photographs expose metaphors, chide us with doubts and wonder, or make us ponder the nature of our existence and purpose. They compel us to reconsider our place in the world.

Novelty is self explanatory. No photograph is new, so I ask, “Has it been done before in the same way?” The poetic is more elusive. On its face, a visual poem is simple, elegant; upon closer scrutiny, the complexity and tension begin to emerge. Is there more than a tension between a protagonist and antagonist? Are light, shadow, and Form players in this poem? Is it beautiful, even if it is also Terrible? Does the image stay with us long after we have left its physical presence? Moreover, are we compelled to return to it?

In a world where photographs are becoming even more ubiquitous, more fleetingly present, I find images that haunt in their Form, beauty, questions, and metaphors even more necessary. Numerically, in the proliferation of iPhone and Android snaps which inundate the digital landscape, they are becoming an increasingly minute percentage of the visual chaff we perpetuate. As photographic artists, we reject this trend.

Joyfully, many of the images submitted to this show were in that fraction of the whole, for they moved me deeply; selecting the show, online gallery, and best in show image was extremely challenging. A good deal of them will stay with me forever. The best in show image, that of four boys trapped in the geometric wasteland of fecund runoff and concrete, their gazes trapping me within the image, haunted me most. It asks questions of humanity and progress, of inheritance, and of exclusion. And yet it is beautiful in its balance, its forms, and its color. It is truly Poetic. 

I congratulate all those selected, and offer my thanks and deepest appreciation to everyone who submitted. In closing, I return to my initial question of success, and offer an answer: Keep creating, for our only failure in photography is when we silence our voices. 


Brett Erickson

Brett is considered one of Nebraska's finest artists. His work featured at NationalGeographic.com, National Public Radio, American Public Media, and Nebraska Educational Telecommunications. 

Great reason to get to the Santa Fe Photographic Workshops to learn more from this guy...

Mule Creek Junction, Wyoming,  2016   |  ©Brett L Erickson 


Developed in the New Mexico labs of Bostick and Sullivan and named for and ancient Anasazi symbol for the sun, Ziatype are a variation of the platinum/palladium process.

Sunny weather and a lovely group of artists made this workshop a joy. Thanks Digital Silver Imaging and Anne Eder for hosting and sharing the knowledge. 

On and Off The Curated Fridge...

The Curated Fridge, brainchild of photographer extraordinaire, Yorgos Efthymiadis, brings in guest curators to select fine art photography to be shown in a fresh and clever way. Exposing, promoting and connecting artists through bimonthly exhibits online and occasionally on location, Yorgos and his Refridgecurators reinforce community and creativity in this often formal world of fine art.

I was so happy to have been in the inaugural show August September 2015, then to be "Off the Fridge" at the PRC in February 2016. 

Inspirational Portfolio & Interview: Marina Black on When the Room Becomes Water

"In surfaces, perfection is less interesting."       Canadian poet, Anne Carson.     

Sunday morning got better as I came across this engaging photo-eye post. Marina Black shares her process, emotionally and artistically. Tragic loss of life and then a loss of words to articulate her feelings, brought about a deeper exploration of her dark side. Authenticity, embracing both  despair and hope and fracturing the restrictive perfect polish we put on, are some of the ideas she explores so beautifully here in black and white film.  

 Go to The Interview

Longford Digital Arts, Ireland...

Im still enjoying the view from afar as my images Cake Psycho and Penn's Mildred Pierce were juried into EXPRESSIONS  the Longford Art Photography Portrait Competition and Exhibition, 2015.  

The Griffin Museum's 21st Annual Juried Show...

Im thrilled to have been selected to partake in the 21st Annual Juried Show, Peter Urban Legacy Exhibition @ the Griffin Museum of Photography. Thank you to all the powers that be including Jim Casper of Lensculture fame and Paula Tognarelli, Executive Director of the Griffin.

Opening reception July 9th, 2015. 7 pm  

 & Congratulations to all the participants of the exhibit...           

“The 2015 Griffin Awards attracted remarkably diverse, sophisticated and refined submissions from photographers who explore their art across many genres. The 54 photographs in this selection represent a delightful range of approaches — each of which somehow celebrates the idea and the medium of photography itself — as well as the wild worlds we live in physically and in our imaginations. It’s a joy to discover so many creative people who are so fluent in the visual language of photography.” 

Jim Casper, founder and editor, LensCulture

opening night @ Panopticon Gallery

We had a fabulous turnout for the opening of not #Selfies. All the individual work hangs so well together and offers an interesting visual trip through so many personas.

Thank you to everyone who made it out! I was grateful that my epic cold-turned-sinus-infection let up for the evening and I was able to patch myself together, be there and not scare people off. It will be up until March so I hope you can pop over to see it.

'Epic!'  Jason Landry, Owner, Panopticon Gallery

Thanks NESoP for the photos of the event... 
Corinne DiPietro...

and a special thanks to you!

tired of #selfies?

Put a little more into the game... in creating and in viewing. 

Jason Landry, of Panopticon Gallery, has brought together a diverse group of artists who truly share of themselves. The perspectives and products are as unique as the people that create them. I am honored and excited to be included!

Opening night is Friday, 16th of January, 2015. Come celebrate Self Portraits, not #Selfies