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Fotofoto Gallery artists Scott Farrell, Ray Germann and Harold Naideau will have works featured in an upcoming photography exhibit at The Barn Gallery of Jedediah Hawkins Inn located in Jamesport, New York on Long Island’s North Fork. This off-site exhibit is being hosted and curated by Alex Ferrone Photography Gallery.
From Alex Ferrone:
“PERCEPTION” – a new group exhibit featuring artists from the Alex Ferrone Photography Gallery will open at The Barn Gallery of Jedediah Hawkins Inn with an Artists’ reception on Saturday, September 20 from 5-9pm. Photographer, Ansel Adams said, “Photography, as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution.” The PERCEPTION Exhibit presents images from the artistic awareness and sensing of elements in environments found by each of the participating photographers and shows their creative capacity for comprehension and interpretation of particular scenes.
PERCEPTION features works of varied photographic subjects, styles, and fine art printing techniques and includes black & white and color traditional and alternative photographic processes, works on aluminum, hand prepared Italian watercolor paper, and other fine art papers. Photographers include Michael Edelson, Rich Faron, Scott Farrell, Alex Ferrone, Ray Germann, Gerry Giliberti, Katherine Liepe-Levinson, Harold Naideau, Jim Sabiston, and Steven Schreiber.
PERCEPTION runs through October 14, 2014.
View PERCEPTION from September 20 through October 14. Special edition PERCEPTION Exhibition Posters signed by the artists are available for purchase during the exhibit. The Barn Gallery at Jedediah Hawkins Inn: 400 South Jamesport Avenue, Jamesport, NY. For more info: AlexFerrone.com or 631-734-8545. Exhibit hours are when the Restaurant is open for dinner daily and for lunch on the weekends – call 631-722-2900 for exact times. Sponsored by Abatelli Realty & Appraisal Services.
For those of you who are not familiar with Jim’s work, the following is from his web site…
“Jim Richardson is a photographer for National Geographic Magazine and a contributing editor for its sister publication,TRAVELER Magazine. Richardson has photographed more than 25 stories for National Geographic.
Richardson’s work takes him around the world, from the tops of volcanic peaks to below the surface of swamps and wetlands. ABC News Nightline produced a story about the long process of assembling a National Geographic coverage by following Richardson in the field and at National Geographic Society headquarters in Washington, D.C.
In addition to his color photography, Richardson has built a distinguished body of black-and-white documentary work about rural Kansas life. His audiovisual presentation, “Reflections From a Wide Spot in the Road,” has toured internationally. A 22-page story about his 30 years of photographing life in the north central Kansas town of Cuba, population 230, was published in National Geographic and featured twice by CBS News Sunday Morning, most recently in May 2004. His 1979 study of adolescence, “High School USA,” is now considered a photo essay classic and is used in college classrooms.
Richardson speaks nationally and internationally. He lives in Lindsborg, Kansas, where his work is featured at his gallery, Small World, on Lindsborg’s Main Street.”
After Jim was kind enough to field some technical questions, Scott asked if he wouldn’t mind answering a few general questions for inclusion on fotofoto gallery’s blog. He graciously agreed and here is how the “conversation” went…
SF: What was it that drew you to photography, as opposed to “how did you get your start”?
JR: Well, as a sort of a loner kid out on a farm I had many hobbies and I was fascinated by all sorts of “magical” technology, like telescopes and microscopes. So I think it was both the technology of cameras, and then the miraculous things that happened in the darkroom, that really got me going. But then, it also turned on my ability to make images that somehow transformed the everyday into something special. So I did a lot of experimenting with lighting, tabletop photography, shooting through my binoculars (early telephoto experiments) and photographing lightning storms. All of it a great deal of fun.
SF: Who would you cite as an influence(s)?
JR: First off my father, who picked up his cameras secondhand in pawn shops between Kansas and Texas on his truck route. That’s what got me started. But then when I was beginning in newspapers it would have been the great documentary photographers like W. Eugene Smith and David Douglas Duncan.
SF: Is there a particular working photographer who you enjoy or for whom you have a special respect or appreciation?
JR: I think several of my colleagues at National Geographic fall into that category. I think of John Stanmeyer who is just dogged in getting to the heart of stories. And Peter Essick who does such wonderful images of the environment, particularly when the story is difficult and not obviously “visual.”
SF: There are continuous technological advances being made in photography. Do you still shoot any film or are you strictly digital now – and do you think mirror-less cameras will overtake the DSLR?
JR: I don’t shoot any film; switched completely as soon as I could after I got my first digital camera (a Nikon D100). Never looked back. Mirror-less cameras will overtake DSLR’s, almost certainly. For many purposes they already have.
SF: In this digital age just about anyone with a camera phone might refer to himself/herself as a “photographer”. Do you think the proliferation of these devices has, for the lack of a better term, “dumbed down” photography? And is this necessarily a good or bad thing?
JR: I don’t think the proliferation of camera phones has dumbed down photography any more than the printing press dumbed down writing. It has expanded the range, democratized the communications, made it possible for virtually anyone to speak “photography” as a second language, and elevated the best photography even higher by simply setting bar higher. All to the good.
SF: If you could only take one camera body and lens (or maybe you’d choose your camera phone?) to shoot your favorite subject, what would you choose or consider your “go to” options?
JR: I’d probably take my Nikon D800e and my 16-35 Nikkor. But that is because you said to photograph my favorite subject and that would probably be the Hebrides of Scotland – and that means I need a lens that can take half gray filters, thus eliminating my 14-24mm Nikkor. The subject dictates the camera.
SF: If you had to choose your one, favorite place to shoot where would that be and why?
JR: Oh, as I mentioned above it might be the Hebrides of Scotland. Or it might be Cuba, Kansas, the little town where I have been taking pictures for 35 years.
SF: In your opinion, what makes a photograph “great” or exceptional? Are there certain elements you look for?
JR: I look for the direct communications, the elegant way it goes straight to the heart of the matter. I’m almost totally ecumenical when it comes to style as long as the effect is direct communications.
SF: How much would you say you rely upon post-processing versus trying to get it “right” at the time of image capture, such as through the use of ND filters, lighting systems, etc.?
JR: I try to get it as right as I can in the camera. For National Geographic we are pretty much in the non-fiction photography business, so there is a real limit on how much post processing can be done. Tonality, contrast, dodge-and-burn are pretty much OK. Beyond that it’s all thin ice out to the really deep waters of Photoshop.
SF: How do you catalog, archive and backup decades worth of photographic images – and how much of what you originally take winds up being kept? Has everything been digitally converted?
JR: I catalog in Aperture, for me the very best of the cataloging software today. (I can’t imagine why photographers don’t catalog their work more effectively.) I have about 600,000 images in my main Aperture catalog that I work out of on a daily basis. All of that takes up about 10TB on a 5-bay drive (JBOD, not RAID.) which I back up off site. And then I use PhotoShelter. And then, of course, anything I shoot for National Geographic is also fully stored in their archives.
As for shooting, I keep every frame. But in practical terms a full NG shoot, which might be 40,000 frames results in a core set of images numbering several hundred that get the brunt of the use. We show about 40 to the editors, from which 10-20 are used in the layout.
Only a fraction of all the slides (from the film years) has been digitized. Most of it probably will never be scanned.
SF: What do you consider to be your proudest accomplishment, or greatest work, as a professional photographer to date?
JR: I was named Honored Citizen of Cuba, Kansas for photographing their community. I was named Kansan of the Year for photographing our Flint Hills. Mostly I count my accomplishments in terms of taking on stories that no one else wanted to photograph and making them sing in the pages of National Geographic. (The Ogallala Aquifer was one such.)
SF: Lastly, using your remarkable talents as a photographer, what would you still most like to accomplish?
JR: Probably I’d like to get my photo files in order and not feel like it’s a total mess all the time. Actually, it would be to get all the photo books I have threatened to do done.
This Saturday and Sunday, May 31st and June 1st, Huntington’s Heckscher Park plays host to the Art League of Long Island‘s 47th annual “Art in the Park” craft fair. More than 75 artists and craftspeople will display their one-of-a-kind works. Paintings, drawings, sculpture, photography, woodwork, ceramics, fiber arts, and more are available for purchase.
There will also be live music, food vendors, hands-on activities for the whole family , and live art demonstrations by Art League instructors.
A Raffle will run throughout the weekend, winner to be announced Sunday afternoon. Proceeds will benefit the Art League of Long Island, a not-for-profit organization serving the community since 1955.
Admission is free and hours both days are 9am – 5pm. Please help support your local arts community.
Hope to see you there!
The East End Photographers Group will be celebrating Spring with their annual 9-day photographic exhibition at Ashawagh Hall in East Hampton, NY. This is a very special exhibition that will feature guest curators Elena Prohaska Glinn and Marilyn Stevenson. Also included in the exhibition will be historic images by celebrated Magnum photographer Burt Glinn.
The show will feature traditional, digital and alternative photographic processes and include fotofoto gallery artists Scott Farrell, Ray Germann, as well as photographers Ann Brandeis, Zintis Buzermanis, Dell Cullum, Anne Drager, Paul Dempsey, Peggy English, Rich Faron, Alex Ferrone, Janet Glazer, Gerry Giliberti, Pamela Grienke, Greg Hollmann, Joel Lefkowitz, Virginia Khuri, George Mallis, Berton Miller, Joanna McCarthy, Guy Pierno, Joan Santos, Dainis Saulitis, Steve Schreiber, Rosa Hanna Scott, James Slezak, Marilyn Stevenson, Nick Tarr, Mary Trentalange and Bob Wilson.
The event is free and open to the public. Opening Reception: Saturday May 31st, 5 to 8 PM. Exhibition runs from Saturday May 31st through Sunday June 8th, 2013. Closing Reception will take place on Sunday June 8th 3 PM – 5 PM.
Gallery Hours: 1 PM to 5 PM weekdays and 12 PM to 5 PM on weekends.
Ashawagh Hall is located at 780 Springs Fireplace Road in East Hampton, NY.
For more information you can visit the East End Photography web site at…
FotoFoto Gallery photographers Ray Germann and Scott Farrell will be exhibiting works at Alex Ferrone Photography Gallery in Cutchogue, NY. The show, entitled “Metropolis”, presents geometric, playful and textural images of street scenes, architecture and the people of New York City. Ray and Scott will be accompanied by fellow regional photographer, Rich Faron.
The exhibit dates are May 3rd through June 8th, 2014.
Admission is free with an opening reception sponsored by Lenz Winery on Saturday, May 3rd from 6pm to 9pm. There will be a gallery talk on Sunday, May 18th at 2pm with the artists discussing their works. Reservations are required.
Alex Ferrone Photography Gallery is located at 25425 Main Road (at Alvah’s Lane) in Cutchogue, NY. Gallery hours are Thursdays through Sundays from 11am – 6pm, or by appointment. For more information you can call 631-734-8545, or visit Alex’s web site at www.alexferrone.com.
The sole photography gallery on the North Fork of Long Island, Alex Ferrone Photography Gallery presents “Music In Images”. This exhibit is juried by noted curator and Hampton Arts Hub reviewer Esperanza León. “Music” is the theme and works from twenty regional photographers, including FotoFoto Gallery members Scott Farrell, Ray Germann and Harold Naideau will be on display.
The exhibit has been extended and now runs February 28th through April 4th.
Part of “Live on the Vine – The Long Island Winterfest”, this is a free event. So please, come out and show your support for the photographic arts!
Alex Ferrone Photography Gallery is located at 35245 Main Road (at Alvah’s Lane) in Cutchogue, New York.
For more information you can check out the event on Facebook at https://www.facebook.com/events/555943891179279/
FotoFoto is pleased to announce that three of our members Scott Farrell, Andrea Gordon,and Holly Gordon are showing at “A Ripe Art Circus “exhibition held at Ripe Art Gallery at 1028 Park Avenue, Huntington, NY 11743 ripeartgal.com
This exhibition runs through March 8, 2014