This month the Contract Printers Guild is pleased to introduce three new members, Robert Finley, Sandy King, and Jason Miguel Russell. These three photographers and their talents have unquestionably expanded the artistic flavor of the Guild; and, as an organization, we have a bright future with their membership. Their different styles, visions, and voices endow us with a much larger talent base to share with you. Below is a short introduction to each new member, but be sure to read more about them on our website and see their work in our Store gallery.
As photographers, we have all questioned our motives for making pictures. This month you can see how Gerhard Bock has dealt with these issues. He has put the fun back into his work. Patrick Kolb shares an experience on a recent winter trip to Carmel, and Ray Bidegain talks about a journey to see a Paul Strand exhibition of platinum prints. A lot of food for thought!
As always, we have a schedule of shows and workshops by Guild members, so be sure to see if one is in your area and drop by and say hello. Finally, please note our Guild Store guarantee: If you are not happy with your on-line purchase, you can return or exchange it free. We thank you for your continued support of our group. It is our pleasure to share our vision with you.
|
Contact Printers Guild Online Store
 Contact prints are universally valued for their remarkable qualities of optical sharpness, fine detail, and sensual textures. Contact printing has evolved to a forceful aesthetic today, one of purity and perfection that is actively practiced by Guild members. The decision to make hand-made contact prints reflects a method of working that necessitates contemplation. It is a time-consuming process that records each detail in the print quality to achieve the unsurpassed graphic and textural form present in each print.
Above is "Mississippi River 2, 2002," a 4x10 print on silver chloride paper by DJ Nayakankuppam, one of the gallery of fine prints available in our Store. Because we understand the difficulty of seeing the true beauty of a contact print from a scanned image on your computer, we offer an unconditional guarantee. If you are not satisfied with any photograph you have purchased from the online Store, you can return it for a refund. We currently have approximately 300 photographs available for sale. Just click on the link below to quickly and easily view our catalog. The Store is a secure site that allows you to purchase using your credit card or PayPal account.
Click here to visit our Store.
|
New Guild Members
 New Member Robert Finley
Drawing on a lifetime of photography experience, Robert Finley has finally turned his inner eye to his personal work. Robert has been drawn to a large camera to create film negatives that coax everything he can get out of his hand-made platinum/palladium prints. The Contact Printers Guild is happy to share with you Robert's experience, his joy of photography, and his inner voice.
At right is "Redemption," an 8x10 platinum/palladium available in our Store. To see more of Robert's work, please click here. For more information about Robert, please click here.
 New Member Sandy King
Hopefully experiencing the delights of retirement, Sandy King has been filling his days in pursuit of one of his lifelong passions - photography. Although Sandy is known as a gifted technician in the art of printmaking, specifically the time-consuming carbon transfer process, it is his images and vision that we are most excited about. We are looking forward to seeing more of his prints and to hearing about his travels around the world. Sandy keeps a busy exhibition and workshop schedule, and truly practices the Art of Photography.
At left is his image entitled "Galleria del Arte No. 1" available in 5x7, 10x14, and 20x17 through our Store. If you would like to see more of Sandy's prints, you may use this link.To read more about Sandy, please click here.
 New Member Jason Miguel Russell
Having negotiated the progression of format sizes that most photographers go through, Jason Miguel Russell brings to the Guild the aspirations of youth and the enthusiasm of starting a career in photography. A student of photography, both self-taught and with formal education, Jason explores his inner being in his work. He articulates thoughts and feelings of himself with each image, inviting the viewer to join him in his discovery. Now working with an 8x10 camera, he makes contact prints that are the perfect vehicle to render every essential detail in his compositions.
Here you see "Belchertown #8," an 8x10 selenium-toned silver gelatin contact print. To see more of his Belchertown Series and other images by Jason, please visit our Store.To read his full bio, please click here.
|
IN FOCUS with Gerhard Bock
 Doing It for Yourself
Do you remember the good old days when you were a mere mortal, carrying nothing but a cheap point-and-shoot and a roll or two of cheap print film--and barely even noticing or caring about the brand? When you were unencumbered by a camera bag larger than many people's suitcases, a tripod heavy enough to break a mule's back, and lenses so numerous they could supply a small-town camera store? When you could wander around unnoticed and take snaps of whatever or whoever caught your eye? When preserving precious memories of vacation trips and family get-togethers was all you were really after?
Those were the days, and the more involved I got in photography--the more prolific, proficient, and profound--the more they have faded into the past. Instead of taking a casual stroll through the meadows of Yosemite Valley, my mind as footloose and fancy-free as my legs, I started to worry about getting up in time for sunrise and, after a day of frantic scouting, hurrying to the right place for sunset before the good light faded, all the while thinking of rules of this and rules of that. Sure, I learned to make images that were technically perfect and esthetically pleasing, but the more perfect and pleasing they got, the less life was left in them.
I began to wonder. Hmmm. This isn't as much fun as it used to be. What's wrong here?
But then people began to ooh and aah over my pictures, and I even sold a few. Surely, that had to be a sign that I was on the right track! Surely, there was no need to worry. In fact, what I needed was a larger camera! So I bought a bigger and better camera and delicate "professional" film--refrigerated, mind you, even on long trips, the hassle and mess of dealing with gas-station ice notwithstanding. I continued to hurry, churning out sheet after sheet of flawlessly composed exposures. Rarely had nature been lensed so liberally, captured so completely!
Vacation trips that once were full of rest and relaxation for my family became torturous marathons of chasing one vista after another. I drove further and further and got up earlier and earlier, and not a single sunrise this side of the Rocky Mountains was safe from me. Now and then I tried to determine if this made me happy, but there was always something new to explore so I never had time to find out.
Finally, after winning major prizes in photo contests and selling images to calendar companies and magazines, it hit me: I was crazy. Certifiably nuts. Instead of having fun, I had fits. Instead of celebrating nature, I was cheapening it. I'd lost the spirit of joy and tranquility that marked those early days when I would send my no-name print film in paper mailers to cheapie print labs called York and Clark.
So I put a stop to it.
For a while, I quit taking pictures altogether and spent a lot of time thinking about what really excited me about photography. Why I wanted to capture what I saw out there, and how I wanted to capture it. I realized that I would never be Ansel Adams or John Sexton--and that it didn't matter because their passions were not mine. Going through the photos I'd taken over the previous years, I formed two neat piles: one with the ooh-and-aah-inducing vistas rendered in fantastic detail--the ones that wow Aunt Marie, Uncle Bill and the occasional calendar editor but leave my spirit wanting--and another with the eclectic mix of images that speed my heartbeat and make me glad I own a camera. Those are "little" pictures of things we see everyday and yet don't see. Abstract images of nothing but water and sky, or furrows in a freshly plowed field. Or pictures of a bench in a parking lot. Images I love more deeply than any other because they come from deep within me, because they define and delineate what I'm passionate about, because they could not have been taken by anybody but me.
When I began to take pictures again, it wasn't easy to let go of the urge to photograph what others might like, but I realized that I don't have to. There's nothing wrong with taking yet another picture of Mono Lake at sunrise or Half Dome at sunset. Even though these images may not fulfill me totally, they still give me a measure of joy when I take them, and, if I'm lucky, they brighten somebody else's day.
But I won't go out of my way anymore to re-photograph what has already been photographed from here to eternity. Instead, I will go back to those early days when all I had was the freedom to photograph for myself. I will ignore the rules that limit what and how I create, and I will seek out the sublime interplay of light and dark in places that are the unsung heroes of geography--even, or especially, if the subject is nothing but light itself.
Above is Gerhard's image titled "Bench in a Parking Lot." To see his work available in our Store, please click here.
|
Photographers' Outings
 Exploring Monterey Peninsula
Patrick Kolb writes about a typical irritant in the life of an active photographer, and its delightful and unexpected absence on an outing last season.
"Once again escaping the Pacific Northwest winter rains, we took our Sportsmobile to Southern California last February. The drive up the Big Sur shoreline, with its unbelievable array of turquoise-, jade-, and indigo-hued waves, was matched only by the magnificence of the coastal redwoods. We camped among them at Pfeiffer Big Sur State Park, where we had the once-in-a-lifetime thrill of seeing a lynx creeping silently through a nearby glade as I was quietly setting up a photograph.
"Arriving in Carmel on a Sunday, we planned to spend some time at Weston's beloved Point Lobos Reserve. Much to our dismay, the headline in that morning's paper must have been 'See Point Lobos Today!' because it was so crowded that we had to circle several times to find a place to park. Finally locating a space, we then walked a considerable distance just to reach the Allen Grove Loop trail, (of course) carrying 30 pounds of camera gear. Setting up and completing a photograph was further complicated by the inevitable passage of someone into my frame so frequently that I soon gave up for the day.
"We decided to continue on to Monterey, our week's destination. At the last moment, we detoured into Carmel to its famed Mission San Carlos Borroméo, preparing ourselves for similarly discouraging hordes. But, as Mary Jo's snapshot above attests, the gates were wide open and it was virtually deserted. Obviously, everyone in town was out at Point Lobos for the day!
 "Most of my previous images have been landscape, but with my work in platinum/palladium printing, the charm of architecture reflecting old traditions has become an ever-stronger draw. The mission provided me with so many beautiful images, it was just up to me to frame and capture them. This scene, for example, in the interior courtyard below the basilica bell tower, struck me as a reminder of the artistry of the architects of old, who watched where the sun fell as they designed the staircase and created beauty for the pleasure of everyone who came to the mission, rich and poor alike."
To see this image, "Carmel Mission Stairs," and more of Patrick's work in our Store, please click here.
 A Day with Paul Strand
Ray Bidegain recounts a recent trip to a museum show of works by one of the giants of our art form, Paul Strand, whose famous "Ranchos de Taos Church, 1931" appears at right.
"Last week I did something that I had not done in far too long. I went to a museum showing of photographs, a Tacoma Art Museum exhibit of 35 prints by Paul Strand. Guild member Patrick Kolb and I traveled to Tacoma, along with our friend and fellow photographer Dave Burbach, to see images Strand made while in New Mexico in the early 1930's. Having spent a good deal of time reading about and looking at reproductions of this work, I was really looking forward to the exhibition.
"The prints on display were all contact prints; some were gelatin silver and some were platinum. Because I make platinum contact prints of my own work, I was able to relate to this work on a technical level immediately. Being contact prints, they were smaller in size, 4x5, 5x6, and 8x10. It was interesting to me to see how much beauty and information resided in these small prints. Having struggled in my own work with print size, I paid particular attention to how prints of each size felt. I noticed right away that I was drawn in close to the images that created a sense of intimacy. My favorite image of the show turned out to be a 4x5 landscape, a view of the desert hillside. Even though the scene was grand in size and the print itself was small, I was incredibly moved by the beauty and intimacy of the photograph. I know this sounds trite, but I have to say it anyway: The original prints far surpass the reproductions in any book of Strand's work that I have seen. If for no other reason than this, I want to make more time for looking at the original prints by the photographers I have looked up to all these years.
"I look at original prints by other photographers I know, and at my own prints, all the time. It was affirming for me to see original prints by a photographer like Strand and realize that we, too, are on the right track, working hard to make our art."
To see Ray's work, please visit our Store.
|
Special Offers
 Be sure to check out the changing gallery of specially priced prints offered by Guild members through this newsletter. Using this link, you can buy selected photographs that Guild members have discounted for a limited time.
At left is a 5x7 platinum print by Ray Bidegain, titled "Dark Portrait," one of several prints available in our Special Offers section this month. Some of the prints are also featured in the current B&W Magazine advertisement. Please visit this issue's special-offer prints on our website.
|
Members' Current & Upcoming Shows & Events
 Matthew Magruder
The "Texas Church Project" exhibition runs until May 24 at the Union Gallery on the campus of University of North Texas in Denton, TX (north of the Dallas/Fort Worth metroplex). This group show is the culmination of nearly two years' work and features the images of Matthew Magruder with those of the other Project members: Mike Castles, Lee Carmichael, Jeremy Moore, and David Brown. For more details, please go to the university's web site.
Matt invites everyone to stop by the exhibit and share your thoughts on his work. His 7x17 platinum/palladium contact print at right, "Church Vertical" is available in our Store. To see more of Matt's work in our Store, please click here.
Guild Group Show in Sacramento, CA
The Curatorial Committee of Sacramento's Viewpoint Photographic Art Center has invited the Contact Printers Guild to exhibit our work this year. The show has been scheduled to run from August 10 through September 1, with an Artists' Reception on Saturday, August 11. The Center is located at 551 Sequoia Pacific Blvd in Sacramento. For more information about Viewpoint, please visit their web site.
Guild Group Show in Portland, OR
The Contact Printers Guild will have a second group show this year, set for October 20-November 23 at Portland's Camerawork Gallery. An Artists' Reception will take place on Sunday, October 21. The gallery is located in the lower level of Peterson Hall at 2255 NW Northrup. You may check on hours or directions by calling 503.245.1784.
Michael A. Smith and Paula Chamlee
From June 15 through July 19, Camera Obscura Gallery, 1309 Bannock Street, Denver, CO, will feature Michael and Paula's photos (further information available by phone at 303.623.4059).
For purchase information on Paula's work in our on-line Store, please click here. To see Michael's work, you may use this link.
 John Wimberley
John's work will be part of a three-man exhibit at Ryerson University in Toronto, Canada, scheduled for May 1-31. From the show brochure: "John Wimberley's photographs explore an arid and mythic landscape, where the three-dimensional plane is flattened, yet images retain form and shape and contour. The tonal range of Wimberley's prints draws the eye across these altered landscapes." For directions to the School of Image Arts gallery, please go to the Ryerson University website and click on the "Campus Maps" tab.
John has made many of his images from this exhibit available in our Store. To see them and more of his contact prints, please click here.
The Paul Paletti Gallery will exhibit John's work during September, October, and November this year. The gallery is located at 713 E Market St., Suite 100, in Louisville, Kentucky. You may call 502.589.9254 for hours and directions. From November 24 - December 31, John will have a solo show at Camerawork Gallery in Portland, Oregon. The Gallery is located in the lower level of Peterson Hall, 2255 NW Northrup. Phone 503.245.1784 for hours and directions.
|
| Members' Workshops
 Ray Bidegain and Patrick Kolb: Platinum Printing Workshop, October 12-14
Platinum/palladium prints are valued by photographers, collectors, galleries, and museums for their inherent beauty and archival stability. This workshop will demystify this process and give students the basic skills necessary to produce very fine platinum/palladium prints at a reasonable cost.
As we did earlier this year, we will meet at the Washington State University campus in Vancouver, WA. Space is limited to only ten students for this very popular workshop. Cost is $295, all-inclusive (price covers chemistry, paper, etc. for hands-on lab sessions). Contact Ray or Patrick via the workshop page if you have questions or wish to sign up for this workshop.
 Ray Bidegain: The Art of the Studio Nude
We're pleased to announce Ray's first classes focusing on his expertise in capturing the beauty of the human figure. He has scheduled two workshops, both in Portland, OR, for June 9-10 and October 6-7. With small class size, you'll be guaranteed one-on-one time with the instructor and the model. Since space is very limited, please sign up soon to be assured of a spot.
Tuition is $395, with a discount to $325 for those also enrolled in the October plantinum printing workshop above. To sign up or get more information, visit his workshop page.
John Wimberley
July 20-22, Vancouver, WA
John is conducting a workshop entitled "Light and Silver-Techniques for Film Exposure and Development." This workshop is open to anyone with a film camera, from 35mm to 4x5. Tuition is $140 and the class is limited to ten students. For more information, please email John at tjwimberley@ashlandhome.net or telephone Robert Brummitt in Portland at 503.614.0161.
September 21-23, Medford, OR
"Sight and Insight" is a workshop that examines seeing from a number of perspectives, including peripheral vision and the intuitive "third eye." It is open to anyone with a camera, film or digital.
October 3-8, Virginia City, NV
An expanded five-day "Sight and Insight" workshop will be held at the St. Mary's Art Center. The center has lodging available for workshop participants in newly renovated rooms. In addition, a darkroom with eight enlargers and a print-finishing room will be at the disposal of students. The workshop will include both classroom instruction and field trips to beautiful and fascinating locations in the area.
Michael A. Smith and Paula Chamlee: "Vision and Technique"
Michael and Paula offer weekend workshops several times a year in varying locales, open to intermediate and advanced photographers. Their next scheduled workshops will be June 14-17 in Denver, CO; August 31-September 2 in Bucks County, PA; and October 12-14 in Tuscany. Please check their web site for the latest updates to their schedule and for further information. To enroll, call them at 610.847.2005 or email them at workshops@michaelandpaula.com.
|
New Members
The Contact Printers Guild is always interested is seeing work from contact printers throughout the world. We have set up some guidelines for submission of work and consideration for becoming a Guild member. If you are interested, please click here to see the details.
|
|
