Beth Moon

Beth Moon

Beth Moon's Person Web Site

Beth Moon's Gallery Representation:

Gorden/Potts Gallery, San Francisco, California

PH Neutro Fotografia Fine Art, Verona, Italy

Joseph Saxton Gallery of Photography, Canton, Ohio

Verve Gallery of Photography, Santa Fe, New Mexico

Vision Gallery, Jerusalem, Israel

 

 

 

Portraits of Time:

"Rilke's Bayon"

"Yews on Wlkehurst Path"

"Avenue of Baobabs"

"Majesty"

 

 

Seen But Not Heard:

"No. IX"

 

 

The Kingdom Come:

"Songbirds"

"Light of the Raven"

 

 

The Savage Garden:

"Trumpet Plant"

"Nepenthes Mirabilis"

"Sun Pitcher"

 

 

Island of Dragon's Blood:

"Single Dragon"

"Dragons on Hill's Edge"

"Dragon's Blood Forest at Dawn"

 

Augurs and Soothsayers:

"Polish White"

"Leghorn"

"Moon Fizzle"

I am most grateful to Ms. Moon for her kind permission allowing me to
feature her work here on my blog.

 

Beth Moon talks about her process:

The dawn of the 21st century has seen an unprecedented boom in the industry of photography due in large to the commercial advances of the new technology of electronic imaging and sky rocketing prices in the auction houses. Digital capture is replacing film; silver printing papers are disappearing. Old processes give way to convenience creating the modern desktop darkroom.

So how does the connoisseur avoid becoming part of an industry that is turning fine art into a commodity? I’d like to quote John Stevenson who has over 25 years experience collecting platinum prints;

“It may be that photography has one more dimension still largely unexplored, one more joy. It unfolds when we go beyond the taking of the marvelous image, into the making of the marvelous expression of the image. When we go beyond the artist’s eye, to the artist’s hand.” John coined the following phrase for a show that included platinum prints at his gallery in New York aptly titled, ‘Noble Processes in a Digital Age.’

Some of the prints included in that show were from an ongoing series of ancient tree portraits entitled, ‘Portraits of Time’ that I started over 13 years ago.

To me the answer has always been art. Photographs have the ability to bypass the rhetoric of the written word, going straight to the heart. I believe taking the picture is just the beginning of a long process with each step being equally important.

The aspect of age, some trees being over 4,000 years old, is what has intrigued me. As I photographed these trees and learned more about their history I became aware that a lot of our oldest trees were disappearing at an alarming rate and thought it would be important to put them on film for the sake of posterity.

With platinum printing, a process born of art and science noted for its beautiful luminosity and wide tonal scale, the absence of a binder layer allows very fine crystals of platinum to be embedded into the paper giving it a 3 dimensional appearance. Unrivaled by any other printing process, platinum like gold, is a stable metal. A print can last for thousands of years, emulating the age of the trees that I was photographing.

Each printing method has its own legacy as well as unique visual style. The same negative printed in silver gelatin would translate differently printed in platinum and, therefore, an important decision in choosing the ‘best’ medium to express each style. So it really comes down to a long line of choices.

Printing in platinum (and/or with palladium, its sister element) surely does not turn a poor image into a good one. In fact, quite the opposite, it tends to be more of a weeding out process. Since so much time and resources are spent producing the image, only the best ones seem to rise to the surface. For me this process is a good way to slow down. Each step needs careful contemplation without distractions. A high level of focus and rhythm is very important to the work flow.

This process gives tones that range from cool blacks, neutral grays, to rich sepia browns. The color is controlled with humidity. Before the sensitized paper is exposed with the negative under light, it is put into a humidifying chamber. This is a water proof covered box with a plastic grate that is suspended over water on which the print lies.

I use a medium format camera and still prefer film although I'm backing up with a digital camera most days. Paper choice is key for me. I use Arches Platine, a 100% cotton water color paper with natural deckle edges that has been made by the same mill in France since 1492.

Contact printing basically means you need a negative the size of the image you would like to print. There have been a number of ways to achieve this in the past, but most of the duplicating and reversal films have become obsolete, and paper negatives provide a low quality solution.

Printing methods from the 19th century teamed with technology from the 21st makes the best of both worlds. Negatives printed with high resolution printers seem to be the best option these days. Once a negative can be scanned into a computer it can then be output as a negative printed on transparency material.

In a market that places a high premium on archival work, there is a degree of hesitancy among some collectors when it comes to the longevity of prints produced by digital technology. The struggle increases to balance art, commerce and technique.

Crossing the line from machine made to hand made does necessitate a commitment, and true, the work is labor intensive, but the finished results ensure a satisfaction that comes with the freedom to define many decisions while working with materials that allow you to be true to your vision. And in the end, what unfolds before your eyes is more of an ‘art-object- than an ordinary photograph.


Beth Moon Biography from Professor Boerner's Explorations:

Beth Moon was born in Neenah, Wisconsin. Although she was a fine art major at the University of Wisconsin, she is a self-taught photographer. Her interest in photography was discovered somewhat indirectly over the course of time.

Beth was designing women’s clothing under her own label and needed photographs of her line. Each season, she would hire photographers to photograph her new designs until she decided to do it herself. "I never looked back," she recalls. Beth later sold the company and continued to purse her photographic interests, experimenting with various printing methods. The majority of her work today employs the Mike Ware platinum printing method that she learned while living in England.

Beth returned to the United States seven years ago, and lives with her husband and three children in the San Francisco Bay Area.

Chuck Kimmerle

Chuck Kimmerle

To see more of Chuck Kimmerle's photography, please visit www.chuckkimmerle.com.

"Window Lace"

"Schoolroom Heaters"

"Telephone Pole Shadow"

"Road Hearts"

"Crosses"

"Roadside Marker and Cloud Break"

"Patriotic"

"Mule Deer Antlers"

"Rain Squall"

"Canyon Reflections"

"Strip of Sunlight"

I am most grateful to Mr. Kimmerle for his kind permission to
feature his work here on my blog.

Chuck Kimmerle Biography and Artist's Statement:

Despite knowing little about photography at the time, I knew I was destined to make my living as a photographer when I received my first camera, a Canon Canonet QL17 GIII, as a high school graduation present. The entire process mesmerized me. I was hooked. However, a prior enlistment in the U.S. Army Infantry, which began shortly afterwards, put that dream on the back burner for a few years.

Following my discharge, I enrolled in the Photographic Engineering Technology program at St. Cloud State University, thinking it a solid career backup plan should my dream of being a photographer be unrealized. The technically-focused program provided me with a solid background in photographic science, chemistry, processes and sensitometry.

While at the university, I began working at the school paper, which was followed by a photojournalism position at the St. Cloud Times and, subsequently, jobs at newspapers in Pennsylvania and finally North Dakota, where I was part of a four-person staff named as finalists for the 1998 Pulitzer Prize for Spot News Photography. In 2000, I left the erratic schedule of photojournalism to the more predictable hours as the staff photographer at the University of North Dakota, where I remained for the next 10 years.

In 2010 I followed my wife, a New York City native, to her new job in the least populated state in the U.S., Wyoming, where I now work as an educational and commercial freelance photographer.

Throughout the years working as a photographer for others, I spent a great deal of my free time doing personal work for myself. These images, which were infinitely more important to me that the work images, were primarily landscapes. However, I have never considered myself a nature photographer. Instead, I tend to gravitate towards those areas which are influenced by both man and nature.

Despite having embraced the digital medium, I consider myself a landscape photographer in the traditional sense of the word. My style is straightforward and formal, with a deep depth-of-field and an unabashed honesty to the subject matter, and is in direct contrast to the contemporary trend of highly conceptualized pictorials. Who says newer is always better?

In the past few years I've had the honor to study with such esteemed photographers as Alan Ross, George DeWolfe, Jean Meile, Jay Dusard, Jack Dykinga and Bruce Barnbaum.

While I am drawn to photograph landscapes, I have never considered myself a nature photographer. Instead, I am drawn to those landscapes which exist at the confluence of, and are influenced by, both nature and man. Within that realm, my primary interests lie in the quiet and reticent agricultural landscapes of the plains, particularly the northern plains.

These sparsely populated areas, unassuming and devoid of grandiosity, are often unappreciated for their quiet and compelling beauty, even by those who live on, and work with, the land.

In keeping with the aesthetic of the land, my images are often straightforward, formal and balanced. As form and texture, above color, are the defining characteristics, I work almost exclusively in black and white.  Despite having fully embraced digital technologies, I consider myself a landscape photograper in the traditional sense of the word, with deep depth-of-field and and honest approach to my subjects. And, while having almost limitless control over my images I, as a general rule, let pixels lie where they have fallen, and limit my image enhancements to those available in the traditional darkroom.

It is my hope that these images will elevate awareness and appreciation for those landscapes which, while lacking obvious grand elements, offer a quiet, yet compelling, beauty.

Alexander Gardner

"Alexander Gardner"

Gettysburg National Military Park Blog Solves Mystery of Gardner Photographs

Alexander Gardner Collection at The Getty Museum

Alexander Gardner Portfolio on The History of Art

Alexander Gardner Portfolio at The Lee Gallery

National Park Service Collection of Alexander Gardner Photographs of the Battle of Antietam

Alexander Gardner Collection at Northern Arizona University

Lincoln's Photographer on You Tube

"Lincoln, Cracked Glass Plate"

"Lincoln and Tad," 1865

"Lincoln and McClellan at Antietam," 1862

"Home of a Rebel Sharpshooter," July, 1863

"John Wilkes Booth," ca. 1865

"Hanging of Lincoln Conspirators," July 7, 1863

"Lewis Payne (Powel), Lincoln Conspirator"

"Group at Ranch on Clear Creek, Kansas," 1867






Alexander Gardner Biography from the Lee Gallery of Fine 19th and 20th Century Photography:

Alexander Gardner was an American photographer. He is best known for his photographs of the American Civil War and his portraits of American President Abraham Lincoln.

Alexander Gardner was born in Paisley, Scotland, in 1821. He became an apprentice silversmith jeweler at the age of fourteen. Alexander Gardner had a Calvinist upbringing and was influenced by the work of Robert Owen, Welsh socialist and father of the cooperative movement. By adulthood he desired to create a cooperative in the United States that would incorporate socialist values. In 1850, Alexander Gardner and others purchased land near Monona, Iowa, for this purpose, but Alexander Gardner never lived there, choosing to return to Scotland to raise more money. He stayed there until 1856, becoming owner and editor of the Glasgow Sentinel in 1851. Visiting The Great Exhibition in 1851 in Hyde Park, London, he saw the photography of American Mathew Brady, and thus began his interest in the subject.

Alexander Gardner and his family moved to the United States in 1856. Finding that many friends and family members at the cooperative he had helped to form were dead or dying of tuberculosis, he stayed in New York. He initiated contact with Brady and came to work for him, eventually managing Brady's Washington, D.C., gallery.

Unfortunately, the most famous of Alexander Gardner's work has been proven to be a fake. In 1961, Frederic Ray of the Civil War Times magazine compared several of Gardner's photos showing "two" dead Confederate snipers and realized that the same body has been photographed in multiple locations. Apparently, Alexander Gardner was not satisfied with the subject matter as it was presented to him and dragged the body around to create his own version of reality. Ray's analysis was expanded on by the author William Frassanito in 1975.

Abraham Lincoln became an American President in the November, 1860 election, and along with his appointment came the threat of war. Alexander Gardner, being in Washington, was well-positioned for these events, and his popularity rose as a portrait photographer, capturing the visages of soldiers leaving for war.

Brady had had the idea to photograph the Civil War. Gardner's relationship with Allan Pinkerton (who was head of an intelligence operation that would become the Secret Service) was the key to communicating Brady's ideas to Lincoln. Pinkerton recommended Alexander Gardner for the position of chief photographer under the jurisdiction of the U.S. Topographical Engineers. Following that short appointment, Alexander Gardner became a staff photographer under General George B. McClellan, commander of the Army of the Potomac. At this point, Alexander Gardner's management of Brady's gallery ended. The honorary rank of captain was bestowed upon Alexander Gardner, and he photographed the Battle of Antietam in September 1862, developing photos in his traveling darkroom.

Alexander Gardner worked for the photographer Mathew Brady from 1856 to 1862. According to a New York Times review, Alexander Gardner has often had his work misattributed to Brady, and despite his considerable output, historians have tended to give Gardner less than full recognition for his documentation of the Civil War.

Lincoln dismissed McClellan from command of the Army of the Potomac in November 1862, and Alexander Gardner's role as chief army photographer diminished. About this time, Alexander Gardner ended his working relationship with Brady, probably in part because of Brady's practice of attributing his employees' work as "Photographed by Brady". That winter, Alexander Gardner followed General Ambrose Burnside, photographing the Battle of Fredericksburg. Next, he followed General Joseph Hooker. In May 1863, Gardner and his brother James opened their own studio in Washington, D.C, hiring many of Brady's former staff. Alexander Gardner photographed the Battle of Gettysburg (July 1863) and the Siege of Petersburg (June 1864–April 1865) during this time.

He published a two-volume work: "Alexander Gardner's Photographic Sketch Book of the Civil War" in 1866. Each volume contained 50 hand-mounted original prints. Not all photographs were Alexander Gardner's; he credited the negative producer and the positive print printer. As the employer, Alexander Gardner owned the work produced, like any modern day studio. The sketchbook contained work by Timothy H. O'Sullivan, James F. Gibson, John Reekie, William R. Pywell, James Gardner (his brother), John Wood, George N. Barnard, David Knox and David Woodbury among others. A century later, photographic analysis suggested that Alexander Gardner had manipulated the setting of at least one of his Civil War photos by moving a soldier's corpse and weapon into more dramatic positions.

Among his photographs of Abraham Lincoln were the last to be taken of the President, four days before his assassination. He also documented Lincoln's funeral, and photographed the conspirators involved (with John Wilkes Booth) in Lincoln's assassination. Alexander Gardner was the only photographer allowed at their execution by hanging, photographs of which would later be translated into woodcuts for publication in Harper's Weekly.

Alexander Gardner was commissioned to photograph Native Americans who came to Washington to discuss treaties; and he surveyed the proposed route of the Kansas Pacific railroad to the Pacific Ocean. Many of his photos were stereoscopic. After 1871, Gardner gave up photography and helped to found an insurance company. Alexander Gardner stayed in Washington until his death. When asked about his work, he said, "It is designed to speak for itself. As mementos of the fearful struggle through which the country has just passed, it is confidently hoped that it will possess an enduring interest."

Bibliography:

Keith Davis, Jane Aspinwall, Marc Wilson, The Nelson-Atkins Museum of Art , The Origins of American Photography From Daguerreotype to Dry-Plate, Yale University Press, New Haven and London, 1839-1885.

Alexander Gardner, Gardner s Photographic Sketch Book of the Civil War, Mineola, NY: Dover Publications, 1959.

Brooks Johnson, Susan Danly, An Enduring Interest: The Photographs of Alexander Gardner, Norfolk, VA: The Chrystler Museum, 1991.

D. Mark Katz, Witness to an Era: The Life and Photographs of Alexander Gardner, New York: Viking Press, 1991.

Bob Zeller, William A. Frassanito, Catalogue of Photographic Incidents of the War From the Gallery of Alexander Gardner, Photographer to the Army of the Potomac, Corner of 7th and D Streets, Washington D.C., Tampa, FL: Center for Civil War Photography, 2003.

Agustí Centelles

Agustí Centelles

Auction Results for Agustí Centelles on Artfact.com

Image Search Results for Agustí Centelles on Yahoo.com 

The Spanish Civil War Photographs of Agustí Centelleson You Tube

"Refugee Camp, Bram, France," 1939

"Mariano Vitini Behind Barricade, Barcelona," 1936

"Republican Family," 1936

 
Agustí Centelles Biography from TypicallySpanish.com:

The Catalan photographer Agustí Centelles is sometimes referred to as the Spanish Robert Capa, the legendary war photographer who left behind him in Paris when he fled Europe for the United States in 1939 what later became known as the ‘Mexican suitcase, a treasure trove of shots taken by Capa and others during the Spanish Civil War. The suitcase was in reality three cardboard boxes, which finally came to light in Mexico City after being lost for decades and were handed over in December 2007 to the New York International Photography Centre, founded by Capa’s brother, after years of negotiations.

Centelles had his own suitcase which he took with him when he fled Spain at the end of the Civil War. Its contents now form part of Spain’s historical memory as part of an extraordinary collection of 12,000 negatives and photographic plates which was recently sold to the Ministry of Culture for the sum of 700,000 € by Centelles’s children, including negatives which were discovered in a rusty biscuit tin, until then hidden from view, in their father’s laboratory just last year. The photojournalist’s heirs had received other offers, including from the Generalitat de Cataluña, and one from Sotheby’s which almost tripled the Ministry’s, but decided to accept the offer made by the state for a ‘greater diffusion’ of their father’s work. Their only condition for the sale was that the collection must remain together.

Although born in Valencia (in 1909), Agustí Centelles i Ossó moved to Barcelona at a very young age and there began his career in the profession which would later earn him the title of one of the fathers of photojournalism in Spain. He was one of the first photographers in the country to use a Leica camera, which he bought in the 1930s for the sum of 900 pesetas, a fortune at that time. The legacy now in the hands of the Spanish state is his visual testimony of the Spanish Republic, of the Civil War as an official photographer for the Republican government, and of his internment in a refugee camp in France.

Along with thousands of others, Centelles fled to France in 1939 just hours before Barcelona fell to Franco’s Nationalist forces, taking his photographs with him in a suitcase for fear that they would be used to identify people and carry out reprisals. He was to spend the next seven months in refugee camps in France, first in Argelès-sur-Mer and then in Bram, where he continued to photograph the horrors of war, sleeping with his suitcase clutched in his arms to prevent it being stolen.

He was allowed to leave the camp in September 1939 and found work in a photographic studio in Carcassonne, living there in exile until 1944 when he walked back home over the Pyrenees after the French Resistance movement he had been working with on producing false passports was arrested by the Germans. He left his precious suitcase behind for safekeeping with the French family in Carcassonne who had taken him in, telling them not to hand it over to anyone but him.

The suitcase stayed there for more than two decades, and it was not until 1976, the year after Franco died, that Centelles was able to return to Carcassone to recover the photographs he feared would have been confiscated by the Franco regime. He spent the rest of his life on restoring, copying and cataloguing each and every one of the photos which had been hidden for so many years. Agustí Centelles died in 1985 at the age of 76, the year after his work was recognised with an award from the Ministry for Culture of the Premio Nacional de Fotografía.

Charles Émile Joachim Constant Puyo

Puyo, photographed by Nadar

Émile Joachim Constant Puyo Portfolio at Luminous-Lint

Émile Joachim Constant Puyo Collection at The Metropolitan Museum of Art

Émile Joachim Constant Puyo Portfolio on PhotoSeed

Émile Joachim Constant Puyo:  Excerpts from Notes sur la Photographie Artistique on PhotoSeed 

Émile Joachim Constant Puyo on The Red List

"Montmarte," 1906

"Bords de Seine," no date

"Woman Carrying Jug Down a Hill," 1924

"Tree Study," 1914

"Vengeance," 1896

"The Straw Hat," 1906

"Chant Sacrè," 1900

"Au Jardin Fleuri," 1899

"La Tapisserie," 1900

Émile Joachim Constant Puyo Biography from Wikipedia:

Émile Joachim Constant Puyo (November 12, 1857 – October 6, 1933) was a French photographer, active in the late 19th and early 20th centuries. As the leading advocate of the Pictorialist movement in France, he championed the practice of photography as an artistic medium. For most of his career, Puyo was associated with the Photo Club of Paris, serving as its president from 1921 to 1926. His photographs appeared in numerous publications worldwide, and were exhibited at various expositions in the 1900s.

Puyo was born to a prominent bourgeois family in Morlaix in 1857. His father, Edmond Puyo (1828–1916), was a painter, amateur archaeologist, and politician, who served as Mayor of Morlaix in the 1870s. His uncle, Édouard Corbière, was a best-selling author, and his cousin, Tristan Corbière, was a well-known poet. Puyo studied at the École Polytechnique before joining the French Army as an artillery officer, rising to the rank of commandant during his career, and commanding a squadron at the School of Artillery at La Fère. He served with the French Army in Algeria during the 1880s.

Puyo began drawing at a young age. Around 1882, he started using cameras to photograph his drawings. Fascinated with cameras, he began using photography to document his various travels in North Africa. By the following decade, he had become one of a growing number of photographers who believed photography was itself a form of high art, in the same manner as other art forms such as painting or sculpture. These photographers formed what became known as the Pictorialist movement.

In 1894, Puyo joined the Photo Club of Paris, which had been founded by Maurice Bacquet, and helped organize a Salon for the club. He wrote several articles for the club's Bulletin, establishing himself as the chief theoretician of the French Pictorialist movement. In 1896, he published his first book, Notes sur la Photographie Artistique, which explained how photography could be used to create works of art.

Following his retirement from the military in 1902, Puyo was able to devote himself more fully to photography. In an effort to achieve greater artistic effects, Puyo and the Photo Club experimented with gum bichromate and oil pigment processes, and developed special soft-focus lenses that achieved impressionistic effects. Puyo wrote or co-wrote several books for the club during this period describing these processes in detail.

After World War I, the decline of Pictorialism in favor of straight, unmanipulated photographs was a source of continuing frustration for Puyo. As president of the Photo Club during the 1920s, he remained passionately dedicated to the Pictorial style.

Puyo retired as Photo Club president in 1926, and returned to his home in Morlaix. He died in 1933, and is interred with his family at the Cemetière Saint-Martin-du-Morlaix.

Puyo believed that for a photograph to be considered art, it must create a beauty independent of the subject, and thus believed art photographers should be more concerned with beauty rather than fact. He considered the manipulation of a photograph to be an expression of individuality, and believed that manipulation was necessary to eliminate the sense that the photograph was produced by an unemotional machine.

Common themes in Puyo's photographs include landscapes, female figures in various poses, and various aspects of late 19th-century Parisian life. He was greatly influenced by artistic movements of the day, especially Impressionism. One of Puyo's better known works, “Montmartre,” was inspired by Edvard Munch's “Rue Lafayette.” Art Nouveau patterns appear in many of Puyo's photographs of women.

Puyo's work has been exhibited at museums such as the Metropolitan Museum of Art, the Philadelphia Museum of Art, and the Centre Atlantique de la Photographie in Brest. A large number of Puyo's photographs are on display at the Morlaix Museum, founded by his father in the 1870s.