June 2011 Featured Photographer : Alexander Diaz

Although the rate of growth has slowed in recent years, the past decade saw an almost 25% increase in the number of Florida’s housing units and commercial spaces. Alexander Diaz’s photographs of the state’s peculiar mountains show this transition from natural terrain to developed landscape. Click here to see Diaz’s project Florida’s Mountains.

Alexander Diaz: Florida's Mountains

Click here to see more of Florida’s Mountains.

Alexander Diaz: Florida's Mountains

Click here to see more of Florida’s Mountains.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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May 2011 Featured Photographers : Farnell & Powell

Rising gas prices may be making Sunday drives unfeasible for families today, but they were once popular across the United States. Inspired by the outings of their youth and evoking the macabre curiosity of children, Cynthia Farnell and Dan Powell invite viewers on a drive through parts of South Carolina and Georgia. Click here to see Farnell & Powell’s project Sunday Drive.

Farnell & Powell: Sunday Drive

Click here to see more of Sunday Drive.

Farnell & Powell: Sunday Drive

Click here to see more of Sunday Drive.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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Photography Grants and Open Calls (May 2011)

Every month, we try to collect information about grants, exhibitions, residencies, open calls, etc., that might interest you. Here are some current goings-on at the Center for Documentary Studies, The Photo Review, The Manuel Rivera-Ortiz Foundation, Photo Center NW, and SlowExposures:

2011 Daylight / CDS Photo Awards

2011 Daylight / CDS Photo Awards Logo

In recognition of a mutual interest in documentary and fine art photography, Daylight Magazine and the Center for Documentary Studies started an international competition in spring 2010, the Daylight/CDS Photo Awards, to honor and promote talented and committed photographers, both emerging and established, in two prize categories, the Project Prize and the Work-in-Process Prize.

What you get: Project Prize Winner: A solo exhibition at the Center for Documentary Studies + more. Work-In-Process Prize Winner: A print feature in Daylight Magazine and CDS’s newsmagazine Document + more.
Who can apply: Anyone
It’s gonna set you back: $60 for Project Prize, $30 for Work-In-Process Prize.
Who’s gonna see your work: Anthony Bannon, director, George Eastman House; Darren Ching, owner, Klompching Gallery, and creative director, Photo District News; Stacey D. Clarkson, art director, Harper’s Magazine; Whitney Johnson, picture editor, The New Yorker; Joel Sternfeld, photographer; Sasha Wolf, owner, Sasha Wolf Gallery; Taj Forer and Michael Itkoff, editors, Daylight Magazine, and Alexa Dilworth, publishing director; and Courtney Reid-Eaton, exhibitions director, Center for Documentary Studies at Duke University
When’s the deadline: May 15, 2011

For more information, please visit: The Daylight / CDS Photo Awards Overview page.

Photo Review International Photography Competition

Photo Review International Photography Competition Logo

The Photo Review is a critical journal of national scope and international readership. Publishing since 1976, the Photo Review covers photography events throughout the country and serves as a central resource for the Mid-Atlantic region. Accepted work for the Photo Review International Photography Competition will be reproduced in the 2011 competition issue.

What you get: An exhibition at the University of the Arts Photography Gallery, Philadelphia
Who can apply: Anyone
It’s gonna set you back: $35 for up to three images, and $8 for each additional image
Who’s gonna see your work: Robert Mann, Director of the Robert Mann Gallery
When’s the deadline: May 31, 2011

For more information, please visit: Photo Review Competition page.

Manuel Rivera-Ortiz Foundation for International Photography Grant

Manuel Rivera-Ortiz Foundation for International Photography Logo

The Manuel Rivera-Ortiz Foundation for International Photography is a non-profit organization committed to fostering positive social discourse in underrepresented communities throughout the world by encouraging emerging and established photographers working in developing nations to keep their lenses fixed on the plight of the poor and disenfranchised. One photographer will receive a grant of $5,000 USD to be utilized for the production or completion of a project based on pressing social issues in the developing world.

What you get: $5,000 grant to pursue a social documentary project
Who can apply: Photographers 18 years or older
It’s gonna set you back: $0
Who’s gonna see your work: Manuel Rivera-Ortiz Foundation staff
When’s the deadline: May 31, 2011

For more information, please visit: The Manuel Rivera-Ortiz Foundation website.

Photo Center NW 16th Annual Photo Competition Exhibition

Photo Center NW 16th Annual Photo Competition Logo

The Photo Center NW works to advance the study, practice, and appreciation of fine art and documentary photography through education, exhibitions, access to photographic facilities, and public programs. The theme of the 16th Annual Photo Competition Exhibition is focused on ANYTHING related to Land or Wateropen to interpretation. Selected entries will be exhibited in Seattle, WA at the Photo Center August - Mid October 2011.

What you get: A spot in the exhbition. First, second, and third prize winners will take home $1000, $500, and $250 as well as a $75 Blurb Inc. Scrip Certificate for each winner.
Who can apply: Anyone
It’s gonna set you back: $40 for 4 jpgs (minimum). You may add additional jpgs for $7 a piece up to 12 total.
Who’s gonna see your work: Karen Irvine, Curator at the Museum of Contemporary Photography in Chicago
When’s the deadline: June 11, 2011

For more information, please visit: The Photo Center NW website.

SlowExposures Photography Exhibition

SlowExposures Photography Exhibition Logo

SlowExposures is the nationally-recognized juried photography exhibition that underscores the diversity, contradictions and complexity of the rural American South. Entering its 9th year, SlowExposures includes a photography exhibit with workshops, portfolio reviews, satellite shows, a collector’s lecture, and a black-tie Ball, all designed to celebrate the rural South.

What you get: A spot in the SlowExposures exhbition, as well as a chance to win up to $1,000 in cash awards.
Who can apply: Anyone
It’s gonna set you back: $50
Who’s gonna see your work: Elisabeth Biondi, Visuals Director at The New Yorker magazine; Peter Essick, photographer
When’s the deadline: June 15, 2011

For more information, please visit: The SlowExposures website.

Do you have information about any grants or open calls you’d like to share with us? Please email info@oneonethousand.org.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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May 2011 Featured Photographer : Eliot Dudik

Visitors to the Lowcountry may easily overlook the fact that the water is not just an attraction, but a way of life. Even as new developments shift the social and environmental makeup of South Carolina’s East Coast, Eliot Dudik’s photographs offer a view into the lives of the Lowcountry’s residents. Click here to see Dudik’s project.

Eliot Dudik: ROAD ENDS IN WATER

Click here to see more of ROAD ENDS IN WATER.

Eliot Dudik: ROAD ENDS IN WATER

Click here to see more of ROAD ENDS IN WATER.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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Visual Influences Series:
David Simonton

I’m considered to be a Southern photographer. But I didn’t move to the South until 1989 when I was 36 years old. Before that I lived in the Garden State, which (you may be surprised to learn) is New Jersey.

When I was a boy, my family vacationed at the New Jersey Shore (yes, that Jersey Shore) usually during the last two weeks of August. We’d spend sunny afternoons on the beach. As the sun went down, I’d sense a shift in the atmospherenot only did the fading light change the way things looked, it changed the feeling of the place. (Years later, working as a route driver in Northern New Jersey, I noticed similar shifts as weather and the seasons changed. I’d drive the same roads through the same towns, and yet no two trips were identical, either visually or emotionally.) Light’s effect on the appearance of things, and its influence on mood and atmosphere, was starting to make an impression.

Harry Callahan, Cape Cod, 1972, Photograph
Photograph by Harry Callahan, Cape Cod, 1972

Harry Callahan, Cape Cod, 1972, Photograph
Photograph by Harry Callahan, Cape Cod, 1972

When I was fifteen, I began taking pictures with a Kodak Instamatic camera. (This was in the late 1960s.) The drugstore prints I had made never matched the impact of what I had originally seen. To my disappointment, those drab color pictures always seemed to diminish the subject.

That disappointment might have ended my interest in photography had it not been for the gift of a Swinger. The Polaroid Swinger [1] was a popular camera made of white plastic manufactured between 1965 and 1970. The camera produced black-and-white prints in ten seconds, and provided me with a unique and different way of seeing things.

The first time I shot with the Swinger, I walked the same route I used to get to high school and back. It was Saturday and the sun was shinning. I took the first picture of someone’s front yard, and put the resulting print in my shirt pocket. When I approached that same yard an hour later, the sky had clouded over. I pulled out that first printand in the print the sunlight remained. When I compared the twothe scene in front of me and the black-and-white imageit proved to be a revelation. The light was different, of course, but the subject looked different, too.

The photograph allowed me to see the subject as geometry and form. In the print, the lawn appeared as texture, the house as a rectangle, the roof as a trapezoid, the bushes as ovals, and the power cables as lines. The print also retained the light that was present when I took the picture, and that light was transformed as wellthe leaves on the bushes glittered. If the camera was capable of capturing sunlight (or any kind of light, for that matter) the photographic process could distill it and make it stronger.

I was hooked, and eager to look at more photographs. I became a regular at the local library.

Peter Simon: Moving On, Holding Still, Cover Image
Peter Simon’s Moving On, Holding Still (Left) Photograph by Kiki McEntee, Peter Simon, Tree Frog Farm, June 1971 (Right)

Peter Simon’s [2] Moving On, Holding Still (1972) was one of the handful of photography books in our "library," two large rooms in the downtown Municipal Building. Although the others were how-to books, Simon’s was the most instructive. (Since I’m self-taught I used photography books as textbooks.)

Simon’s monograph is composed of black-and-white pictures of an array of subjectsfrom protests in Washington, DC, to the celebration of a sunset on a commune in Vermontthat reflect the dynamic nature of the 1960s and early 1970s. Poring over these images again and again was my "foundation class" in photography.

My first lesson came courtesy of the cover image. The subject, a tire swing, is very close to the center of the framesomething the how-to books advised against. "Rules" shouldn’t be taken too seriously, I realized.

The book also introduced me to the consideration of scale in the presentation of photographs. Some of the pictures filled the page while others were considerably smaller, and yet the size of each suited the subject. Also new to me was the concept of pairing images to form diptychs. I saw that by placing images side-by-side you can introduce narrative, enhance compositions, etc. These are concepts I still keep in mind when presenting my work today.

One other lesson was perhaps the most valuable. In studying these photographs I noticed that, in a picture, things in the background and things in the foreground are all equally visible, and therefore equally important. (Emmet Gowin has stated this succinctly: Everything in a photograph matters.)

Peter Simon, Isolation, Iowa, 1968, Photograph
Photograph by Peter Simon, Isolation, Iowa, 1968

Peter Simon, A late winter snow..., Mass., 1970, Photograph
Photograph by Peter Simon, A late winter snow…, Mass., 1970

Simon’s book led me to a crucial understanding of one of the things I find so challenging and stimulating about photographyit is the construction of pictures, the careful putting-together of everything in a scene. When working within the two-dimensional limits of the photograph, the spatial characteristic of depth does not exist. Foreground objects and background objects need to be dealt with equally; they’re your building materials. Move the camera even slightly, and your composition changes. Ever since then the idea of making pictures versus taking pictures has been more than mere semantics.

Peter Simon, Geometric Progressions, Cambridge, MA, 1969, Photograph
Peter Simon, Geometric Progressions, Cambridge, MA, 1969

Peter Simon’s photographs, of both turbulent and tranquil events, are records of acutely felt moments. Decades later, I can still recall my favorites. I feel very fortunate to have found this book when I was receptive to its lessons.

In 1974, after being hobbled by a Kalimar for a couple of years, I purchased my first serious 35mm camera, a Canon FTb. At around the same time I began frequenting the newspaper store at the end of my block. There I found yearly special issues of a photography magazine, Popular Photography, and copies of an alternative New York City weekly, The Village Voice.

The Popular Photography Annual introduced me to many of the photographers whose work I admire today: Harry Callahan, Lee Friedlander, Ray Metzker and others. The Annual showcased art photographs, not commercial shots or photojournalism. And while photography is well-suited for advertising and recording world events, the work in the Annual showed me that the medium is no less effective at recording an "event" as simple (and profound) as an artist’s perception of beauty.

Sylvia Plachy Photographs
Photographs from Sylvia Plachy’s Found Memories (Left) and Cruising (Right)

The Village Voice arrived at the newspaper store every Thursday morning. Week after week for eight years, Sylvia Plachy’s amazing photographs were featured on Page 3. Whether the subject was a cat up a tree or a squeegee guy at work, the images had an immediacy and spontaneity about them that belied their visual sophistication. One had the feeling Plachy carried a camera with her everywhere, and that, without preconceptions, discovered photographs along the way (a working habit I adopted).

Also significant were two more monographs, both by master photographers.

Paul Caponigro's Landscape, Cover, and Joel Meyerowitz's Cape Light, Cover
Paul Caponigro’s Landscape and Joel Meyerowitz’s Cape Light

Paul Caponigro’s Landscape (1975) is a paean to atmosphere and nuance. The "landscape" it explores is light and the changing seasons. Caponigro’s black-and-white photographs are intimate and subtle. I took Landscape into the darkroom with me as guide and inspiration.

Paul Caponigro, Woods, Redding, Connecticut, 1969, Photograph
Photograph by Paul Caponigro, Woods, Redding, Connecticut, 1969

Paul Caponigro, Winthrop, Massachusetts, 1964, Photograph
Photograph by Paul Caponigro, Winthrop, Massachusetts, 1964

Joel Meyerowitz’s Cape Light (1978) contains exquisitely detailed large-format photographsdaylight and nighttime pictures, interiors and exteriors, portraits and landscapesall in astonishing color. The scene on the cover appears in the book at least five times, but it looks vastly different in each depiction, due to weather, time of day and keen perception. This book is about the richness and variety of place. It demonstrated to me that by paying close attention (and sticking around for awhile) you can find ample material close to home.

Joel Meyerowitz, Hartwig House, Truro, 1976, Photograph
Photograph by Joel Meyerowitz, Hartwig House, Truro, 1976

Joel Meyerowitz, Truro, 1976, Photograph
Photograph by Joel Meyerowitz, Truro, 1976

In February 1984 I traveled to nearby Nyack, New York. I didn’t know anything about Nyack except that it had been my late grandfather’s favorite destination.

The Village of Nyack is located on the Hudson River, which gives the light there its distinctive glow. Walking around with my camera, I thought, I feel like I’m in an Edward Hopper painting.

If you’re schooled in Art History (which I’m not) you may know Nyack is Edward Hopper’s birthplace. When I found this out, everything started adding up. It dawned on me that the light that characterizes and distinguishes a place could be captured to illuminate its portrait.

Edward Hopper, Early Sunday Morning, 1930, Painting
Painting by Edward Hopper, Early Sunday Morning, 1930

My trip provided a culminating insight. Lightwith it’s ability to reveal form, convey mood and transform appearancescan itself be the catalyst for creating art (an epiphany for me at the time, although hardly groundbreaking in art historical terms). This new understanding was to inform my first serious body of work.

In 1988, I was invited to participate in the Ellis Island Project: Documentation/Interpretation, a photography project focused on the former immigration station in New York Harbor. Naturally, I accepted. Here was the perfect synergy: an incredible subject, buildings steeped in history, beautiful light and a project that encouraged interpretation.

David Simonton, Ellis Island, 1989, Photograph
Photograph by David Simonton, Ellis Island, 1989

David Simonton, During the Restoration (The Great Hall), Ellis Island, 1988, Photograph
Photograph by David Simonton, During the Restoration (The Great Hall), Ellis Island, 1988

For nine months, through three seasons, I photographed on Ellis Island. Two years later, in a gallery in Raleigh, North Carolina, one of the photographs from that experience would be the first I would ever exhibit.

 

Endnotes:

[1.] The Polaroid Swinger was one of the fastest selling cameras of all time, selling 4 million units in two years. It retailed for $19.95. The original TV commercial (featuring Ali MacGraw) is on YouTube. (Back to Article ↑)

[2.] Peter Simon (Carly Simon’s brother) owns and runs a gallery with his wife, Ronni, on Martha’s Vineyard. You can visit his website: petersimon.com (Back to Article ↑)

Editor’s Note: This piece was written by David Simonton for our Visual Influences Series.
View a selection of Simonton’s photography featured on One, One Thousand in January 2011.
You can also view more of Simonton’s work at his website: davidsimonton.com

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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April 2011 Featured Photographer : Tommy Kha

Referencing the mid-20th century CBS game show of the same name, Tommy Kha’s self-portrait series What’s My Line? shows Kha in a variety of fictional occupations. These photographs examine the dynamic between familial expectations and personal aspirations. Click here to see Kha’s project.

Tommy Kha: What's My Line?

Click here to see more of What’s My Line?

Tommy Kha: What's My Line?

Click here to see more of What’s My Line?

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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Congrats to Natalie!

Natalie and I conceived of One, One Thousand almost a year ago. While we began discussing the logistics of how the site would function and what it would hopefully become, we felt it only appropriate that we forgo any kinds of self-promotion within its pages. We’ve successfully stuck to that promise until now, but I’m not the kind of person who can stay quiet when there’s great news to share.

Natalie is not only an amazing friend and editor, she’s also a fantastic photographer and artist. I’m very proud and excited to write that she’ll be attending Duke University next year for the inaugural MFA in Experimental and Documentary Arts program!

Congratulations, gal! Kick some ass and take some names!

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April 2011 Featured Photographer : Maury Gortemiller

Maury Gortemiller’s photography series All-time Lotion explores the meanings we assign to everyday objects and situations. By both intuitively photographing and choreographing mundane moments, he invites viewers to draw their own conclusions on his photographs’ contexts and intentions.Click here to see Gortemiller’s project.

Maury Gortemiller: All-time Lotion

Click here to see more of All-time Lotion.

Maury Gortemiller: All-time Lotion

Click here to see more of All-time Lotion.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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Photography Grants and Open Calls (April 2011)

Every month, we try to collect information about grants, exhibitions, residencies, open calls, etc., that might interest you. This time we’ve got a really great list of opportunities. Here are some current goings-on at Foam Magazine, Burn Magazine, The Center For Fine Art Photography, and The Open Society Documentary Photography Project:

Foam Call For Talent 2011

Foam Magazine Logo

Foam Magazine is an international photography magazine, published quarterly by Foam_Fotografiemuseum Amsterdam and Vandejong Communications.

Foam Magazine’s annual fall Talent issue will present the work of young, talented photographers. The editorial board will choose the portfolios according to creative vision and the concept of the series presented, among other criteria. The selection for Talent 2011 will focus on projects that address the question What’s Next?

What you get: A spread in Foam’s Fall Talent Issue
Who can apply: Photographers between 18 and 35 years old
It’s gonna set you back: €30 (about $43)
Who’s gonna see your work: The Foam Magazine editorial board
When’s the deadline: April 17th, 2011

For more information, please visit: Foam’s Submission page.

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Jonathan Traviesa Exhibit “Beacons Abound” Opening at The Front in New Orleans on Saturday, April 9th, 6-10 pm

Featured in One, One Thousand in March, photographer and artist Jonathan Traviesa will be exhibiting new work at The Front in New Orleans starting Saturday, April 9th.

The show “Beacons Abound” focuses on Traviesa’s “interest in random moments within the built environment that offer some type of intrigue: usually hope, seduction or despair.” You can see a few photographs from “Beacons Abound” below:

Jonathan Traviesa, from exhibit Beacons Abound, 2011

Jonathan Traviesa, from exhibit Beacons Abound, 2011

Jonathan Traviesa, from exhibit Beacons Abound, 2011

The Front is an artist run collective, fostering the development of contemporary art in the city of New Orleans through exhibitions and community-based projects. The gallery is located at 4100 St. Claude Avenue, New Orleans, LA, 70117. Here’s a link to Google Maps for directions.

Click here to see Traviesa’s New Portraits in New Orleans series on One, One Thousand.
You can also view more of Traviesa’s work at the New Orleans Photo Alliance website.

“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, — all in one.” — John Ruskin

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Posted in Current Photography Exhibitions | Leave a comment