James Katsipis’ newest series of work and exhibition entitled ‘Graintauk’ at The Lucore Art at 87 S Euclid Ave in Montauk Opens this Saturday, July 1st from 5pm – 8pm. The show will run through Tuesday, July 25th. ‘Graintauk’ captures Montauk’s essence through analogue photography shot on 35mm and 120mm film. Katsipis’ photographs showcase Montauk’s natural landscape, vibrant community and coastal charm. You will be treated to a visual journey through Montauk’s hidden gems. Shooting on film allows Katsipis to capture a scene’s unique texture, tones, and nuances. 

James Katsips shared “With the way the world is advancing with Artificially Intelligence (A.I.)  I thought it would be a good time for me to slow down and look back at where I came from – which is Film Photography. While the emergence of artificial intelligence (A.I.) has revolutionized the world of digital photography, there remains a profound appreciation for the distinct qualities that make film photography an irreplaceable medium.

Film photography is renowned for its ability to produce images that possess a genuine, organic quality. The grain, subtle imperfections, and natural color rendition of film lend an authentic and nostalgic feel to photographs. These characteristics contribute to the uniqueness of each image, adding an element of unpredictability that cannot be replicated by A.I.

In the digital age, where instant gratification is the norm, film photography demands a patient and deliberate approach. The limited number of exposures per roll requires photographers to carefully consider each shot, leading to a more thoughtful and deliberate creative process. This mindful approach enhances skills such as composition, exposure, and manual camera control, fostering a deeper understanding of the art of photography. Film photography is not a competition against A.I., but rather a medium that offers a distinct and timeless experience.”

When asked to elaborate on his favorite photograph from the collection, James chose Slaters and said, “Slaters is named because growing up in Montauk, this storefront was its original name. And I still refer to it as that at times, depending on who I’m taking to. I spent my all quarters on matchbox race cars there any chance I could get. It was about 4:45am and only a few workers were up and on the road. The stillness of town and the glow of the street lamps set for a moody scene out of an Edward Hopper painting. I set up my tripod and loaded my FujiGWS69ii Medium format camera with some 120 Portra800 and metered for the lights in the windows. I took 3 shots. One at 3 seconds, 5 seconds and another at 8 seconds. I had it right the first time – but can never be too careful and wanted to make sure I got what I was looking for.”

This upcoming exhibit promises to be a celebration of the enduring allure of film photography and a testament to Katsipis’ exceptional talent. Whether you are an avid photography enthusiast or simply appreciate the beauty of Montauk, this exhibit is not to be missed. Prepare to be transported to a world where film reigns supreme, capturing the soul of a place like no other.

In the world of photography, artists constantly strive to capture unique perspectives and evoke emotions through their work. And I, Karen Jerzyk, have gained significant attention in recent years for renowned stunning astronaut-themed photographs that I started creating back in 2017. Combining elements of surrealism, storytelling, and a touch of mystery, my astronaut photos transport viewers to otherworldly realms while provoking contemplation about the human experience. In this article, you will delve into the fascinating world of my astronaut photos, exploring the themes, techniques, and impact of my extraordinary body of work.

My astronaut photos stand out for their captivating visuals, intriguing narratives, and thought-provoking symbolism. By incorporating the imagery of astronauts, I skillfully blend science fiction with the human psyche. Each photograph tells a unique story, often portraying solitary astronauts in desolate landscapes, emphasizing themes of isolation, exploration, and the quest for meaning.

More info: karenjerzykphoto.com | Instagram | Facebook | twitter.com

WAPAKONETA, OH (WLIO) – Some of the best photographers in Auglaize County and the surrounding communities were recognized Thursday night at an awards reception.

The winners of Riverside Art Center’s photography show were announced at the reception. This year’s show had more entries than the last three years, with photographers of all ages, some as young as sixteen. 

This year, the submitted photos were all high quality, and everyone who entered was accepted into the show. 

Photography is increasingly popular because it’s more financially accessible and less time consuming than other mediums like sculpture or painting.

“I think anyone can take a picture. I mean, now everyone’s using their cellphones to take pictures, don’t have to have a really expensive camera and phones are taking great pictures now. And a lot of people have entered through their cellphone art, you know, it’s art, it’s all art,” said Deborah Fischer, who is in charge of the treasury and special projects for the Riverside Art Center.

Best of Show went to Claire Meyer, a professional photographer, for one of her pieces from a newborn photoshoot. 

“I had a beautiful newborn session, and the couple is very Catholic, beautiful family, so we had him hold his newborn daughter and we just draped the rosary around her and then just happened to get this gorgeous rainbow naturally coming in through the window behind them,” Meyer said. 

The photography exhibit will be on display at Riverside Art Center through July 29th.

It’s been 37 years since Lorie Shelley first began snapping pictures in California’s Capitol building. In her office, you’ll find evidence of her nearly four-decade career as the Capitol’s Senate photographer pinned up along the walls — photos of politicians and celebrities, like Joe Kennedy, Jane Goodall and Kendrick Lamar.

When she first started in 1985, Shelley wasn’t a full-time photographer. She says she initially started working at the Capitol as a legislative assistant. Taking black-and-white photos of notable moments was just one of her many duties. 

California Capitol’s Senate photographer Lorie Shelley.Courtesy of Lorie Shelley

But over time, her position evolved; for a while, she was the Senate photographer for Democrats. Eventually, she became the Capitol’s first nonpartisan photographer. That’s the position she holds to this day. 

She retired at the end of June. CapRadio visited her office at the Capitol before her retirement to ask her what she’s learned over the years and what it’s like to be a fly-on-the-wall in California’s Senate. 

This interview has been edited for length and clarity.

Interview highlights

What was the landscape of photography like at the Capitol when you first arrived? 

When I started, the photography was done by caucus photographers, so there was a Democratic photographer and a Republican photographer. They were really interested in kind of spying on each other and really making it a political thing. I lobbied to make this a position that’s nonpartisan, that has more emphasis on the historical record. 

I made it my goal to collect everything. I spent years in the libraries collecting all the pictures that I didn’t have, bringing back all the photos so that we could have a historical record ourselves. 

Photography has evolved so much since you started. How did that influence the way you did your job? 

During the film days, you didn’t shoot much because you’re limited. Everything was so intentional. But then when digital came, you’re taking 600 pictures. This job became a full-time job, mostly because of digital, but also because I had to figure out a way to archive the 14,000 black-and-white film photos that I took. 

Now, when you see a story about one of the members, they’re going to show an action shot. They’re going to show a shot of a member on the floor. They’re going to put it into place. But in the ’80s, they just put a headshot [in the newspaper] because that’s all there was. There were no action shots because you didn’t burn film watching people talk. It just wasn’t a thing. 

Former President Pro Tem of the Senate David Roberti (right) and former state Attorney General Dan Lungren (left) at a press conference about an assault weapons ban, taken by Lorie Shelley.Courtesy of Lorie Shelley

A Keep Fair Wages labor rally in the early to mid-90s, photographed by Shelley. She said it was her first large-scale rally at the Capitol.Courtesy of Lorie Shelley

When I first got digital, it felt weird and strange and very space age-y. I was really excited, but I was never happy with the quality. And even when the major companies started making DSLRs, I carried a film camera with me for probably five years because even the DSLRs couldn’t match film. 

How do you feel about it now? 

I thought at one point in my career that this job took the fun out of photography for me because I loved taking pictures as a hobby and then all of a sudden I didn’t love it as a hobby anymore. It was before digital — it was still film. It was grip and grins — the nature of the job then wasn’t interesting. Take a picture of me smiling at the camera, then shaking someone’s hand. It wasn’t creative.

Digital made it interesting and fun because I could do so much more. I wasn’t tied to those 24 frames. If I took a picture [on film], if I had 24 shots in my camera and God himself showed up [for] the 25th and a senator said, ‘Can you get a picture?’ I’d say, ‘Oh, sorry, I’m out of film.’ I mean, that’s just the way it was. 

You’ve witnessed a lot of change at the Capitol, but you’ve also met a ton of interesting people. I see photos of celebrities and politicians all around your office. Anyone that sticks out to you? 

(Shelley gets up and begins to show me around her office, pointing at different photos.)

Paul Reiser — the nicest guy in the world. Just in love with the [Capitol], respect for the building. Kevin Hart, same thing. While everybody was gawking over them, they were gawking over this [building]. And I loved how excited they were to be in the presence of greatness — because it was such a different world for them. Kendrick Lamar was like that. They really respect the institution. 

Some aren’t so gracious — Steven Seagal. Oh, you can tell him that. Just so difficult.

When I took this picture of Ted Danson — this was years ago — he [didn’t have] gray [hair] yet, you know, he wasn’t publicly gray. So he came [to the Capitol] as himself but for TV, he was still dying his hair. That was wild, getting to see that first. 

Several of Shelley’s photos are printed out and attached to the walls of her office.Manola Secaira/CapRadio

I will tell you a funny story about that corgi up there next to [Jeff Bridges]. 

Please tell me about the corgi. 

They hate cameras. This corgi was ready to jump on my face. It’s really easy to take it personally because you’re the only person they’re screaming at. I don’t know what they think you’re going to do with the camera, but he went crazy on me in that room.

Jerry Brown, he had two corgis, and one of them hated me. And I remember running — there was a really long hallway from his office, and I was being chased by [the corgi], but I needed to follow the governor coming out. I was running backwards so fast, just trying to get away from this corgi. I didn’t get many good shots.

You’ve had a lot of influence over what your job has become. What’s been your main goal in this position? 

It’s important to me that we know who all these people are, because in 40 years, when I’m gone, somebody is going to care. Somebody is going to want to know what happened when you passed this certain bill, what was going on on the Senate floor. What was it like? Crazy? Was it wild? Was it calm? 

Most of the calls I get are kids whose grandparents are old and they want to find the pictures of them when they were young, when they were fancy little senators. I get calls from documentarians, historians and textbook writers, often because they’re writing a textbook on some part of California history or California policymaking. 

Most people don’t even know I have all of this. But I know it’s here for historians someday and I’m sure they want it. 

Courtesy of Lorie Shelley

It sounds like photography has made you really aware of how easy it is to lose these memories. Any advice on keeping track of it all?  

Print your keepers. Don’t think you’re going to remember things.

Once you put it on paper, except for fire, then you’re going to have it. And I’ll tell you that a couple of weeks ago, I found a box of photographs in one of my kid’s rooms. I went through it, and it was memories that I had forgotten and I never would have recalled again — college memories and people that I loved and people that I didn’t love, but moments that had completely escaped me.

I’m so sad to think that today’s kids will never have that box, because their moms are shooting with digital. Grandma’s not going to give you a thumb drive of your childhood and kids aren’t going to see their mom’s childhood. You have to treat these pictures as a treasure. 

What’s on your mind as you approach your final day in the job? 

If somebody had told me I was going to retire as a photographer, I would have been incredulous. I wouldn’t have believed it. I would have laughed in their face. It was so far from what I had planned to do. I loved government and I loved politics, and I had every expectation I’d be moving to Washington, D.C. and getting involved somehow politically. But never in my wildest dreams would I have thought I’d end up taking pictures for a living as my job.  

Every single day, bar none, in my entire 37 years here — when I walk up to that building, I am filled with awe. I feel so privileged to have spent my adult life here. I’ve never gotten tired of this institution, ever.