Sandra Cattaneo Adorno On Reinventing Her Photography Practice At 70, For New Project ‘Ten Years’

Apr 23, 2024 By Admin in Photography

© Sandra Cattaneo Adorno, from Sandra Cattaneo Adorno: Ten Years (European Cultural Center/Radius Books)

She took up photography as a new career path at the age of 60 in 2013, and now in her 70’s, Brazilian photographer Sandra Cattaneo Adorno is celebrating her new project that was a decade in the making at the prestigious 60th Venice Biennale.

Her new exhibition, Sandra Cattaneo Adorno: Ten Years, opened April 20 at the 7th edition of Personal Structures, which runs parallel with the 60th Venice Biennale. Organized by the European Cultural Centre, the 2024 edition of ‘Personal Structures: Beyond Boundaries’ focuses on the experience of foreigners, émigrés, exiled, and refugees, especially those who have moved between the Global South and the Global North.

Hailing from Rio de Janeiro, Sandra Cattaneo Adorno’s life, work, and worldview have been shaped by a lifetime of traveling the globe, fostering a sense of displacement and search for belonging through the act of making art.

Her new photo book ‘Ten Years’ (out April 16 through Radius Press) and exhibition of the same name is imagined as a visual diary without beginning or end, recalling the symbolic language of Tina Modotti, the surrealist archetypes of Leonora Carrington, and the sensuous physicality of Georgia O’Keeffe’s paintings of place.

Sandra Cattaneo Adorno: Ten Years (European Cultural Center/Radius Books, 2024)

Printed exclusively with metallic gold ink on black paper that magically transforms quiet scenes of daily life into mystical works of art, Cattaneo Adorno’s glittering scenes of Mauritius, Egypt, Japan, Thailand, Singapore, New York, London, Italy, Portugal, and her native Brazil float in between reality and illusion like scenes from a dream. Like Dora Maar who reinvented her photography practice in her 70s, Cattaneo Adorno is drawn to experimentation and to innovative ways of printing and presenting her work.

Delighting in the combination of immediacy, creativity, and surprise of street photography, Cattaneo Adorno returned to Ipanema, the fabled Rio de Janeiro beach of her childhood, to create Águas de Ouro (Portuguese for “waters of gold”). Revisiting the glittering shores of her youth, she printed the work with gold metallic inks to evoke the elements of water, earth, sun, and sky that sustain life itself.

Ahead of the exhibition at the Venice Biennale, we had the chance to speak with Sandra about her fascinating journey in this new phase of her life and career, the rich symbolism of ignoring the stereotypes about age (especially toward women), and how travel and culture has been a poignant creative guide throughout her life in a number of ways.

Image courtesy of Sandra Cattaneo Adorno

Where did you artistic journey first begin, and what made you fall in love with this medium? You began a new creative path in 2013 at the age of 60. Can you tell us more about why and how you got into photography?

I first started photographing when my daughter, Gwen, invited me to join her in a workshop run by Alex and Rebecca Webb as a present for my 60th birthday. I did not know what to expect from the experience, but I accepted because I thought it could be a good excuse to spend some time with her. As I first started shooting, however, something clicked and I felt a buzz running through me.

Before I started photographing, the street was for me a place that I used to go from A to B without being too conscious of what was happening around me. Through photography, I started to become alert to scenes and gestures that I had never noticed before, and to the beauty of light, shapes and colours. Being able to frame these elements in an image is a kind of magic that still fascinates and surprises me.

When did you begin to compile images for ‘Ten Years’, and how did you decide which photos would make the cut?

I started thinking about this project after publishing my second book, Águas de Ouro, in 2020. For that book, I used metallic inks, but I felt that this technique could be explored more in the future. The idea of having a monograph celebrating my decade of photography gained strength after spending time researching my archives for my the publication of my third book, Scarti di Tempo.

Since the process of using golden ink was experimental, I couldn’t tell what the photographs would look like on paper before actually printing them. Additionally, for the book, I decided to invert some of the images to make them look as if they were photographic negatives, thus expressing their double nature as representations of reality as well as of dreams and memories. This too was, however, quite an unpredictable effect. I therefore decided to select around 250 images I liked and printed them all in small format. These tests gave me a good idea of which image could work well in golden ink or inverted and which didn’t.

There were a few surprises, as it was extremely difficult to predict the printed result. I ended up selecting the photographs where the gold and the inverted technique appeared to enhance the meaning of the image, making it more mysterious and engaging. At the same time, the photographs needed to be pleasing aesthetically, and I selected the images where the gold shone beautifully while creating interesting tonal ranges and bringing hidden details to the fore.

Your images transform ordinary, everyday life moments into something magical using color. Can you talk us through your creative decision and why you wanted readers to see these everyday moments in a new light?

The use of gold sets the images aesthetically apart from ‘real ’life, thus conveying the experience of being ‘foreign. ’At the same time, the golden ink has a very personal significance, as it reminds me of the golden paint used by dancers to cover their body during Carnival in Brazil. So painted, the dancers look otherworldly and magical. Through the golden ink, I wanted my pictures to convey a similar effect of wonder, enchantment and beauty. The black paper contributes to abstracting the figures, as it leaves them deprived of an identifiable background.

A similar effect is conveyed in my new book, Ten Years, as its images are printed with the same ink and paper as the photographs on the wall. In the exhibition, the book will rest on a table and it will be open as an accordion, so as to display simultaneously all the photographs it contains and to allow the public to move freely around it.

How has travel influenced your perspective on life and art, and how they intertwine?

Travel taps into something adventurous and playful in my personality. Play is in fact a fundamental element of my approach to photography: it is at the heart of the feelings of wonder and surprise that motivate me to go out with my camera and take pictures. Being playful and open to exploring also allows me to experiment with my camera without being too concerned about the final result. Taking pictures then becomes a very liberating and creative process. Luckily, if you are having fun when photographing, it invariably shows in the images.

Travelling is also fundamental to me because it allows me to really question what I see. The reality of a place or a situation subsequently becomes the starting point through which I aim to reach another dimension in my images, one that is related to dreams and mystery. For this reason, too, I often photograph through glass, take pictures of reflections or try not to show a scene or a person in a straightforward way.

I didn’t know I could be able to interpret the world around me while communicating in such a personal way before I picked up a camera. It fascinates me that there is so much of me, of my life and experiences in my photos and yet I think I achieve my best shots when I am the most open to the outside world. It is paradoxical, but I believe this is the way in which travel allows me to express my life in my art, as it draws something out of my deepest self while confronting me with an unfamiliar environment.

Can you talk about the notion of displacement and the idea of belonging, and how your work incorporates these themes?

Themes of dislocation and belonging resonate deeply with me, as my personal life and career have spanned many continents and countries. I could even say that my very identity was fashioned by my international background. I was therefore pleased to be able to investigate these experiences while celebrating ten years of my photography in an exhibition at Personal Structures.

The show opens with a projection in which black and gold photographs – images of strangers that I have taken on the streets of different countries – transform into one another. The flux of images of the projection hints at the fluidity of the identity of who is considered ‘foreign ’or ‘other ’and at their difficulty to be fitted into canonical contexts, as foreigners are always re-contextualising their experiences by moving into a different culture. At the same time the photographs, by merging into each other, acknowledge the interconnectedness of people and call for renewed interactions to be established.

The investigation of the themes of displacement and connectedness continues inside the main room of the exhibition, which features thirteen photographs printed in metallic golden ink on black paper and mounted inside black wooden frames. Because of their composition and aesthetics, the photographs look abstract, although a human element is always recognizable. They call for the visitors to get closer and interpret them. Most of the images have been inverted in postproduction, so as to accentuate the feeling of displacement they evoke.

My new book, Ten Years, is displayed on a table in the middle of the same room, open as an accordion. The book juxtaposes images that I have taken in different countries, although it is deprived of linearity and geographical context. While suggesting the experience of travel and dislocation, it also favors contact between people: the visitors will in fact be able to activate new connections and narratives between the images by moving along the piece.

Displacement and an attempt to forge new connections are also evoked by the curtains covering the windows at the end of the room, as a photograph of Ipanema Beach in Rio de Janeiro printed on them overlays the iconic buildings of the Venetian Gran Canal to create a new view of the city.

Society loves to brush women aside after a certain age, but there are many, like you, who are defying the stereotypes and inspiring many other women along the way. What message do you have for people who would try to dismiss your age?

I don’t think I am too concerned about people who try to dismiss my age or put me down, as I am too busy doing the things that I love and using my time and energy positively to realize my dreams and ambitions in photography. I am convinced that my work will then speak for myself.

What message do you have for women who are struggling to find their own identity and place in the world because of their age?

I feel very lucky and privileged to have discovered such a passion in life as photography. Sometimes I wish I could have discovered it earlier, but I think it came at a time when I could best appreciate it and, most importantly, when I was able to fully enjoy it.

I think it is important for women of any age to find something they like doing and that they can feel is exclusively theirs, as women often have to put the interests of other people before their own.

My advice to other women would therefore be to try and find something that resonates with them deeply and that gives them a special spark. They will probably need to experiment with different things before they can find an activity that gives them a special spark, but that’s part of the progress, too.

Once they have found this passion, I would urge them to work hard, but with a light heart, because at this age we are unapologetically entitled to some fun!

How do you feel about being part of the 60th Venice Biennale, where ‘Ten Years’ will be on display as part of the ‘Personal Structures: Beyond Boundaries’ exhibit?

Being able to have an exhibition in Venice during the Biennale is an experience both exhilarating and humbling. I am thrilled to be able to celebrate my

photography with all the wonderful people that have accompanied me along my journey and with my friends and family. At the same time, I feel proud of what I could achieve, because this show is the result not only of a big passion for photography, but also of lots of commitment and hard work.

As someone whose work focuses on the experience of foreigners, émigrés, exiled, and refugees, especially those who have moved between the Global South and the Global North, what draws you to their stories and what connection do you hope viewers will find with those people in your images?

As I mentioned earlier, their stories resonate deeply with me because of my personal experience. Eventually, I would like the viewers to be able to establish a similar connection with their experiences through my images. I would like the photographs to create a space for imagination and dream in which the viewers could participate while feeling that they, too, are part of a bigger world and that they share experiences with a diverse range of people.

You can purchase a copy of ‘Ten Years’, out now through Radius Books, and see more of Sandra Cattaneo Adorno’s work on her website. Follow Sandra on Instagram and Twitter.

Photographer puts focus on firefighters

Apr 23, 2024 By Admin in Photography

John Keller manages Chicagoland Fire Photos, a photography website dedicated to displaying the hard work of firefighters throughout the Chicagoland area.

After his camera equipment was stolen in March, friends and family of Keller raised over $2,000 through a GoFundMe page to help replace the equipment.

Why Prince Louis’s photo is the real deal!

Apr 23, 2024 By Admin in Photography

By Elmira Tanatarova

Published: 12:33 EDT, 23 April 2024 | Updated: 12:41 EDT, 23 April 2024

The Princess of Wales‘s birthday portrait for her son is ‘very honest’ and ‘done really naturally’, an expert has revealed.

Speaking to FEMAIL, London based professional photographer Glenn Gratton explained how Prince Louis’s photo was not likely retouched at all, and shows a perfectly candid family snap.

‘If she has done any photoshop, it’s very subtle,’ he added. ‘She’s clearly more advanced with her photography. Her pictures have improved year by year on.’

The youngest child of Kate Middleton, 42, and Prince William, 41, celebrates turning six today, after returning to school following the Easter holidays.

Glenn pointed out that the young royal’s skin tone is natural, with his mother ‘keeping his skin blemishes’.

The Princess of Wales's birthday portrait for her son is 'very honest' and 'done really naturally', an expert has revealed

‘He’s only six,’ the photographer added. ‘She’s not tried to make him look like a wax work. Some parents over-filter their children’s pictures.’

He also remarked that you can tell the lighting is natural, as you can see it reflected in Louis’s eyes – meaning there was no ‘artificial’ set-up.

Glenn said there are elements in the photo that would have stood out for someone experimenting with photoshop – ‘his feet are a little bit distracting… and his eyes are little bit dark, so you’d lighten them up’ – but the Princess chose to keep the details in.

‘It’s a straightforward, honest picture taken nicely,’ he concluded, positing that Kate likely used a portrait lens to create the blurred background effect.

‘Her photography’s improving,’ the expert added. ‘She’s using better cameras.’

Prince Louis is beaming from ear to ear in the adorable photo released this afternoon.

Typically, Kensington Palace will release portraits of the Wales children early in the morning to mark their birthdays, however fans were left disappointed this morning when the social media accounts for Kate and William did not feature any photos of the cheeky six-year-old.

In a break with tradition, William and Kate shared a photo of their younger son this afternoon rather than at midnight on his birthday as is customary with new royal portraits. It is understood the photo was released later than usual because the family is going through an ‘unprecedented’ time.

Mother-of-three Kate revealed in March that she was undergoing a course of preventative chemotherapy for a type of cancer that remains undisclosed

The youngest child of Kate Middleton, 42, and Prince William, 41, celebrates turning six today, after returning to school following the Easter holidays. Louis and Kate pictured last year

The photo was taken in the grounds of Adelaide Cottage by his mother, the Princess of Wales, who often photographs her children’s birthday portraits. It suggests that, as she recovers from chemotherapy, she is feeling well enough to get back behind the camera.

The caption read: ‘Happy 6th Birthday, Prince Louis! Thank you for all the kind wishes today.’

As the beaming prince looks into the camera, he is lying on his front and looks all grown up with his brunette hair swept to the side, and a smart checked shirt.

He appears to be wearing dark shorts with bare feet and is lying on a fleeced blanket.

The picture is understood to have been unedited, following the furore that resulted over the Princess’ photoshopped Mother’s Day picture, which saw it withdrawn by international picture agencies. She later apologised for the confusion.

Normally the couple issue a photograph of each of their children to mark their birthdays in advance for use on the day itself.

This year the Wales’ had originally decided not to do so given that it is such an ‘unprecedented’ time for their family.

Prince Louis delighted fans with his expressive antics during the various Platinum Jubilee celebrations

The most stylish royal! Prince Louis, then four, left royal fans in stitches as he danced to the music at the concert

The young prince's cheeky antics went viral as royal fans were left in hysterics at his funny behaviour

As he flashes his biggest smile, the young prince also appears to have lost a couple of his baby teeth since his last official appearance on Christmas Day 2023.

Louis’s sixth birthday comes as the Wales family takes time away from the spotlight while the Princess recovers from abdominal surgery and subsequent cancer treatment.

Mother-of-three Kate revealed in March that she was undergoing a course of preventative chemotherapy for a type of cancer that remains undisclosed.

In a heartbreaking video the Princess of Wales detailed how the cancerous cells were discovered, while she was undergoing surgery for a different condition in January.

She explained that she had not spoken out about it earlier because she wanted to have time to ‘explain everything’ to George, Charlotte and Louis and assure them ‘she’s going to be ok’.

This was also the reason the William was forced to pull out of a memorial service for his late godfather, King Constantine of Greece, as it is understood that this was when the family first found out about Kate’s condition.

The Princess of Wales pictured holding a camera as she takes part in a a photography workshop with the charity 'Action for Children' in Kingston in June 2019

In her emotive statement, Kate said: ‘The surgery was successful, however, tests after the operation found that cancer had been present.

‘As you can imagine, this has taken time. It has taken me time to recover from major surgery in order to start my treatment.’

The last time royal fans were given a glimpse of Prince Louis, the young prince appeared with his siblings, Prince George, 10, and Princess Charlotte, eight, as they smiled alongside their mother Kate on Mother’s Day.

The snap released by Kensington Palace, generated controversy when picture agencies around the world issued ‘kill notices’, over concerns it had been ‘manipulated’.

Both the agencies and eagle-eyed internet sleuths noticed several inconsistencies in the photo, including in the alignment of Princess Charlotte’s skirt, her hair, and the zip on Kate’s khaki jacket.

Following the social media storm, the Princess of Wales was forced to issue a statement admitting she had ‘edited’ the image – which had initially been hoped would quell wild conspiracy theories that had circulated about her health.

In a post on Instagram and X/Twitter, the Princess said: ‘Like many amateur photographers, I do occasionally experiment with editing.

‘I wanted to express my apologies for any confusion the family photograph we shared yesterday caused. I hope everyone celebrating had a very happy Mother’s Day. C.’

Prince Louis was born on April 23, 2018 in the Lindo Wing of St Mary’s Hospital, like his older siblings Charlotte and George.

A statement from Kensington Palace at the time read: ‘Her Royal Highness The Duchess of Cambridge was safely delivered of a son at 1101hrs.

During Louis's last public appearance on Christmas Day 2023 at Sandringham, he put on another heart-warming display as he held hands with his second cousin, Mia Tindall, on the way to St Mary Magdalene Church

Prince Louis also put on an enthusiastic display during his grandfather King Charles III's Coronation

‘The baby weighs 8lbs 7oz. The Duke of Cambridge was present for the birth. Her Royal Highness and her child are both doing well.’

Since then, he’s become known for his flair in front of the camera and has previously delighted royal fans with his expressive performances at royal events.

At Queen Elizabeth’s Platinum Jubilee celebrations, the young royal, then four-years-old, took centre stage as the royal family appeared on the balcony.

Alarmed by the noise caused by the Red Arrows circling overhead, he covered his ears and winced.

Similarly, the youngster charmed audiences around the world with his antics at the concert held in honour of his ‘Gan Gan’ and her 70-year reign.

During the concert, Louis was seen larking about as he played with his mother and sat on his grandfather King Charles’s lap.

Last year at Trooping the Colour, he once again stole the show with his funny antics, and delighted fans once again on the balcony of Buckingham Palace as he got into the spirit of the Red Arrows and pretended to be a pilot.

He also made viewers chuckle as he arrived in a carriage with his siblings at Horse Guards Parade – and seemed put off by an unpleasant smell.

The prince scrunched up his face and held his nose as the carriage moved along, while his older siblings seemed unfazed by the smell.

As Kensington Palace celebrated Louis’s fifth birthday last year, Kate and William released a snap showing their youngest son’s playful side and his strong bond with his mother, as the Princess of Wales was seen pushing him in a wheelbarrow while he gleefully beamed.

The previous year, another photo of the Prince, taken by Kate, was shared by Kensington Palace which showed him playing on the beach in Norfolk.

During Louis’s last public appearance on Christmas Day 2023 at Sandringham, he put on another heart-warming display as he held hands with his second cousin, Mia Tindall, on the way to St Mary Magdalene Church.

Mia, nine, is the eldest daughter of Zara and Mike Tindall, and has two younger siblings herself, Lena and Lucas.

Christmas 2023 was Louis’s second time joining his family for the annual trip to St Mary Magdalene Church as he is now deemed old enough to attend.

Sharing the image on Instagram and X, the royal couple wrote: ‘Happy 6th Birthday, Prince Louis! Thank you for all the kind wishes today.’

Capturing Richmond’s Wild Heart: An Interview with Photographer Bill Draper

Apr 23, 2024 By Admin in Photography

Bill Draper is arguably Richmond’s leading outdoor photographer. His renowned photos of landscapes and wildlife in the James River Park System have garnered widespread admiration. He’s celebrated citywide for his exceptional ability to capture Richmond’s beauty and the enchanting natural surroundings.

Several years ago, he released a book titled A Photographic Journey Through the James River Park System, with proceeds benefiting the Friends of the James River Park. He also created a 2024 calendar for the organization. Draper is renowned for his extensive collection of photographs of the Hollywood Cemetery buck, which he captured over several years before the animal was tragically poached in December.

Bill Draper interview by Terry Hurley_RVA Magazine 2024 — Photo by **Bill Draper**

He answered some questions for us on his approach and how he gets those beautiful images of life on the James.

Terry Hurley: Don’t want to get too personal here but how old are you and where do you live?

Bill Draper: I’m 72. My wife and I live in Richmond after moving from Short Pump almost five years ago. We are now downtown overlooking the river as we wanted to be closer to the 600-plus acre James River Park System.

TH: How did you get started in photography?

BD: I studied photography in college but worked in healthcare sales and marketing for 40 years. After retiring in 2016, I began carrying a camera on my runs and while biking and kayaking.

TH: What made you focus on outdoor photography in Richmond and especially, the James River Park System?

BD: I grew up in Richmond close to Pony Pasture and spent my summers fishing, swimming and canoeing on the James. It is part of my DNA. I have a passion for viewing and photographing wildlife and landscapes especially in the light of early morning and late evening.

TH: Your images, especially of the wildlife, are amazing. I’m sure it’s not easy to capture some of those shots and it must take some time to get what you want. They don’t pose for you, do they?

BD: Getting the best landscape and wildlife photos does take a commitment, getting out early, many times starting in the dark, walking a mile or more to be at a certain spot at sunrise. The other challenge is to be ready for the unexpected opportunity. I am always watching the lighting conditions and making changes to camera settings to be ready to quickly get that special photo. Many times it is a matter of seconds, especially when it comes to wildlife. I compare it to the wild west, you have to be quick on the draw.

TH: What do you most enjoy photographing?

BD: Capturing a beautiful sunrise or sunset on the James River, mountains, or seashore. A favorite with wildlife is photographing running or flying animals and birds.You see them from a totally different perspective.

TH: What are the most difficult shots for you?

BD: My most difficult shots are those flying birds and running or walking wildlife, especially with marginal light.

TH: What times of day work best for you?

BD: Morning is by far the best time of day for me with evening being second. Wildlife tends to be more active in the morning and late afternoon. This kind of light makes photos look more pleasing in most cases.

TH: Do you have any favorite locations along the river? By now you must know where to find your subjects.

BD: Favorite locations change based on time of year, wildlife migration and other activities. It is interesting that some of the best wildlife can be accessed easily by almost anyone. I have photographed deer, wild turkeys, eagles and waterfowl from the Huguenot Bridge. Downtown bridges including Potterfield, Mayo, Manchester and Belvidere are great for flying ducks, eagles, ospreys and other birds. I spend a lot of time walking along the river, in many cases finding unexpected photo opportunities. In other words, I don’t always find wildlife I originally expected to see. Beautiful river sunrises and sunsets are always potential opportunities when photographing wildlife along the riverbanks.

TH: How many photos do you normally take in a day and how many hours are you out with your camera?

BD: The number of photos I take on a normal day has changed quite a bit over the years. Not too long ago 100 photos a day was normal. Today with the newer technology cameras that take 20 to 30 photos per second, one to three thousand photos per day is very common, especially with moving wildlife. As an example, many times people ask me how did I get that flying bird photo with the wings in the perfect position. The answer is that at 30 photos per second, I got all the wing positions and picked the best one. I delete 95 percent or more of my photos each day, keeping the best ones.

TH: Do people stop and talk to you when they see you out and about with your camera? I assume some probably recognize you from your social media presence as well as your book and calendar.

BD: I do talk to people along the river every day. The number one comment, “wow that is a really big lens.” Surprisingly enough, many people do ask “are you Bill Draper” followed by “I really like following your photos on social media.”

TH: If you don’t mind, how expensive is the equipment you use?

BD: I will just say that I started with a basic camera and lens combination for less than $500 and over the years have continued to upgrade my equipment to the top mirrorless cameras with good quality lenses. The photo book that I did on the James River Park was almost completely done with a $400 camera and an iPhone.

TH: Do you have any simple tips for us amateurs on taking nature photographs on our smart phone?

BD: The quality of smartphone cameras improves each year. There is a significant improvement in the camera phones from just a few years ago. They have improved to a level that in my daily travels I carry a 600mm lens for wildlife and my iPhone 15 Pro Max for landscape photos. Newer Android phones also have great cameras for landscape and people photos.

TH: Lastly, is there anything else would you like us to know about your work photographing the landscape and wildlife in the Richmond area?

BD: I have a passion for being outdoors and viewing wildlife. I enjoy hiking, running, bicycling and kayaking. I always have a camera with me during these activities. I push myself to get out on a regular basis for several reasons. One is just being outdoors and having a desire to take the best photos I’m capable of taking. However, the most important reason, at age 72, is to keep my body moving and staying in good physical condition and maintaining a healthy lifestyle.

In 2015 I developed a very painful back problem that made doing any physical activity almost impossible. I was told by numerous surgeons that I needed a three-level spinal fusion. I talked with a trainer and she asked me to give her three months and if that did not help then have the surgery. I continued to slowly improve and years later the back pain is gone. My biggest motivation in getting out each day is to stay in shape and keep the back pain from coming back. I call it my extreme moderation program.

You can follow Draper’s work on social media and his website: billdraperphotography.com.

Photographer develops film using weed, in a world’s first

Apr 23, 2024 By Admin in Photography

This “4/20” (April 20), an international day celebrating the smoking of cannabis, was made memorable by Dmitri Tcherbadji, a photographer in Vancouver, Canada.

Dmitri, who writes for the Analog Cafe website, conducted a unique photography experiment using cannabis. He has created the world’s first film developer made from cannabis flowers, which he calls “Sativa Cannanol.”

This development is interesting considering that, traditionally, black-and-white film development relies on commercially produced chemicals. Besides, photographers typically use alternative, homemade developers such as Caffenol, made with instant coffee.

AIPAD’s the Photography Show Gears Up for 2024 Edition, and a Return to the Park Avenue Armory

Apr 23, 2024 By Admin in Photography

Running April 25–28, 2024, the Photography Show presented by the renowned Association of International Photography Art Dealers (AIPAD)—the oldest fair devoted exclusively to the medium of photography—will return to its historic home at New York’s Park Avenue Armory. Bringing together 77 international exhibitors, the fair offers visitors the opportunity to explore and discover the myriad facets of photography, both historic and contemporary.

The forthcoming edition of the event is marked by a surge in young galleries and first-time participants, including Marshall Gallery, Scottsdale; Olivier Waltman, Paris; and the Third Eye Gallery Aya, Osaka; , alongside returning exhibitors—such as Bruce Silverstein Gallery, New York; Catherine Couturier Gallery, Houston; and Galeria Vasari, Buenos Aires. Returning and new visitors can expect a comprehensive and dynamic range of photography will be presented; archival and vintage photography will be juxtaposed by the work of recent, experimental works, emerging photographers alongside canonic names from the history of the medium.

A grid of 12 photographs where the blue seen through the framing of city buildings appears to be the same shape as a skyscraper. Featured at the Photography Show.

Peter Wegner, Buildings Made of Sky X (2021). Courtesy of Marshall Gallery, Santa Monica.

Accompanying the exhibitor presentations, AIPAD is hosting a full slate of programming geared towards visitors of all ages. Panels moderated by leaders within the field, guided fair walkthroughs, as well as other educational events lend themselves to dialogue and an overarching theme of discovery. Included in this are AIPAD Talks, taking place over the course of the weekend days, is organized by Chair of the Education Committee Andra Russek and will offer attendees insight into forthcoming exhibitions both in New York as well as across the East Coast.

A black and white photo of curving roadways with diamond shapes superimposed over top at regular intervals, to be shown at the Photography Show.

Dakota Mace, Tséyi (Among the Canyons) (2023). Courtesy of Bruce Silverstein Gallery, New York.

The opening of the fair will also see critic, curator, and writer Vince Aletti awarded the prestigious annual AIPAD Award, which is dedicated to an individual identified as a pioneer within the medium and has contributed to new understandings of photography. Aletti in conversation with 2022 AIPAD Award winner Jeff Rosenheim will start off the AIPAD Talks series Friday, April 26.

A black and white photo of a patterned clear glass with a strip of paper nearly submerged inside, to be shown at the Photography Show.

Grete Stern, Glass with Paper (1931). Courtesy of Galeria Vesari, Buenos Aires.

Executive Director of AIPAD Lydia Melamed Johnson said, “It’s an honor to host this dynamic lineup of speakers onsite as they share new curatorial projects, speak on how to build thoughtful photography collections, and predict the future of the art market. Every year, we work diligently to create engaging programs that will ask challenging questions and dive into the rich history of the medium. Our goal with AIPAD Talks is always to bring together this community of artists, curators, and art enthusiasts, and the explore the ever-changing landscape of photography.”

The Photography Show presented by AIPAD will be held April 25–28, 2024.

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Big deals, big parties, big dresses – Dafydd Jones’s 1990s New York

Apr 23, 2024 By Admin in Photography

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In 1981, back from art school and looking for work in his hometown of Oxford, Welsh photographer Dafydd Jones decided to turn his camera on life at the university. His photographs of the beautiful and privileged eating at their dining clubs caught editor Tina Brown’s eye, and she hired Jones to shoot for Tatler in London, and later for Vanity Fair in New York. “In England, I’d become too well-known as a Tatler photographer,” Jones says of his move to the US. “It was wonderful to be invisible again.”

His latest book, New York: High Life/Low Life, collects his photographs of 1990s New York together for the first time. Working the city’s social scene with his Leica M4-2 and Starblitz flashgun, Jones chronicled the era’s mystique and couture, its pomp, big budgets and big personalities.

Martha Reed with a champagne swizzle stick at the Spanish Institute’s Gold Medal Gala, The Pierre, 1989 © Dafydd Jones

The New York City Ballet Annual Luncheon, the Waldorf, 1988 © Dafydd Jones

One photograph from 1990 catches archaeologist Iris Love’s dog (Just Desserts) and socialite Brooke Astor’s dog (Dolly Astor) as they vied for the pup-friendly canapés at a dachshund party hosted by Midtown West trattoria Barbetta. Others reveal his subjects’ resting expressions: a po-faced Rupert Murdoch at a New York Magazine celebration at the Metropolitan Museum of Art in 1993, or Diane von Fürstenberg contentedly sampling the catering in the bustling Four Seasons hotel kitchen during a Sunday benefit party in 1989.

Mica Ertegun and Irith Landeau leave the Literary Lions party at New York Public Library, 1989 © Dafydd Jones

It’s also a portrait of a time during which New York’s creative community was “being decimated” by AIDS, Jones writes in the introduction. “One evening I was given a list of parties, one of which was at a private apartment on 23rd Street. When I arrived, I realised something was amiss and slowed down. It was Robert Mapplethorpe’s final birthday party. A terribly sad occasion as he was clearly not long to live. He was surrounded by his friends.”

Saul Steinberg at his 50th birthday party in Quogue, New York, 1989 © Dafydd Jones

But it’s the creative energy of the era, the money that flowed through the magazines and institutions, that stand out most strongly for Jones: Aretha Franklin at the 1994 pre-Grammy celebration at The Plaza Hotel, flanked by acclaimed record producer Clive Davis and Robbie Brooks, or André Leon Talley spraying John Galliano’s hair white at Industria Superstudio photography studio. “In retrospect, these pictures are already of a very different New York City,” he writes. “Only the dramatic weather has remained the same.”

New York: High Life/Low Life by Dafydd Jones is published by ACC Art Books at £30

Midlands photographer bond revoked after more evidence found on phone, deputies say

Apr 23, 2024 By Admin in Photography

3 hours ago

Image: Gregg Martin
Courtesy: Alvin S. Glenn Detention Center

RICHLAND COUNTY, S.C. (WOLO)– A Midlands photographer‘s bond has been revoked on Monday, says RCSD.

The Richland County Sheriff’s Department says on Monday, April 15, there was a hearing in regard to Gregg Martin’s bond which led to the bond revoke.

Investigators say following Martin’s arrest on charges in Gwinnett County, Georgia, RCSD found evidence in his phone which allowed them to add more charges.

His previous charges were use of computer service to seduce, solicit, lure or entice child to commit illegal acts, electronically furnishing obscene material to minors, and obscene internet contact with a child.

Martin continues to be under investigation by the Richland County Sheriff’s Department.

A journey through the lens: Corky Lee’s enduring legacy in Asian American photography

Apr 23, 2024 By Admin in Photography

By Samantha Pak
NORTHWEST ASIAN WEEKLY

A self-portrait of Corky Lee during his earlier days as a photojournalist. (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)
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A self-portrait of Corky Lee during his earlier days as a photojournalist. (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)

For five decades, Corky Lee (1947-2021) dedicated his life to what he described as photographic justice for the Asian American and Pacific Islander (AAPI) community.

Starting out in social services, Lee shot his first photos (on a borrowed camera) in 1970 while working at Two Bridges Neighborhood Council just east of Chinatown in New York, where BIPOC residents lived in run-down tenements. His work included organizing rent strikes, and his photos were used to educate and document residents’ living conditions.

Before long, Lee could be seen at crime scenes, protests, demonstrations, and more, documenting AAPI history—which now could be seen in a new book, “Corky Lee’s Asian America: Fifty Years of Photographic Justice.” The book is a continuous record of the Asian American movement over five decades, featuring about 250 photos, distilled from the hundreds of thousands that Lee took throughout his career, right up until his death on Jan. 27, 2021, from COVID-19.

“This book we edited is a rare documentation of Asian American communities and social justice movements over this long arc of 50 years,” co-editor Mae Ngai said.

The book was published on April 9, and to celebrate its release, Lee’s estate and Asian American Journalists Association (AAJA) Seattle are teaming up to host an event from 6-7:30 p.m. on April 26 at the Wing Luke Museum. The event will include a conversation between Ngai and AAJA Seattle board member Celia Wu. There will also be a slideshow featuring Lee’s work, as well as the opportunity for audience members to ask questions, a book signing, and copies available for purchase.

“I think it’s going to be a really happy occasion,” said Ngai, who had met Lee in the early 1970s in New York’s Chinatown, just as the Asian American movement was beginning to explode and they were both radical activists looking to make “good trouble.”

A candlelight vigil in New York’s Central Park on Sept. 15, 2001.

Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”

” data-medium-file=”https://nwasianweekly.com/wp-content/uploads/2024/04/A-candlelight-vigil-300×200.jpg” data-large-file=”https://nwasianweekly.com/wp-content/uploads/2024/04/A-candlelight-vigil.jpg” class=”size-full wp-image-68707 lazy” src=”https://nwasianweekly.com/wp-content/uploads/2024/04/A-candlelight-vigil.jpg” alt width=”1024″ height=”681″ data-sizes=”(max-width: 1024px) 100vw, 1024px” srcset=”https://nwasianweekly.com/wp-content/uploads/2024/04/A-candlelight-vigil.jpg 1024w, https://nwasianweekly.com/wp-content/uploads/2024/04/A-candlelight-vigil-300×200.jpg 300w”>

A candlelight vigil in New York’s Central Park on Sept. 15, 2001. (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)

Undisputed, unmatched, everywhere

According to the book, Lee’s business card declared him the “Undisputed, Unofficial Asian American Photographer Laureate,” as he aimed to break stereotypes that AAPIs are docile, passive, and foreign in this country. He told stories through his photos and Ngai said he saw storytelling as a way to change the historical narrative—specifically, one that had long erased Asian Americans. From community events of all sizes, to people going about their everyday lives, Lee’s work showcases both the “Asian” and “American” sides of the community.

“Corky’s dedication to telling our stories was unmatched, and the book shows how prolific, and diverse, his output was,” Wu said. “Corky was able to create this powerful body of work because he was everywhere.”

This was how Wu’s younger self ended up in the book. She had attended a protest against Michael Cimino’s film, “Year of the Dragon,” in 1985 in New York and “naturally, Corky was there to capture the moment.”

AAPIs’ place in American history

Throughout his career, Lee’s photos documented important moments and movements in AAPI history. When community members in New York gathered to protest the arrest and beating of Chinese American Peter Yew, Lee was there on May 12, 1975, with his camera, to photograph another Chinese American man being dragged away by law enforcement. It was one of Lee’s most well-known photos and was published that same day in the New York Post’s afternoon edition.

Two women protesting against police brutality in 1975. The sign in Chinese read, “Down with racist oppression/Justice for Peter Yew now/Unite and fight to victory.”

Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”

” data-medium-file=”https://nwasianweekly.com/wp-content/uploads/2024/04/Two-women-protesting-against-police-brutality-200×300.jpg” data-large-file=”https://nwasianweekly.com/wp-content/uploads/2024/04/Two-women-protesting-against-police-brutality-683×1024.jpg” class=” wp-image-68708 lazy” src=”https://nwasianweekly.com/wp-content/uploads/2024/04/Two-women-protesting-against-police-brutality-683×1024.jpg” alt width=”624″ height=”936″ data-sizes=”(max-width: 624px) 100vw, 624px” srcset=”https://nwasianweekly.com/wp-content/uploads/2024/04/Two-women-protesting-against-police-brutality-683×1024.jpg 683w, https://nwasianweekly.com/wp-content/uploads/2024/04/Two-women-protesting-against-police-brutality-200×300.jpg 200w, https://nwasianweekly.com/wp-content/uploads/2024/04/Two-women-protesting-against-police-brutality-600×900.jpg 600w, https://nwasianweekly.com/wp-content/uploads/2024/04/Two-women-protesting-against-police-brutality.jpg 900w”>

Two women protesting against police brutality in 1975. The sign in Chinese read, “Down with racist oppression/Justice for Peter Yew now/Unite and fight to victory.” (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)

In 2014, Lee carried out his quintessential act of photographic justice.

He brought together about 250 Asian Americans at Golden Spike National Historical Park in Promontory Summit, Utah. The site marks where the transcontinental railroad was completed in the 19th Century. And while Chinese workers played a major role in building the western half of the railroad, they were intentionally excluded from the 1869 original photo marking the occasion because of anti-Chinese racism at the time. On the 145th anniversary of the railroad’s completion, Lee reenacted the original photo with Asian Americans—including direct descendants of railroad workers—to record their role in one of the greatest technological achievements at the time.

And while Lee occasionally sold his photos as a freelancer, his work was mostly a labor of love, which he did gratis, Ngai said. For his day job, he worked as an account executive at a minority-owned print shop, where he worked from 1983-2011.

“Although Corky never was paid as a photojournalist, he was the ‘undisputed’ documenter of the Asian American movement from the 1970s up until his untimely death in 2021,” Wu said, adding that Lee was also one of the founders of the AAJA New York chapter and is listed in the national organization’s honor roll as a pioneer in photojournalism.

Lee photographed the AAPI community until the very end, capturing New York’s Chinatown through the early days of COVID-19. Taking portraits of people standing in front of their favorite restaurants, which had been closed at the time, as well as people protesting the rising violence against the AAPI community, he wanted to show how AAPIs were victims of the pandemic, not the cause of it, Ngai said.

“That was his last work,” she said.

Some of the last photographs Corky Lee took were of Asian Americans in 2020, protesting against the racist attacks during the coronavirus pandemic.

Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”

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Some of the last photographs Corky Lee took were of Asian Americans in 2020, protesting against the racist attacks during the coronavirus pandemic. (Reprinted with permission from “Corky Lee’s Asian America: Fifty Years of Photographic Justice”)

This local photographer transformed his former D.C. office into an exhibit

Apr 23, 2024 By Admin in Photography

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Sandra Cattaneo Adorno On Reinventing Her Photography Practice At 70, For New Project ‘Ten Years’

Where did you artistic journey first begin, and what made you fall in love with this medium? You began a new creative path in 2013 at the age of 60. Can you tell us more about why and how you got into photography?

When did you begin to compile images for ‘Ten Years’, and how did you decide which photos would make the cut?

Your images transform ordinary, everyday life moments into something magical using color. Can you talk us through your creative decision and why you wanted readers to see these everyday moments in a new light?

How has travel influenced your perspective on life and art, and how they intertwine?

Can you talk about the notion of displacement and the idea of belonging, and how your work incorporates these themes?

Society loves to brush women aside after a certain age, but there are many, like you, who are defying the stereotypes and inspiring many other women along the way. What message do you have for people who would try to dismiss your age?

What message do you have for women who are struggling to find their own identity and place in the world because of their age?

How do you feel about being part of the 60th Venice Biennale, where ‘Ten Years’ will be on display as part of the ‘Personal Structures: Beyond Boundaries’ exhibit?

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