All images copyright by the individual photographers

When one views this excellent and intriguing exhibition, it is very apparent that the images are captured, printed and displayed in a unique and eye-catching way. I am not able to comment on the technical aspects that resulted in such an eclectic series of “photographic frescoes”, but I will say how much I admire the thought processes, and the photographic and artistic expertise that went into making these images. Knowing that a great deal of research and trial and error were necessary before the artist was satisfied with the final outcome, I am reminded of a well known French saying, namely “C’est en forgeant qu’on devient forgeron”, literally, “It is through forging that one becomes a blacksmith”. I would encourage the viewer to encounter the subject matter with their whole being, using all of their senses, intellect and emotions. Look beyond the labels and discover the world around you. Peter A. Marr

	Before the Fall 2 by Michael Murray Before the Fall #2 is a truly sublime, idyllic, and wistful portrait that captures the mystery and imagination of perhaps past scenarios, life as it is now, or of a distant unknown future. Hauntingly reminiscent of an  Andrew Wyeth painting, this evocative image has a tranquility and beauty that is just enthralling. Artistically it is impressive, an image to love, conjecture and be at one with. We see the graceful sweep of an arm with a caring hand gently embracing a wisp of vegetation, delicately caressing the long strands of grass. We also see the delicate, lightly-creased fiber of her casual dress, which has an intricate lace-pattern on the sleeve. Finally, we acknowledge the somewhat stark environment, with lines and shapes that are somewhat mirrored by the ghostly clouds in the sky beyond. Overall, one has to both admire and be taken aback a little by this strong vibrant image. One need not question the who, where, or why, but just use one’s own reflections on what this picture means to them. I am sure one could write a caption or even a lengthy story regarding this enigmatic image. For myself, I love everything about it, and certainly, I could easily write a lengthy epistle on what this picture conveys and means to me.
	Room, Olson House by Michael Murray Of the triptych of black and white house interior images, I chose this one as one of my “picks” to comment further on. This powerful, vertical view of part of an empty room, is seen through the eyes of partially opened double doors, the left hand door being significantly out of focus. The room is more of a high key print that emphasizes a blaze of light from an uncurtained window, light which outlines every detail from the worn floorboards to the reflection in the mirror at the far end of the room. Although the mirror and its reflection are focal points in this image, one is certainly keenly aware of the black decal above the mirror, and the black door hardware. There is an irresistible magnetic pull in our minds as to what lays beyond the half-opened door, the area we cannot see. There is certainly mystery, and maybe anxiety, relating possibly to the doors inside us that we are too fearful to pass through. Doors can be open to welcome us, or even engulf and imprison us. Certainly we can conjecture on the mystery of “what the room was used for?”, “ what was it like furnished?”, “who lived here?”, etc., etc. The out of focus left hand door acts as a sentinel barring our way from entering further. The door possibly does not want us to look beyond it, or what is behind it. The mirror, deliberately does not help us see beyond, and its deep black wooden surround adds to the foreboding and mystery. I could go further, but I am limited by space. I leave it to every observer to not only admire this superb, intriguing image, but to envisage for themselves what they can see or imagine in the room beyond.
	Kinsale, Ireland by Augustine J. Masotti This is a document of our time about a lovely old street that has escaped the eye of the developer, and where stands stores and establishments so different, that the stroller is compelled to inspect everyone of them. Here we have buildings of grace and distinction, and the people who live and work there are proud of their heritage and freedom of expression. This is certainly evidenced by their use of luminous, striking colors, together with bold advertising letters and signs that leave no doubt about what businesses one could find inside the closed doors. In this elegant and expressive photograph, it is especially significant to be aware of the pannier-equipped bicycle, reminiscent of perhaps a fading generation, with the modern car, ironically illegally parked. I can imagine the frustration of the local populous who live and work in this very picturesque street to be affronted with the unsightly double yellow lines. In spite of the latter, we are still captivated and enamored by this charming scenic of an historic avenue, that certainly would prefer to have its full character restored by banning motor traffic altogether. The photographer is to be admired and complemented for beautifully capturing this fascinating part of an old Irish town, in such a meaningful and delightful manner.
	Beach Blues #1 and #2 by Tom McGlynn I have chosen these two lovely prints by the same artist that are in essence very similar, yet they also give a very different feeling and emotion. Both pictures have resplendent color and superb detail, and an exquisite artistic quality that is very reminiscent of pastel pencil renderings, particularly evidenced in the background beach sand. In Beach Blues #1, I see a tremendous awareness of motion and urgency, of despair and fear. These feelings emanate from the concern that the largest stone in the foreground is pursuing and trying to engulf the other pebbles. The outliers are fleeing, with one small stone at the top already out of harm’s way. The smallest blue stone, however, is motionless, transfixed in the center of a powerful diagonal attack. Meanwhile, the second largest stone at the left is taking an immediate left pathway, hopefully out of reach of the oncoming assailant. Now contrast this with the idyllic setting in Beach Blues #2 (shown at left), where the sibling blue stones appear to be lovingly protecting the mother-figure white pebble. The entertaining kelp envelopes and enwraps the whole family, providing a calming, nurturing and supportive element. Even the lines and forms of the sand particles weave a curtain of support and tranquility. I really love these two beautiful prints, and I have commented on just one interpretation of what a viewer could see or read into these images. Beauty is certainly in the eye of the beholder, and I encourage everyone to explore their own sense of wonder and mystery as they study and admire these lovely prints.
	Morning at Hemlock Lake and Twilight at Stony Brook by Steve Malloy Desormeaux Steve’s excellent landscapes beautifully capture both the grandeur and the emotional delicacy that nature so wonderfully offers us. In this brief discussion, I have chosen two prints, because they illustrate that in this digital era, the dilemma of image capture in color or black and white is largely irrelevant, giving the photographer a degree of freedom which was often not possible with film media. In these two prints, the calming and soothing presence of nature is very evident. Here, we acknowledge that nature is for reverence and both the early morning light and mist, together with the late evening ambience, intensifies the emotional effect of visual experience. In Morning at Hemlock Lake, the early morning mist enveloping the picturesque shoreline, reaches up into the dramatic sky, the entire scene being nourished by a palette of soft colors and gracefully reflected in the pristine water. In contrast to this, Twilight at Stony Brook would make an acceptable color print, but the image takes on a dramatic intensity and much more compelling grandeur in black and white. The impressive lines and shapes with the striking sky thrusting up into the unknown are all mirrored exquisitely in the foreground water, creating a mystic but powerful landscape. Nature does allow us some tranquility with the presence of the great blue heron/white egret silently seeking an evening meal. One might notice that both of Steve’s excellent prints have horizons that are almost exactly in the middle of the image, a photographic tenet long considered unacceptable. For me, it illustrates that rules can and should be broken, for in these prints, the allure of how the reflections reveal their majesty and mystery, certainly adds a degree of fascination that makes the images so visually compelling.