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If you are unable to visit our gallery and would like to purchase photographs from this preview or others in the gallery, please contact the gallery and call 585-271-2540.


Peter Marr's Picks of the Show

The Big Picture
January 23 - February 17, 2013

Peter Marr has picked his favorite photos from the show by the guest photographers
and also describes the strength of the images he has chosen.

click here to return to the details of the exhibit


All images copyright by the individual photographers

Jellybean by David Bleich

by David Bleich

In this scintillating exhibition, which includes many very large prints, David has given us truly thought-provoking photographs. The latter are images of affirmation from an artist whom Ralph Steiner would describe as “Thinks with his Eyes.” The author has an innate creativeness in looking at things in a different way, which reminds me of a profound observation from Beaumont Newhall, namely, “We are not interested in the unusual, but in the usual seen unusually.”

In Jellybean, the huge and impressive sculpture is fully deserving of its imposing placement in a very large print. The drama and awesome impact of the entire image is certainly visually enhanced by the black and white format, and the astute use of software techniques that are artfully and meaningfully done. The tonal range is exceptional, with a dynamic range of values which enhances the 3-dimensional impact, and exhilaratingly captures every creative curve and design features of this monumental and inspiring sculpture. Expressively reflected in the latter are a majestic array of tall buildings with a dramatic background skyscape and a plaza forecourt of patterned concrete tiles. Silhouetted beneath the gracefully arched sculpture are two pairs of people. Strangely, one pair appears to be fascinated by what is up inside the structure, whereas the other two show complete disinterest, and are seen walking through to the street beyond. It is pertinent to be aware that the elegant curvature of the sculpture compresses the reflected buildings and human figures, challenging our visual reality, especially in comparison to the tall structure on the extreme left, and the people in the center foreground. Expanding one’s own awareness, it is not too difficult to envisage that we are really looking at a gigantic spaceship which has just landed in the plaza, and that two curious onlookers are excitingly looking upward, awaiting perhaps for an alien presence to appear, and come down to explore a strange new world. This is a virtuosic and masterly print, where the artist has captured a fabulous sculpture in a unique and exceptional way.

Trucks by David Bleich


by David Bleich

This is a stellar and extremely compelling print of a group of closely aligned trucks, in which the resplendent colors and elaborate subject detail have been impressively enhanced by the artist. It is a great tribute to David, that this very large, awe-inspiring image, would have been foremost in Somerset Maugham’s mind, assuming he could have seen this print, when he stated, “ It is a funny thing about life, if you refuse to accept anything but the best, you often get it.” In Trucks, the creative use of an awesome color palette of saturated hues, together with the elaborate and meticulous detail in each of these authoritative rigs, results in a fabulous and uplifting print, befitting these noble “Kings of the Road.” In this huge, horizontal print, I particularly admire the way in which the author has presented these leviathans as massive vertical elements, which creatively emphasizes the power and character of each individual truck, giving each one a commanding presence and pride of their own. Each of them are especial, but together they form an impregnable line, virtual goliaths at rest, and in everyone’s mind as they resolutely overtake us on the open highway. In the understanding that viewers must project their own imagination onto the photograph, and see what they want to see, I will briefly expand on my thoughts. I definitely am aware of a human entity in each of the trucks, supported by the vertical stature and facial elements, especially the eyes and mouth features. From this, it is not unrealistic to imagine that one is observing a towering regimental line of soldiers, awaiting orders to march into combat. In serried ranks assembled, these mighty troops will make any enemy tremble, even before they march into battle. It is a truly monumental and inspirational image.


Masai Mother and Child by Joseph Lamperez

Masai Mother and Child
by Joseph Lamperez

This is a powerful and haunting family portrait, that aesthetically illustrates how spontaneity is an essential component of the photographer’s art. This charming image also delightfully refutes some supposedly photographic maxims, by having the subjects placed right in the center of the frame, and capturing two subjects, where the eye is said to prefer one or three. Although there is some obvious apprehension in the mother’s expression, the artist inspiringly elected not to pose her and her young child outside the dwelling, even though this option was probably available. The end result is a wonderfully poignant and electrifying image, full of drama and atmosphere, one that speaks to us so meaningfully regarding the poverty, plight and resilience of the Masai people. The dwelling itself highlights the humble living conditions, evidenced by the mud-cracked walls, the decaying base structure, the crude wooden pole supporting a thatched roof, and a hingeless door that just serves as a moveable cover for the entranceway. On a more positive note, the walls have a warm color of reddish ochre, complementing the mother’s lovely brightly colored garments, and multicolored strings of beads and necklaces. Sadly, the young child is more plainly attired, where the wear and tear on her dress suggests it has probably been handed down from other older children. It is ironic that the doorway is not as high as the mother is tall, resulting in the lady having to bend downward so that she can catch a glimpse of the stranger at her doorway. The somewhat anxious and uncertain look on the mother’s face is just priceless, contrasting so movingly with the child’s disinterested gaze. This uplifting portrait is wonderfully seen and captured, allowing the viewer to not only admire its beauty and serenity, but to look beyond what one sees, and to try to imagine what life must be like in this rural area of Africa, where the Masai are pastoral and hunting people of Kenya and Tanganyika.


Covered Bridge by Jim O'Neill


Covered Bridge

by Jim O’Neill


This spectacular print, together with three other images in Jim’s portfolio, are in my mind wonderful examples in which digital technology brilliantly enhances the picture. Certainly, our perception of photographs is biased, so we reconstruct them in ways that are meaningful to ourselves and to viewers. A standard record shot of this bridge scene could easily grace a calendar or picture postcard, but the artist has skillfully reworked and delightfully embellished the standard view, to enlighten us with a magical transformation, that is both masterly and uplifting. The color range and quality is exceptional, offering a sumptuous array of exquisite autumnal hues, which contrast inspiringly against the lovely blues and greens. These gorgeous colors arouse all of our emotions, and appeal  to and captivate our subconscious. There is a warmth and vitality in this impressive print that is timeless, bringing this rustic bridge to life in an idyllic setting. The only hesitation that would- be travelers who need to traverse through the bridge may have, is that the setting is so spectacular and romantic, that they may rather sit  on one of the inviting benches, and take time to embrace the surrounding beauty, rather than to enter the foreboding interior of the bridge, to reach the other side where the scenery may not be so captivating. An artist could not have painted or even envisioned such a superb panorama. This is a creative and expressive example of how the vision and manipulative skills of the author have resulted in a breathtaking image for every viewer to marvel at and enjoy.


Peter Marr

We are very grateful to Peter for his thorough review and selection for Peter's Picks. Peter was born in England in 1935 and came to live in the United States in 1968. He worked for the Eastman Kodak Company for 34 years, retiring in 1998. During his employment and continuing into retirement, he has been an enthusiastic photographer. His photography has won him numerous awards throughout Kodak and in International Salons, including 5 George Eastman Medals, which is the top honor awarded to the most outstanding picture in the Annual Kodak International Salon. He has served as a judge in both local and international photographic competitions for the past 20 years, and is a Past president of the Kodak Camera Club and past chairman of many of the Kodak Camera Club organizations. In the past five years or so, he has devoted his photographic skills and interest into nature photography, notably bird photography. His bird photography has been the subject of several one-person exhibits, the most recent being at Ding Darling NWR, in Sanibel, Florida, The Roger Tory Peterson Institute in Jamestown, New York, and at the Webster Public Library in Webster, NY.

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