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Peter Marr's and Partner Picks of the Show
The American Southwest
January
27 - February 22, 2015
Peter Marr and Gallery
Partners have made selections of their favorites from the Featured and Guest Photographers in the exhibit.
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All images copyright by the individual photographers
Peter's Picks |
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Desolate by Steve
Levinson
Steve’s inspiring images of expressive
details from some of Yellowstone’s beautiful and intricate
designs are superb and breathtaking. With a true artist’s eye,
he has isolated and captured spectacular formations that are
rich in both detail and an impressive range of saturated colors
and imaginative shapes and patterns. I would love to comment
further on each of these lovely prints, but I chose Desolate
instead, because it is equally enthralling as the others, with
the added interest that it has a story to tell on a larger
stage. Certainly, nature is for reverence, and this image has
both a magical and mysterious presence, as though time has
stopped, and this is how we would like to experience the scene
forever. Beauty, life and death are all expressed eloquently and
poignantly. The vertical format is a visionary touch, and in the
print, the viewer is aware of a dramatic backdrop of an
impressive mountain panorama, visible under majestic, dark cloud
formations. Under this canopy, there is a delicate strata of
sugar-coated balconies and fluted terraces of travertine rock,
that stretches out sublimely over the landscape. As this sea of
limestone formations moves towards the foreground, the observed
pastel color hues slowly change to browns and grays, whilst the
myriad of cracks, fissures and formations become outlined with
geyserite. The resulting surface pattern structures are evidence
that the living organisms, algae and bacteria have been killed
off, leaving intricate eco-skeletons, which are devoid of the
lovely colors of the primary terraces. Further evidence of
nature’s ever-present destructive forces, is seen in the
powerful presence of a lone tree, which although not very large
in size, it seems to tower over the whole landscape. Long ago,
it was probably an elegant juniper tree, but the water and
prolonged acid burn slowly killed it off. Although its foliage
is no longer present its elegant multi-trunked shape proudly
remains. This is no historical skeleton, for this tree is the
epitome of grace and beauty, and its trunks and branches
imposingly display an artistic icon for everyone to admire, in
realization that life and death are inexorably linked in this
vast area renowned for its volcanic and hydrothermal features.
Peter A. Marr
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Horseshoe Bend by Frank
Liberti
In this outstanding exhibition, The
American Southwest, it is so gratifying and exciting to have a
superb panel of B/W prints. Ansel himself would have been delighted
to have had the chance to view these outstanding images, which were
not just captured by Frank, but they were interpreted to create
works of art. I was particularly impressed with Horseshoe Bend,
certainly one of Arizona’s scenic highlights that the author has
creatively recorded, resulting in a breathtaking panorama of
unsurpassed radiance and majesty. Technically, this print is
masterful. The incredible depth of field reveals both sharpness and
superb highlight and shadow detail, along with excellent definition
and outstanding contrast qualities. There is also an extensive tonal
range of grays from the very lightest to the darkest zones,
supporting whites and blacks that still contain some subject detail.
The overall landscape is spectacular, and it leaves the viewer in
awe and wonderment as to how nature has carved out this scenic
jewel, and in equal amazement as to how the artist captured the
scene so amazingly and with such eloquence and skill. Frank is to be
further congratulated for choosing an inspired camera position,
where the compelling foreground anchors and directs the leading
lines that take the observer’s eyes around the canyon walls in a
deliberate circular motion. This allows time to admire the intricate
details and formation of the sedimentary rock cliffs, before
traversing around the peaceful and serene oxbow lake, whilst
admiring the intricacies of the massive center rock structure.
Furthermore, the artist has positioned the camera so that the
central rock feature is off center, so that one can easily go to the
top to view the impressive panorama beyond, the whole landscape
being held in under a captivating thin layer formation of dark
clouds at the very top. Many congratulations for a terrific image,
wonderfully seen, photographed and presented.
Peter A. Marr
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Peppermint Rock by Gary
Thompson
Gary has imaginatively and
artistically captured an impressive image of a well-known rock
formation, resulting in a print that has both power and majesty as
well as a delicacy and beauty that is breathtaking. By choosing an
inspired camera position, even in fading light, the author has
created an outstanding picture that fully displays the grandeur and
nobility of nature’s design. The lovely warm color palette is
highlighted by the sumptuous swathes of reddish-brown ochres, which
are separated by bands of lighter sandstone hues, creating a
memorable pattern that boldly reflects the rock’s assigned name.
Following these colorful swirls the viewer is transported gracefully
to the large nose-like peak, which strikingly looks out onto the
impressive landscape beyond. In the distance, there is a series of
large sandstone formations, beautifully situated under a pale blue
sky that encloses a few indistinctive clouds.
In between, the massive Peppermint
Rock dominates an arid desert-like valley floor, replete with hardy
shrub-like bushes which add a welcomed splash of green color to the
overall scene. The more that I admire this uplifting image, the more
that I am aware that this was once part of land that was the domain
of Native Americans,
land that was put there by the Great Spirit, and that it will last
forever as long as there is sun and water to nurture both men and
animals. With this thought in mind I truly believe that there is a
sacredness here that the land is alive, and that these people are
forever with the land that is so precious to them. That is why I
envisage in this print a Native American woman, towering over the
landscape, her brightly colored shawl effortlessly spread out, in
order to shelter and protect the cherished land beneath from the
ravages of time. It is also pertinent to mention that the viewer is
only seeing this landscape as a momentary glimpse in the long
stretch of geological time, but what a scene it is, and how
fortunate we are to have Gary capture this exquisite image for every
observer to admire and marvel at.
Peter A. Marr
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Road to the
Mittens by Phyllis Thompson
This popular scenic attraction has
been inspiringly captured by the artist, resulting in a visionary
panoramic print of unsurpassed wonderment. In order to achieve this
outstanding result, there must have been extensive communications
between self and the environment in order to see the subject matter
in a special way as transcending the ordinary. This is a lyrical
landscape where the author is fully at one with nature. With careful
planning, Phyllis carefully positioned the camera extremely close to
the massive rock in the left foreground in order to get a remarkable
and unrivalled image of both the foreground and the vast valley
beyond. The extensive depth of field used reveals striations and
curved lines in the large sandstone rock in intimate detail, as well
as revealing textures that play off against one another for a
compelling visual treat. What is so magical is that the viewer can
easily follow these leading lines and crevices all the way to, and
along the unpaved curving road right across the valley floor to the
picturesque formations in the distance.
This whole area is sacred to the Navaho
Indians, and is known by them as The Land of Standing Rocks, a land
to be protected forever, and one that certainly has a fascination
and beauty that is awe-inspiring. The ambient illumination is
resplendent, creating a wide splash of warm, saturated colors on the
rocks and valley floor, all the way to the pastel hues of the light
blue sky and fleeting cloud formations. The lovely lighting reveals
all of the detail and textures of the foreground sandstone rock,
even highlighting the effects of wind erosion on the exposed
surface. An important element in this image is the vertical rock on
the right-hand side, which is in complete shade and not only frames
the picture to perfection; its shape mirrors that of the two
prominent formations in the valley. Finally, with so many leading
lines to the twin towers, it is interesting that the dotted
formations of small shrubs also follow the contours of the winding
road, creating an amazing unified vista that is visionary, powerful
and truly inspiring.
Peter A. Marr
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Three Sisters #1 and #2 by
Michelle Turner
I grouped these two dynamic images
together to comment further on, because they have such high visual
impact, and they illustrate a revered historic and important way of
life in “The American Southwest,” one that sadly may die out in the
face of advanced technology. In both prints, the “Three Sisters”
occupy an important place in the dramatic landscape in the
background, powerful structures beautifully photographed against
impressive cloud formations. Although the backdrops in both prints
are captivating and superbly set the location and habitat, it is the
foregrounds in both images that demands most of our attention, and I
will devote most of this revue to these inspiring elements. In print
#2 the two horses, probably after a long, hard days work share a
precious moment of warmth and affection, probably oblivious to the
three monarchs in the background or to the ranch structure that
separates them. This is a heartfelt and poignant greeting, and just
maybe, the left ear of the speckled white horse is uplifted
vertically to salute the edifices beyond. It is important to note
that the two dominant foreground horses exhibit soft curves and
gentle lines in comparison to the three vertical background rocks.
In print #1, the viewer is treated to a creative and remarkable
print that has been beautifully seen, composed and taken by
Michelle. Once again there is an entrancing relationship between a
series of two similar elements in the foreground with the “Three
Sisters.” The magnificent leather saddle with all of its essential
components has been beautifully displayed across the top rail of a
fence, the rail and the one below it being set on the diagonal,
which adds a powerful and dynamic feature in the frame. Everything
about the saddle speaks of hard work and countless hours on the
backs of the horses seen in the second print, but they also strongly
relate to a consummate love of the land, the type of labor involved,
and above all, a dedicated pride for the cowboy who has the honor to
own and use this impressive saddle. Both of these prints speak
volumes about the way of life and the history that ranching has
given to this area, made all the more significant by the impressive
natural background. These are exquisite images that tell an
important story, one that we hope will live on for many generations
into the future.
Peter A. Marr
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| 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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Partner Picks |
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Sunset Thunderstorm by Carl
Crumley
Carl Crumley's superb photograph titled "Sunset Thunderstorm" is the
result of a combination of good planning, patience, and
perseverance. It is very difficult to capture lightning in
landscape photography. Carl skillfully was able to combine three
interesting components into one beautiful photograph. The three
essentials within this image are the lightning bolts, the warm front
lighting on the upper walls of the canyon, and the subtle pink of
the background clouds.
He has used excellent compositional balance to aesthetically unite
these three features. The triangular pattern of the three points of
interest is very pleasant to view.
To capture
lightning images in landscapes the photographer needs to determine
the area that has the highest frequency of lightning and then
position his/her tripod to include this lightning area in an
interesting position within the scene to be photographed. By
studying the frequency of the lightning the photographer can then
take educated guesses of where and when the lightning will occur.
The photographer then needs to use appropriately long exposures
(perhaps 8-20 seconds). Carl probably took many of these time
exposures in order to achieve this perfectly timed image. He is to
be congratulated on skillfully capturing this very difficult but, oh
so beautiful photographic print.
It is easy
for a viewer to think that this is a Grand Canyon image. It was,
however, actually taken from one of the rims in Canyonlands National
Park.
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Tumbleweed in Bloom by Larry
Eldridge
What a beautiful
surprise! Larry has captured a very different view of a plant that
we often imagine dried up and rolling across the plains, pushed by
an unforgiving wind.
He has brought us
very close to this desert pla nt, giving us a look at a tiny part of
one small branch.
Only by being this “close” can we see and appreciate these gentle
blossoms. Only here do we see the menacing presence of the
needle-like leaves that seem determined to protect these blooms.
Larry has chosen a particular angle showing one blossom in full sun
and a second, half in and half out of the sun’s direct rays.
Because of the clarity of the image, we can see the intricate
branching structure of the almost transparent petals. The tight
focus on the plant itself has left the background without any
structure, leaving only the color to remind us of a desert-like
environment. The image gives the impression that we are “in the
presence” of these desert beauties.
Larry has
created a beautiful image, artistically captured and presented. More
than that, he has offered us an intimate view of one of the many
small treasures that is often lost “blowin’ in the wind.”
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Cobb’s Hill #4 by Gil Maker
Gil
Maker has produced an excellent portfolio of the wooded areas of
Cobb’s Hill Park. While several of his photographs are worthy of
receiving
a Gallery Pick, we have selected Gil’s print, titled “Cobb’s Hill
#4” for this coveted award.
Gil has found
several artistically pleasant patterns within the entropy of the
natural areas of Cobb’s Hill. In his image titled “Cobb’s Hill #4”
he has recognized
and then isolated a vertical stand of trees to photograph. His use
of the vertical format enhances the strong vertical lines of the
trunks of the trees. The exposure for making the image, combined
with Gil’s quality printing, showcases the intricate detail of the
featured trees. The brightness of these prominent trees enables them
to move forward and separate nicely from the darker vegetation of
the middle ground. This creates a three dimensional feeling and the
sensation of depth for the viewer.
Gil, by full
framing the print with interesting subject matter, skillfully covers
what appears to be a mundane sky. The most prominent and perhaps
most interesting tree is aesthetically placed off center. Gil’s
image is an excellent example of an “intimate landscape” and is a
tribute to his ability to recognize, simplify and photograph the
essence of a complicated scene.
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