# data[].attributes.attachment_link.title
What Do Japanese Photographers Know That We Don't?

# data[].attributes.attachment_link.title
THE FORGE - Mini Doc shot on Nikon ZR + Sirui IronStar

# data[].attributes.attachment_link.readable_text
The Creative Process, Learning from Wynn Bullock
"Light is one of the most beautiful, mystical...expressions of nature. It is greater than any object it reveals." Wynn Bullock
We are pleased to be able to share the story behind the history and process of Wynn Bullock's "Color Light Abstractions". We want to thank his daughter, Barbara Bullock-Wilson for sharing the following story about this wonderful work. Thank you Barbara for sharing your memories and words.
RE-DISCOVERING THE COLOR IMAGERY OF WYNN BULLOCK
My father Wynn Bullock was a consummate practitioner of the craft of photography, using the tools of his trade to express himself with eloquence. He is not easily placed within his chosen field, however, as he kept challenging and redefining the medium.

As an artist, Dad was never aloof from his family. Many of his well-known images were taken on family outings. Sometimes, he would go off and photograph by himself while Mom and I and my younger sister Lynne would explore the environment, collecting shells, rocks, leaves, driftwood. If we happened to be nearby, he would often invite us to look through the ground glass as he was creating his pictures. At lunchtime, we would gather all together for our picnic and tell each other stories of our day's activities.

Occasionally during these outings, Dad would ask one of us to be a part of the photographs he was making. This might seem like an unusual experience for many people, but, for us, it was a familiar, comfortable process. For me, it helped form a deep connection with nature, a connection that has nurtured my entire life. Participating in the creative act also gave me the sense that I was contributing to something important, not so much as a particular individual, but as a symbol of something more universal. Although I couldn't have expressed it at the time, modeling enabled me to experience myself simply as a form of being in relation to and one with all other forms of being.

Throughout the 1950s, Dad's work in black & white photography brought him international acclaim. Then in the fall of 1959, he entered a new realm of creative expression. At the time, a friend was experimenting with lenses that were capable of focusing at extremely close range. Dad became intrigued with the perspective the lenses offered and began experimenting himself.

Taking an old 35mm Exakta camera, a simple inexpensive lens and a dual-rail close-up bellows attachment, he constructed his own equipment. Using this modified camera to photograph such things as glass and water very close-up (sometimes as near as 1/16 of an inch), he found he could eliminate the intrusion of "objects" and concentrate on the phenomenon of light itself. Excited by this discovery, Dad all but stopped making black & white photographs and became totally absorbed in producing abstract color images or what he called "Color Light Abstractions."

As a young boy, Dad had been strongly attracted to light. Light...baking the desert...blistering bare backs in tomato and wheat fields...filtering through eucalyptus trees...making morning grass and orange blossoms steamy and fragrant. His continuing experiences of its intense heat and brightness, its power to make things appear and disappear, its relation to life and death, made light for him the most profound and fascinating of all natural events.

In the late 1920s, it was light, through the paintings of the post-Impressionists and the photographic images of Man Ray and Moholy-Nagy, which eventually led Dad to end his career as a concert singer and embrace photography as his life's work. Exploring alternative processes such as solarization and using them to achieve interesting light effects was the direction he pursued during the late 30s and 40s. In Edward Weston's photographs, it was the subtle qualities of light that helped steer his course toward straight photography. At the beginning of the 1950s, as he related to nature in new ways and began seeing things as space/time events, the significance of light became even more profound for him. Photographing through the 50s, he was aware of light as an event inherent in and affecting all other events

By the end of the 1950s, when he recognized the potential of close-up photography and began making his Color Light Abstractions, he knew he had found the means to explore light more deeply and powerfully than he had ever done before. Taken out of context, it might seem as though Dad's color abstractions were a radical departure from the mainstream of his work. In relation to the total flow of his creative life, it is obvious they were not. Beneath the differences of appearance and technique, Dad's color photography was an integral part of his overall development. There is also a clear, strong connection between his abstract color imagery of the 1960s and the last body of black & white abstract images he produced in the early 1970s. That, however, is another story.

Dad created his Color Light Abstractions for about five years (the last slides he made were dated January 1965). At first, he built a simple moveable plywood structure on the back patio in which he could work. It was about 6' x 6', had "window" cut-outs, a door, and a roof. His intention was to use natural light to make his images, orienting his little house with the movement of sun. He soon discovered, however, that there were too many foggy, overcast days and too much variability in sunlight for it to be a productive set-up. The light-house became a playhouse for my sister Lynne and Dad moved indoors.

For many hours each day, he would work in his cluttered studio above the garage. A handmade apparatus, consisting of a vertical block of redwood attached to an unfinished metal base, rested on a stool. The redwood block had deep notches cut into it and into the notches were placed six to ten layers of clear window glass. Positioned over the top of this crude apparatus was his tripod-mounted, specially adapted camera.

Surrounded by two or more photo-flood lamps and other lighting sources positioned at different heights, as well as a prism or two, Dad would sit on a high stool, crouched over the camera, his head and shoulders hidden by a black focusing cloth which allowed him to see the images more clearly and vividly. Always on the lookout for new and better resources, he would have a changing assortment of materials at hand - a dish of water with an eyedropper, a jar of honey, a tube of transparent glue...and differently patterned glassware. For color, he had pieces of tinted translucent plastic, shards of stained glass, and crumpled sheets of bright cellophane. Anything that reflected and refracted light was potentially useful.

The most valuable items in his collection were large chunks of fine optical glass that had been part of a discarded telescope lens from the Palomar Observatory. With the aid of a special hammer, he would fracture tiny pieces off the larger chunks and these he used on the topmost layer of his apparatus.

After arranging a selection of the other materials on the lower panes of clear glass, Dad would watch closely through the viewfinder of his camera as he moved things around, adding a piece here, taking something away there, increasing the brightness of illumination from one direction, changing its position from another, and controlling the in-and-out of focusing process. Forming and transforming images in this way, he created his light abstractions on 35mm Kodachrome slide film. By the clock, it was time-consuming work, for only occasionally would all the elements combine into a picture that was "right" for him. He never felt it to be dull or tedious, however, for the world of light expressed his deepest feelings and beliefs about life.
"When making these pictures," he wrote, "I use light not to make objects recognizable, but to create beautiful images of color, form...and space/time dimensions through the action of light as it strikes objects." Working with light, he experienced freedom of expression similar to that of a composer or painter. Equally important to him was the knowledge that his images were straight photographs of actual events.
I remember the making of these images very well. If Mom or Lynne or I were in the vicinity while he was working, he would frequently motion us over to take a peek through the ground glass. Occasionally, when he had something special, he would invite me to sit on his stool and stay awhile. He would put the focusing cloth over my head and let me enter into the wondrous worlds he was creating. At times, I felt like a space traveler, witnessing the mysteries of the universe. Other times, it was like peering through a microscope, observing life at sub-atomic levels. Whether the view was macroscopic or microscopic, what moved me was a sense of existence, elemental and transcendent, all at the same time.

Whenever Dad got a new batch of original slides from the lab, we would all be eager to see them. Slideshow nights were special occasions. Dad would load the projector and make the popcorn. Lynne and I would help Mom set up the screen, arrange the chairs, and turn off the lights.

During these showings, everyone's responses were valued. If one of us didn't think the image was up to snuff, that was openly shared and almost always the judgment was unanimous. We adjusted the levels of light in the projector and played around with orientation - turning this slide up, that one down, flipping others right to left or left to right. Many images clearly had only one "right" orientation or at least a generally preferred one. Others worked well in a variety of positions, and showing selected images in different orientations became an accepted practice of Dad's.

Dad included his Color Light Abstractions in what he considered to be his most significant and satisfying work. His decision to stop making them emerged in large part from his feelings of personal success that, throughout his creative career, had always impelled him to seek new challenges. For over five years, color had helped express the beauty, richness, and potency of light as a living force. Abstraction had enabled him to get close to the essence of universal qualities. By choosing not to symbolize recognizable object-events - for example, a crocus announcing the coming of spring - and by symbolizing instead a rainbow of color forms bursting through the darkness, surging upward and vibrating with energy, Dad believed he had been able to evoke more directly and intensely the qualities which both pictures could represent. By early 1965, this stage of his creative journey felt complete and he was ready for fresh explorations.

His decision to move on was also influenced by productions problems. His cubbyhole of a darkroom was not equipped to handle color. Whenever he wanted to make a print from a transparency, he was forced to request use of a commercial facility over a hundred miles from his home. In addition, the color processing technologies that were available to him in the early 1960s did not allow him to produce stable prints. These production limitations dramatically curtailed conventional exhibition possibilities. Although he shared the work as projected slides, this was not an effective vehicle for dissemination either.

Although Dad returned to black & white photography in the mid-1960s, he never lost interest in his abstract color imagery. He continued to hope for improvements in printing and display technologies that would allow him to share it in ways and at levels of quality that were satisfactory to him. He dreamed about self-contained projectors that could present the images as transparencies lit from behind or as revolving light shows. And he longed for an affordable, accessible process that would enable him to make the beautiful, stable prints he envisioned for the work.

Unfortunately, Dad did not live long enough to see any of this happen. He did, however, express the strong wish that his family would eventually find ways to make the imagery widely available. That wish is now finally beginning to be fulfilled. Barbara Bullock-Wilson

© 2011/2026 Barbara Bullock-Wilson. All rights reserved.
"As long as I can remember I have been fascinated by light. Light not only as an illuminant that permits the eye to see things, but light as a force and an entity in its own right. I recall as a boy finding pieces of glass on the California desert. Some pieces were of recently broken bottles. Their colors were familiar and didn't excite me. Occasionally, however, I found pieces of very old glass with beautiful prismatic colors. I thought only light and time could have created these colors and I was deeply moved." Wynn Bullock
To learn more about Wynn Bullock please visit Wynn Bullock Photography

# data[].attributes.attachment_link.description
The Creative Process, Learning from Wynn Bullock "Light is one of the most beautiful, mystical...expressions of nature. It is greater than any object it reveals." Wynn Bullock We are pleased to be able to share the story behind the history and process of Wynn Bullock's "Color Light Abstractions".

# data[].attributes.attachment_link.title
Patty Griffin - Ohio ft. Robert Plant [Official Music Video]

# data[].attributes.attachment_link.description
“Ohio” the first single off Patty Griffin’s new album ‘American Kid’ - Available now. Featuring Robert Plant.Available on: Amazon - http://amzn.to/ZAXdxaiTun…

# data[].attributes.attachment_link.authors[].name
Graeme Williams - Photographic Conversations

# data[].attributes.attachment_link.title
High-Value Hobbies Everyone Should Master, Start This Weekend

# data[].attributes.attachment_link.title
‘New Humans’ and the Strange End of Contemporary Art as We Know It | Artnet News

# data[].attributes.attachment_link.description
The New Museum reopens with “New Humans: Memories of the Future,” a show that’s a disguised manifesto for what a museum has to be now.

# data[].attributes.attachment_link.description
The Viennese royalty must have had a sense of humor. In 1562, Giuseppe Arcimboldo became the court portraitist, a position of honor and dignity, for…

# data[].attributes.attachment_link.title
Frederick Wiseman's 'Welfare' - Final Scene

# data[].attributes.attachment_link.title
Model (1981) - Frederick Wiseman - "Peacock effect" scene

# data[].attributes.attachment_link.title
Frederick Wiseman - High School (1968) Extract : Simon and Garfunkel : The Dangling conversation

# data[].attributes.attachment_link.description
Barbara Hazen’s portfolio was chosen as a work of merit in the 2025 Rfotofolio Call by juror Melanie Walker .“This body of photographs is compelling in its ability to transform utilita…

# data[].attributes.attachment_link.title
True Black & White Prints from Digital - Fromex True Black & White

# data[].attributes.attachment_link.description
Black and White Film Processing from Digital, upload your digital files to obtain True Black and White Prints

# data[].attributes.attachment_link.title
Walker Evans: Catalogue of the Collection

# data[].attributes.attachment_link.description
Nearly twelve hundred vintage prints by master photographer Walker Evans are presented here along with a wealth of biographical and bibliographical information.

# data[].attributes.attachment_link.title
Erich Auerbach's Mimesis | Chapter 1 | Homer and the Old Testament

# data[].attributes.attachment_link.title
The World is a Window: Making The Colour of Pomegranates

# data[].attributes.attachment_link.title
Historic Process Demonstration: Clouds & Combination Printing

# data[].attributes.attachment_link.title
The Collodion - Photographic Processes Series - Chapter 5 of 12

# data[].attributes.attachment_link.title
Our 2025 Reports on Artificial Intelligence | 60 Minutes Full Episodes

# data[].attributes.attachment_link.title
The Impact of AI-Generated Art on Photography & Creative Pursuits | Master Your Craft

# data[].attributes.attachment_link.title
Why Swiss watches made by Richard Mille, Patek Philippe are so expensive | 60 Minutes

# data[].attributes.attachment_link.title
Magical Mini Waterfall in a Bowl (🌿 DIY Nature Scape)

# data[].attributes.attachment_link.title
How I Make Mini Tabletop Garden with Real Flowing River

# data[].attributes.attachment_link.description
Welcome to the official Paste Magazine YouTube channel, home to thousands of exclusive live performances, studio sessions, interviews, and cultural moments from today’s most exciting artists. From breakout indie acts to legendary icons, Paste has been capturing intimate, one-of-a-kind performances in our studios and on stages around the world for over two decades. Paste Studio Sessions feature the best in indie rock, folk, Americana, hip hop, pop, alternative, and beyond. With a reputation as a tastemaker in the music and entertainment world, Paste continues to champion creativity and discovery. Whether you’re here to discover new artists or revisit timeless performances, our channel is updated weekly with fresh content and performances from the archive that celebrate the best in music, culture, and creativity. Join our community of music lovers and cultural explorers.

# data[].attributes.attachment_link.title
Music for Resilience on 19th Century Lute - "Invitation" - Nao Sogabe

# data[].attributes.attachment_link.title
History of Photo Collage with Sarah Hadley

# data[].attributes.attachment_link.description
Mike Szpot aka "illkoncept" is a New-York based artist and professional photographer who specializes in street, urban, travel, and commercial photography. Mike is a storyteller whose photographs evocatively shed light on beauty in the mundane and fleeting moments often overlooked by others. His art

# data[].attributes.attachment_link.title
Cinematic Reality: NYC | New York Street Photography

# data[].attributes.attachment_link.title
安曇川 と 竹竿職人の小さな幸せ │ A Little Happiness Of Fly Rod Builder

# data[].attributes.attachment_link.title
You’re Not Behind (Yet): How to Learn AI in 17 Minutes

# data[].attributes.attachment_link.title
BIG INK Woodcut Workshop at the Hive, Spokane, WA

# data[].attributes.attachment_link.title
Exploring Ansel Adams' legacy with Richard Misrach

# data[].attributes.attachment_link.title
World famous and Iconic Must-See Bonsai (Touring the US national Bonsai and Penjing Museum)

# data[].attributes.attachment_link.title
What Is Penjing - Discussion & Creation of a Bonsai Landscape

# data[].attributes.attachment_link.title
Michael Jackson talks about his ways of working with the cameraless photography Luminogram  Process

# data[].attributes.attachment_link.title
Chemigram presentation by Sophie Sherwood

# data[].attributes.attachment_link.title
Michael Jackson - Luminogram - cameraless photography

# data[].attributes.attachment_link.title
How to ESCAPE THE MATRIX: Motorcycle Adventure & film photography

# data[].attributes.attachment_link.title
Science and Spirit (Full Version): A Talk Given by David Bohm

# data[].attributes.attachment_link.description
The Art of Fran Forman : over a decade of works arranged in 12 portfolios and an archive.

# data[].attributes.attachment_link.title
Submerged! Photograph flowers underwater with paint - Macro Photography technique

# data[].attributes.attachment_link.title
How to image transfer your photos using essential oils / painting and testing new watercolor set

# data[].attributes.attachment_link.title
Romantic photographs of frozen flowers in blocks of ice capture the fragility of nature

# data[].attributes.attachment_link.description
Romantic photographs of frozen flowers in blocks of ice capture the fragility of nature.

# data[].attributes.attachment_link.title
Robert Peek Takes Flower Photos That Are Hauntingly Beautiful

# data[].attributes.attachment_link.description
When Robert Peek takes flowers and ink, mixes them with creativity, and sprinkles a dash of melancholy, he creates artistic wonders.

# data[].attributes.body
"Too often, the genre traffics in the aesthetics of nature instead of the inner workings of ecology." - Jimmy Fike

# data[].attributes.attachment_link.keywords[]
wild edible botanicals of the north american continent

# data[].attributes.attachment_link.title
The History Of Japanese Culture | 3 Hour Special

# data[].attributes.attachment_link.authors[].name
Desktop Wallpaper No. 1 “you matter” (Digital download) $2.99

# data[].attributes.attachment_link.title
Botanical Dances — Huntington Witherill Photography

# data[].attributes.attachment_link.description
Huntington Witherill’s official website. Specializing in fine art landscape, architectural, floral, abstract, color, and black and white photography by Huntington Witherill. Website features numerous distinctive galleries of photographic work ranging from classic black and white landscapes, to digital based surrealistic abstractions. The site also contains biographical information, audio and video interviews and presentations , articles written by and about the photographer, reviews, workshop and exhibition listings, a quarterly newsletter, and much more.

# data[].attributes.attachment_link.readable_text
"Yū-gen is a complex word, more felt than described in words. I want viewers to 'feel' what it is like for Ryuijie and me when we free dive and photograph." Chuck Davis

Yū-gen | The Language of the Sea, Photographs by Chuck Davis and Ryuiji can be seen at The Monterey Museum of Art, August 30 - December 8, 2024

Thank you Chuck Davis for sharing this video.
Please play full screen if possible with sound on.

Today we are pleased to share the work of Chuck Davis and Ryuijie

Click on images to see a different view.

Ryuijie

To learn more about the work of Chuck Davis please click on his name.

To learn more about the work of Ryuijie please click on his name.

# data[].attributes.attachment_link.description
"Yū-gen is a complex word, more felt than described in words. I want viewers to 'feel' what it is like for Ryuijie and me when we free dive and photograph." Chuck Davis Yū-gen | The Language of the Sea, Photographs by Chuck Davis and Ryuiji can be seen at The Monterey Museum of Art, August...

# data[].attributes.attachment_link.title
Everything you Need to Know About the Book Module in Lightroom Classic

# data[].attributes.attachment_link.title
Everything You Need to Know About Masking in Lightroom Classic

# data[].attributes.attachment_link.title
HOW to TRANSFORM your images in 2 EASY STEPS - Photoshop like a PRO

# data[].attributes.attachment_link.title
Waterslide Decals on Wood, Metal and Glass. An Alternative to Photo Transfers

# data[].attributes.attachment_link.title
Vlog #4 - Mordançage portrait project for Hair and beauty Salon Silva

# data[].attributes.attachment_link.title
Brittany Nelson: Who Knew Photography Could Be So Dangerous?

# data[].attributes.attachment_link.title
Elizabeth Opalenik / Mordancage & Reflecting on the Edge

# data[].attributes.attachment_link.readable_text
Cyanotypes, also called sun prints, are one of the oldest photographic printing processes dating back to 1842. Sir John Herschel developed this first silver less photographic process using only 2 chemicals and the sun as a light source. These sun prints are decidedly low tech as the final image of a cyanotype appears only with the aid of sunlight as a light source and water for a developer. This inexpensive, simple and permanent process was used for the blue print process for copying architectural plans, hence the name, "blueprint." My attraction to the Cyanotype process is the physical involvement during the printing process, allowing me to use my hands, eyes, and intuition when printing. I like the way the light, time, salts, and myself combine together to slowly deposit them on beautifully handcrafted paper. The depth of the tactile experience and the imposed slowness reveals moods and nuances in my images that I wouldn't normally see. I find this process much more satisfying than simply pressing PRINT on the computer. I undercoat each paper with watercolors and sprinkle turmeric here and there for a pop of yellow color. The plants are placed on the paper, soap bubbles and plastic wrap are placed over the image and exposed to the sun.

1 - 28 of 28 wet cyanotype botanicals wall art for sale

# data[].attributes.attachment_link.title
Jane Linders Wet Cyanotype botanicals Wall Art

# data[].attributes.attachment_link.description
Wet Cyanotype botanicals - Buy wall art from Jane Linders. All wall art ships within 48 hours and includes a 30-day money-back guarantee. Choose your favorite designs and purchase them as canvas prints, art prints, posters, framed prints, metal prints, and more!

# data[].attributes.attachment_link.description
To read our interview with "Garden of Beauty." To learn more about Brigitte Carnochan please visit her site at, Brigitte Carnochan.

# data[].attributes.attachment_link.title
Sapna Reddy: How To Effectively Communicate Through Photography | #BHOPTIC

# data[].attributes.attachment_link.title
Macro Flower PhotographyTutorial using the Nik Collection 3 by DxO

# data[].attributes.attachment_link.readable_text
Exhibitions, Events, and Honors
2022

41st Annual Buffalo Bill Art Show & Sale - Center of the West in Cody, WY
"Spirit of the West": Best in Show Award

16th International Art Renewal Center Salon, Annual Competition, Finalist

2021

15th International Art Renewal Center Salon, Annual Competition, Honorable Mention

40th Annual Buffalo Bill Art Show & Sale, Center of the West in Cody, WY

Exhibition: Fall Auction , The Salmagundi Club, NY
Merit Award

2020

14th International Art Renewal Center Salon, Annual Competition, Honorable Mention

Exhibition: "Luminous Landscapes", Weeks Gallery, Jamestown, NY

Solo Exhibition: "Poetic Presence", Meibohm Fine Art, East Aurora, NY

2019

13th International Art Renewal Center Salon, Annual Competition, Honorable Mention

"Shades of Gray" Inaugural Exhibition of the American Tonalist Society

"Metamorphosis" Exhibit Oxford Gallery, Rochester, NY

"Dusk to Dawn" Exhibition, Meibohm Fine Art, East Aurora, NY

"In a Nutshell" Exhibition, Meibohm Fine Art, East Aurora, NY

2018

12th International Art Renewal Center Salon, Annual Competition, Honorable Mention

American Masters Exhibition & Sale, Salmagundi Club, New York City, N

"The Eye of the Beholder" Landscape Exhibition, Trees Place, Orleans, MA

"Ode to Joy" Exhibit, Oxford Gallery, Rochester, NY

2017 2016

American Masters Exhibition & Sale, Salmagundi Club, New York City, NY

International Art Renewal Center Salon Exhibition MEAM in Barcelona, Spain & Salmagundi Club in NYC

Landscape Exhibit Oxford Gallery, Rochester, NY

10th International Art Renewal Center Salon, Annual Competition, Honorable Mention

Members Landscape Exhibition Salmagundi Club, New York, NY

"Staff Picks" Exhibit, John Pence, San Francisco, CA

Landscape Exhibit, John Pence, San Francisco, CA

Landscape Exhibition, Trees Place, Orleans, MA

2015

American Masters Exhibition & Sale, Salmagundi Club, New York City, NY

9th International Art Renewal Center Salon, Annual Competition, Honorable Mention

International Art Renewal Center Salon Exhibition, MEAM in Barcelona Spain & Salmagundi Club in NYC

Annual Members Exhibit & Sale, Philip Isenberg Memorial Award Salmagundi Club, New York City, NY

Solo Exhibition: "Interludes of Light", Meibohm Fine Art, East Aurora, NY

Group Exhibition: "Still Life & Florals" John Pence Gallery, San Francisco, CA

"MANmade Art: A Cross-Generational Survey", Kenan Center, Lockport, NY

Group Exhibition: "The Condition of Music", Oxford Gallery: Rochester, NY

"Landscapes Across America", Trees Place Gallery, Orleans, MA

Group Landscape Exhibition, Grand Central Atelier & Eleventh Street Arts New York, NY

2014

American Masters Exhibition & Sale, Salmagundi Club, New York City, NY

Artist Residency Recipient, La Napoule Art Foundation & Grand Central Atelier Château de La Napoule, France

Group Exhibition: "A Moveable Feast", John Pence Gallery, San Francisco, CA

Group Exhibition: Trout Unlimited, Burchfield Penny Art Center, Buffalo, NY

Group Exhibition: "Proverbs and Commonplace", Oxford Gallery, Rochester, NY

Instructor & Senior Fellow, Grand Central Atelier, Hudson River Fellowship with Jacob Collins

Taught Summer Intensive Landscape Workshop: Jackson, NH, Senior Fellow, group presentations

2013

PleinAir Salon, Best Nocturne

Designated as "Associate Living Master" through the Art Renewal Center

Still Life Group Show, John Pence Gallery, San Francisco, CA

Salon International 2013 Juried Exhibition, Greenhouse Gallery of Fine Art, San Antonio, TX

Oil Painters of America: Juried Salon

Instructor & Senior Fellow, Grand Central Atelier, Hudson River Fellowship with Jacob Collins

Taught Summer Intensive Landscape, Workshop: Jackson, NH, Senior Fellow, group presentations

2012 2011 2010

Solo exhibition of recent paintings, Meibohm Fine Art Gallery, East Aurora, NY

Oil Painters of America Juried National Show, Legacy Gallery, Scottsdale, AZ

Hudson River Fellowship with Jacob Collins, Senior Fellow in Summer Intensive Workshop: The Institute for Classical Architecture and Classical America, Hunter, NY

Landscape Group Show, Cavalier Galleries, Greenwich, CT

Juried Group Exhibition, Art Dialogue Gallery, Buffalo, NY

Juried "Thumb Box" Group Exhibition, Buffalo Society of Artists, Tonawanda, NY

"Let There be Light" Group Exhibition, Oxford Gallery, Rochester, NY

Solo exhibition of recent paintings, Meibohm Fine Art Gallery, East Aurora, NY

2009

Small Works Group Show, Cavalier Galleries, Greenwich, CT

Boston International Art Show, Represented by Arcadia Gallery, New York City, NY

Hudson River Revival: Contemporary, Landscape Painting Group Show, Springville Museum of Art, UT

Juried National Exhibition, Oil Painters of America, Santa Fe, NM

Juried Regional Exhibition, Corse Gallery & Atelier, Oil Painters of America, Jacksonville, FL

Hudson River Fellowship with Jacob Collins, Senior Fellow in Summer Intensive Workshop: The Institute for Classical Architecture and Classical America, Hunter, NY

Three Person Exhibition, Art Dialogue Gallery, Buffalo, NY

"Night" Group Exhibition, Oxford Gallery, Rochester, NY

2008 2006-7

"Artists Among Us" group exhibition, Burchfield Penny Art Center, Buffalo, NY

"Collectors Gallery" group exhibition, Albright Knox Art Gallery, Buffalo, NY

Cover Art for Ani Difranco's Compilation CD "Canon"

Solo exhibition of recent paintings, Meibohm Fine Art Gallery, East Aurora, NY

Let's Connect

To inquire about availability and pricing of my artwork, or to discuss the process of commissioning work, please reach out.

Thomas Kegler Studios, LLC
PO Box 95
East Aurora, NY 14052
(716) 550-6094
tom@thomaskegler.com
©2023 Thomas KeglerSite By
Ingenious, Inc.

10% of the proceeds from all sales will be tithed to benefit various not-for-profit, Catholic Missionaries, and environmental organizations.

"SOLI DEO GLORIA"

# data[].attributes.attachment_link.description
Exhibitions, Events, and Honors 2022 41st Annual Buffalo Bill Art Show & Sale - Center of the West in Cody, WY"Spirit of the West": Best in Show Award 16th International Art Renewal Center Salon, Annual Competition, Finalist 2021 15th International Art Renewal Center Salon, Annual Competition, Honorable Mention 40th Annual

# data[].attributes.attachment_link.title
(English Sub) Portrait of Nature - Myriads of Gods on Platinum Palladium Prints -

# data[].attributes.attachment_link.description
「自然の肖像 〜八百万の神々〜 ／ Portrait of Nature 〜Myriads of Gods〜」
The introduction of photographer Nobuyuki Kobayashi.

Dir+Cam+Edit : Yasuhito Tsuge
Composer : Ayako Taniguchi
Producer : Hidetaka Ino 
Production : augment5 Inc.

# data[].attributes.attachment_link.readable_text
If you are generating a PDF of a journal article or book chapter, please feel free to enter the title and author information. The information you enter here will be stored in the downloaded file to assist you in managing your downloaded PDFs locally.

Thank you for your request. Please wait for an email containing a link to download the PDF.

For your reference, the confirmation number for this request is .

Join Our Mailing List

Sign up to receive the latest BHL news, content highlights, and promotions.

Help Support BHL

BHL relies on donations to provide free PDF downloads and other services. Help keep BHL free and open!

There was an issue with the request. Please try again and if the problem persists, please send us feedback.

For your reference, the confirmation number for this request is .

Email Address(required)

Optional Article/Chapter Title

# data[].attributes.attachment_link.description
If you are generating a PDF of a journal article or book chapter, please feel free to enter the title and author information. The information you enter here will be stored in the downloaded file to assist you in managing your downloaded PDFs locally. Thank you for your request.

# data[].attributes.attachment_link.description
Please click on images to see a different view. Curiosity Sticks and Stones Shrine Still Here To learn more about the work of Lou McCorkle please visit her page by clicking on her name.

# data[].attributes.attachment_link.description
Uploaded by Connie Martinson on 2010-09-18.

# data[].attributes.attachment_link.title
How To Take A Fine- Art Portrait | Gemmy Woud-Binnendijk A PRO EDU Photography Tutorial

# data[].attributes.attachment_link.title
Modern Fine Art Portraiture Inspired by the Old Masters | B&H Event Space

# data[].attributes.attachment_link.title
Transform a Photo to a Realistic Oil Painting - Photoshop Tutorial

# data[].attributes.attachment_link.description
Bernd Webler Interview Bernd Webler Gallery Bernd Webler Website

# data[].attributes.attachment_link.description
Jennifer Schlesinger is an artist, curator, educator and gallerist in fine art photography. This website is dedicated to the contemporary fine art photography created by Jennifer Schlesinger, based in Santa Fe, New Mexico, focusing on darkrooom processes including albumen and gelatin silver prints.

# data[].attributes.attachment_link.readable_text
Interview for Rfotofolio

Would you please tell us a little about yourself?
My name is Bernd Webler. I live in Wiesbaden, Germany. I was born 1962 in Trier and grew up in the Middle Rhine Valley,

an area I still feel very connected to. I have been drawing and painting pictures as long as I can remember.

After school I studied graphic design in Mainz focusing mainly on book illustration.

(During my studies I illustrated books by E.T.A. Hoffmann, Franz Kafka, Oscar Wilde and even my own little stories.)
In the mid 80s I started to work as an illustrator but not for long.
I then began to work as a freelancer for television as a graphic designer and typographer (which I still do today).

It is not a fulltime job thus leaving me enough time to realize my own ideas without having to worry how to pay my rent.

How did you get started photography?
Only a few years ago in early 2013 when I visited an exhibition showing some abstract front cover photos for ECM records.

Until then, photography had never played an important role in my life. Though I always had a camera and took snapshots

like everyone else did. On that very day I went home turned to my computer and dug out some old photos of mine showing

the river Mosel that had completely frozen over in 2012. I started to process them using Photoshop, inspired by but not trying

to copy what I had seen earlier. This was how my first series "Frozen" came into being followed by many others.

(Most of them can be seen on my website.)

I soon started to integrate textures into my images. I took pictures of concrete walls, wood plates, rusty metal and all kinds of material

that seemed to fit. Camera and computer have replaced my pencil and brushes ever since.

Where did you get your photographic training?
Photography was one of the subjects during my study of graphic design, although I have to add not my favorite one.

I gained some basic knowledge of analogue photography back then but never got into it very deep.

I do not see myself as a professional photographer. My work is more influenced by painters.

Did you have a mentor?
Not as such. But I remember my art teacher in school who very early arouse my interest and enthusiasm for any form of art.

He always encouraged me to study either art or graphic design.

If you could spend a day with any other photographer or artist living or passed who would it be?
I would like to spend a day with Andy Goldsworthy. I admire his work and his understanding of nature. I am fascinated by the efforts he is undergoing to create his art, that often exists only for a few hours. The only evidence of its existence, the photos he takes.

What hangs on your own walls?
I am obsessed with music and have an almost insane collection, so a lot of space is covered with LPs and CD racks.

But there is some space left for pictures of fellow artists and some for my own work.

Would you share with us an image (not your own) that has stayed with you over time and why?
This would definitely be the painting, "Isle of the Dead" by Arnold Böcklin (1827-1901).
There are five versions of it. I saw the first version from 1880 when I was young in a museum in Basel. This picture of inexplicable artistic power and breathtaking beauty left me speechless. It might be one of the reasons for my own obsession with the subject of transience

which is obvious in most of my work.

What image of yours would you say taught you an important lesson?
I can not think of one special image. But an important lesson was when I first realized that my photography had a somewhat personal look.

It was when a former fellow student of mine saw my images and commented they remind him very much of my illustrations.

Is there one thing that you wish people would stop doing

when it comes to the creative process or the photographic world?
I often hear that among many photographers there is little acceptance of computer altered images.

Wouldn't it be wise to rather judge a picture by what it has to offer than by how it was done?

If a picture captures your interest what does it matter if it came directly out of the camera or had thoroughly been

composed using digital technology.

Whats on the horizon?
Right now I am still focused on shooting landscapes. It is my favorite subject momentarily.
Maybe I will go back to do more abstract images again in the future. I do not know. I let it come to me.
Lately I have been doing some artwork for various musicians and their CDs and LPs.

# data[].attributes.attachment_link.description
Interview for Rfotofolio (September 2016) Would you please tell us a little about yourself? My name is Bernd Webler. I live in Wiesbaden, Germany. I was born 1962 in Trier and grew up in the Middle Rhine Valley, an area I still feel very connected to.

# data[].attributes.attachment_link.title
Forever - Photographs and text by Paul Rider | LensCulture

# data[].attributes.attachment_link.description
These old-school photograms are artful, abstract, mysterious, and a shocking reminder that discarded plastics will never break down naturally — art as a wake-up call

# data[].attributes.attachment_link.readable_text
As a child I went on archaeological digs with my father. Tiny shards and arrowheads revealed stories that enriched the land around us. Much of my artwork imagines phenomena both seen and unseen.

I'm compelled by opposites: The contrast of flatness with the volumetric, fluidity with stillness, of science with the metaphysical. What is the architecture? What is the symbolism of the vessel? Is it a place of potential, never finalized, always filling and emptying, or going from one place to another?

My images start as drawings, then become temporary constructions that are photographed and then become flat again.

- Rebecca Horne

# data[].attributes.attachment_link.title
Vessel Collection - Photographs and text by Rebecca Horne | LensCulture

# data[].attributes.attachment_link.description
As a child I went on archaeological digs with my father. Tiny shards and arrowheads revealed stories that enriched the land around us. Much of my artwork imagines phenomena both seen and unseen. I'm compelled by opposites: The contrast of flatness with the volumetric, fluidity with stillness, of science with the metaphysical.

# data[].attributes.attachment_link.readable_text
Inaugurated on June 18, the new art center Plateforme 10 in Lausanne, Switzerland, brings together three museums devoted to photography, painting, and contemporary art. Their first themed exhibition focuses on the train.

# data[].attributes.attachment_link.title
Blind Magazine - Photography at First Sight

# data[].attributes.attachment_link.description
Inaugurated on June 18, the new art center Plateforme 10 in Lausanne, Switzerland, brings together three museums devoted to photography, painting, and contemporary art. Their first themed exhibition focuses on the train.

# data[].attributes.attachment_link.description
Mariana Bartolomeo Interview Mariana Bartolomeo Gallery Mariana Bartolomeo Website