1200
The photos I have selected reflect some of my interests. I have been taking my photography hobby seriously for more than 15 years, but I still feel I have so much more to learn. My goal is continue to take pictures and be in a state of constant improvement. Hopefully, this submission will provide me with feedback I need to keep me on that path.
Craig DeVan
A Home in the Sahara
Title: An American in Northern Africa
My hope is that this collection will transport the viewer and bring you an entwined sense of the magic of Morocco and the rich dance with history that can be perceived on its surface. I hope that as you view the delights of color, texture, and lines, that you’ll also almost be able to hear the music and sounds — and sometimes silence — that also accompanied me on this journey.
As a traveler in foreign lands, it is so important to show respect to the people, traditions, and places you visit, and I hope that you will find a sense of that respect in the images presented here.
I am typically a portrait photographer, but carry with me an insatiable urge to see and get to know the world. I have long enjoyed using a camera to deepen my explorations of new places and to tell stories of my journeys as they unfold.
Elizabeth Gritzmacher
A Tear from Above
The world can be so loud and busy, a constant rush. So I look for the quiet.
In the night, when the city slumbers, time seems to slow and I can slow. The city becomes a set that has no actors. The scene is very inviting. There is a freedom for me in the quiet stillness of the night. I can be in the moment and see the potential my surroundings with more ease.
In the night I explore, with my Pentax 67 medium format film camera. The joy comes from my process. I create one photo which will represent the moment, the discovery. Hearing the loud shutter fire in the midst of the silence. Only seeing in my imagination the results.
I enjoy the wonder of exploring, the intentional creating, and then waiting.
Angela Holm
Abandonment
While photographing a subject, I think of a strong word or short phrase that epitomizes
the feeling or thought the image evokes. I’m attracted to simple subjects from the
complex and cluttered world. I try to see beyond the obvious objective composition
and create images which arouse an emotional or thought-provoking response.
Andy Greenhill
All Aboard
My artistry was born in the aftermath of loss. I feel as though being behind the lens of a camera allows me the opportunity to heal while capturing random moments in time that will be gone forever. The ability to show people how I see the world is something for which I will always be grateful and as big as this world is, there are plenty of urban areas to be explored and shared through my eyes.
Darnell McAdams
Along A Gone Coast
The oceans of our world are a foreign place. We can stroll their beaches and boat upon their surface, but we can never really venture far from the borders between our world and that one. The oceans of this world are also incomprehensibly old, on the order of 4 billion years, and thus they work on a scale that is equally alien to us. I don't understand the ocean. I am confounded by its pull on me, mystified by its depths and breadths, left wondering at its ebbs and flows. It is my foolhardy attempt to understand the unfathomable that leads me to photograph the ocean. While I make use of a number of different approaches, two that I favor are the use of long exposure and the documentation of other human beings interacting with the ocean. The long exposures give me the reason to linger and to look for longer. The photographing of other people are my attempts to capture in them what so draws me to the ocean and thereby better understand that relationship the sea and I share. I don't honestly expect that the ocean has answers for me or if it does it will never deign to share them, but I shall keep watching for as long as I can.
Zeb Andrews
Amaliya
I use the camera as an entry to any world I want to go. Whether I'm photographing for myself or for paid work I always look for what is real and unseen and the same time. I like to create beauty with an edge.
Abigayle Tarsches
Andrea
I use the camera as an entry to any world I want to go. Whether I'm photographing for myself or for paid work I always look for what is real and unseen and the same time. I like to create beauty with an edge.
Abigayle Tarsches
As BC Slumbers
The world can be so loud and busy, a constant rush. So I look for the quiet.
In the night, when the city slumbers, time seems to slow and I can slow. The city becomes a set that has no actors. The scene is very inviting. There is a freedom for me in the quiet stillness of the night. I can be in the moment and see the potential my surroundings with more ease.
In the night I explore, with my Pentax 67 medium format film camera. The joy comes from my process. I create one photo which will represent the moment, the discovery. Hearing the loud shutter fire in the midst of the silence. Only seeing in my imagination the results.
I enjoy the wonder of exploring, the intentional creating, and then waiting.
Angela Holm
Atlantic
I’ve always been an emotional person and tend to look to art for a sense of relief and understanding, a tangible vessel for empathy that says “it’s okay,” “you’re not alone,” “see, you can do this too.” Those feelings are the kind I aim to convey with my photos.
I am reactive and of the moment when I make photos. Occasionally I will plan shots, but much of the time I have ideas of techniques I want to try if the settings and light I find suit them. I love photographing people because I feel like I am preserving once-in-a-lifetime moments of interaction and expression.
My photos often involve in-camera double exposures. I seek to merge multiple separate images that may have been simple and straightforward alone but together are able to carry more complex meanings, as they inform and respond to each other.
I primarily use analog cameras, which I love for the mix of intended and unintended actions and consequences they involve. I like how film slows everything down and invites me to consider the minutiae of my process. The lack of instant gratification adds to the artistic process for me: the emotional journey of waiting to see the images and then being confronted with the reality of them versus what I have held in my expectations is a central part of the whole thing to me. I am always surprised how simultaneously fickle and forgiving film can be.
Allison Julander
Barn Ballet
I have worked professionally for 17+ years a photographer in Portland, Oregon but have also been shooting photos since I was in high school in the 1970's, also in Portland.
My current work is mostly people and portrait photography where I try to capture the essence of the person or connect with my subject and I have a large body of people portrait photos. I worked for a modeling and acting agency and learned to work with all sorts of performance artist, actors and many models. Through my work with the local creative folks I have collaborated on 100’s of photo sessions in all sorts of random situations and this is what I am submitting. Five images shot this year of my work with visually interesting creatives I have had the pleasure of working with.
Patrick Smith
BC Light Leak
9 times out of 10, I find myself displeased with my photos. I have an obsession with symmetry, framing, and clarity, though simultaneously, I believe there is perfection in maximalism and abstraction. It’s a dichotomy I correlate with success, and when my photos seem to fall short of these extremes, when my expectations aren’t met, I feel I have failed to capture exactly what I set out to capture.
When I discovered my AE-1 had a light-leak, and that it was not properly capturing double-exposures to the expected standard, I chose to ignore it out of laziness and simply hope that images would produce the result I had in mind. It wasn’t until I realized these issues would persist that I was forced to either come to terms with them, or consider having the mechanics of the camera professionally fixed.
I’ve gradually come to understand, throughout my short time shooting film photos, that these light-leaks and imperfections are blessings in disguise, reminders that I won’t get what I want most of the time. My skies won’t be as clear, my lines won’t be perfectly parallel, and the faces of my subjects will be obstructed by abnormalities. These machine-made contributions to images I’ve created are teaching me to have patience with the stubborn, uncontrollable world around me.
Ethan Schwanz
BC Parliament Glare
9 times out of 10, I find myself displeased with my photos. I have an obsession with symmetry, framing, and clarity, though simultaneously, I believe there is perfection in maximalism and abstraction. It’s a dichotomy I correlate with success, and when my photos seem to fall short of these extremes, when my expectations aren’t met, I feel I have failed to capture exactly what I set out to capture.
When I discovered my AE-1 had a light-leak, and that it was not properly capturing double-exposures to the expected standard, I chose to ignore it out of laziness and simply hope that images would produce the result I had in mind. It wasn’t until I realized these issues would persist that I was forced to either come to terms with them, or consider having the mechanics of the camera professionally fixed.
I’ve gradually come to understand, throughout my short time shooting film photos, that these light-leaks and imperfections are blessings in disguise, reminders that I won’t get what I want most of the time. My skies won’t be as clear, my lines won’t be perfectly parallel, and the faces of my subjects will be obstructed by abnormalities. These machine-made contributions to images I’ve created are teaching me to have patience with the stubborn, uncontrollable world around me.
Ethan Schwanz
Beavertail Light Leak
9 times out of 10, I find myself displeased with my photos. I have an obsession with symmetry, framing, and clarity, though simultaneously, I believe there is perfection in maximalism and abstraction. It’s a dichotomy I correlate with success, and when my photos seem to fall short of these extremes, when my expectations aren’t met, I feel I have failed to capture exactly what I set out to capture.
When I discovered my AE-1 had a light-leak, and that it was not properly capturing double-exposures to the expected standard, I chose to ignore it out of laziness and simply hope that images would produce the result I had in mind. It wasn’t until I realized these issues would persist that I was forced to either come to terms with them, or consider having the mechanics of the camera professionally fixed.
I’ve gradually come to understand, throughout my short time shooting film photos, that these light-leaks and imperfections are blessings in disguise, reminders that I won’t get what I want most of the time. My skies won’t be as clear, my lines won’t be perfectly parallel, and the faces of my subjects will be obstructed by abnormalities. These machine-made contributions to images I’ve created are teaching me to have patience with the stubborn, uncontrollable world around me.
Ethan Schwanz
Big Hungry Caterpillar
Light illuminates the world; in its absence we tremble. Through light we see colors and shapes. In its absence we see shadows, texture, and depth. Even the slightest variation of light alters our perception. Not surprisingly, the word ‘photographer’ comes from the Greek words “to draw with light.” And as a photographer I challenge myself to do more than just draw with the available light, but to push past those boundaries and create images by manipulating and controlling supplemental light. I have been challenged over the course of this year to create images in an assortment of themes using different techniques. Despite the variety of subject matter, the overarching theme that emerged was my determination to use light to refine composition and reveal new features previously hidden from the viewer. I have experimented with light-bending, light-spinning high-sync flash, off-camera flash, and even hand held flashlights to emphasize elements in a photograph that would otherwise go unnoticed. Things that were once illuminated are now hidden in shadow, and those places that were obscure and mysterious are now bare and exposed. Although light is the single most important element in a photograph, orchestrating light in ways to either expose venerability or hide the obvious is how I create interesting and captivating.
Michelle Maria Swanson
Blithe
The oceans of our world are a foreign place. We can stroll their beaches and boat upon their surface, but we can never really venture far from the borders between our world and that one. The oceans of this world are also incomprehensibly old, on the order of 4 billion years, and thus they work on a scale that is equally alien to us. I don't understand the ocean. I am confounded by its pull on me, mystified by its depths and breadths, left wondering at its ebbs and flows. It is my foolhardy attempt to understand the unfathomable that leads me to photograph the ocean. While I make use of a number of different approaches, two that I favor are the use of long exposure and the documentation of other human beings interacting with the ocean. The long exposures give me the reason to linger and to look for longer. The photographing of other people are my attempts to capture in them what so draws me to the ocean and thereby better understand that relationship the sea and I share. I don't honestly expect that the ocean has answers for me or if it does it will never deign to share them, but I shall keep watching for as long as I can.
Zeb Andrews
Bloom
I’ve always been an emotional person and tend to look to art for a sense of relief and understanding, a tangible vessel for empathy that says “it’s okay,” “you’re not alone,” “see, you can do this too.” Those feelings are the kind I aim to convey with my photos.
I am reactive and of the moment when I make photos. Occasionally I will plan shots, but much of the time I have ideas of techniques I want to try if the settings and light I find suit them. I love photographing people because I feel like I am preserving once-in-a-lifetime moments of interaction and expression.
My photos often involve in-camera double exposures. I seek to merge multiple separate images that may have been simple and straightforward alone but together are able to carry more complex meanings, as they inform and respond to each other.
I primarily use analog cameras, which I love for the mix of intended and unintended actions and consequences they involve. I like how film slows everything down and invites me to consider the minutiae of my process. The lack of instant gratification adds to the artistic process for me: the emotional journey of waiting to see the images and then being confronted with the reality of them versus what I have held in my expectations is a central part of the whole thing to me. I am always surprised how simultaneously fickle and forgiving film can be.
Allison Julander
Bloom
I am deeply in love with where I live. Having lived in the Pacific Northwest for only a short time, I feel an intense pressure to experience every aspect of it in as many ways as I can, and work to fulfill that goal through photography. From walking through my neighborhood to taking trips somewhere new, I have found myself using different types of cameras and film to attempt to capture even an ounce of the beauty in nature that exists here. A pinhole camera softens the rushing violence of a waterfall, black and white film highlights the textures of the coast, and a portrait lens creates a dreamy bokeh as a backdrop for the subject.
Brita Enflo
Borrego Rainbow
My camera is my meditation. It’s my chance to get out into the world with the only purpose being to see what nature might present to me that day. A rainy morning can lead to an unexpected rainbow. A foggy morning may reveal the details and drama of a small mountain stream. A drive though the countryside might offer a ray of sunlight coming through the morning clouds or beautiful color backlighting an old church. A drive on a gray day may offer the opportunity to view a spectacular landscape in a more subtle way. I love to view my world through the lens of my camera. It helps me see and explore and pause and enjoy and savor.
Eloise Carson
Bound
What is the human body, if not raw? What is art, if not different? Through my lens I see and capture the human body in all of its elements, shapes, and forms. Inspiration pulled from raw emotion, experiences the human body goes through, and from other art forms, comes together to embody the essence of my work.
The idea of femininity and fluidity are shown through the beautiful exhale in “Veil”. Cannabis is a medicine for me and has allowed me to follow my dreams and meet my goals. “Darkness” showcases a struggle I face daily. It is a self portrait of me in my bedroom crawling and reaching to get out of bed and escape my depression. With “Natural” I wanted to bring a lighter idea of human experience. A simple cup of tea at a local shop. When capturing “Bound” I was in between a place of contemplating suicide. Seeing just the legs bound and on the edge of a bridge truly brought to light how I was feeling. “Vintage” highlights simple suburban life. A skater posed against a vintage truck.
Through my art, the message can sometimes be dark, or extremely positive, but always raw. Always profound. I’m Sammy Anne and this is my perspective.
Sammy Anne
Cameron
The photos I have selected reflect some of my interests. I have been taking my photography hobby seriously for more than 15 years, but I still feel I have so much more to learn. My goal is continue to take pictures and be in a state of constant improvement. Hopefully, this submission will provide me with feedback I need to keep me on that path.
Craig DeVan
Camp Before Dawn
Title: An American in Northern Africa
My hope is that this collection will transport the viewer and bring you an entwined sense of the magic of Morocco and the rich dance with history that can be perceived on its surface. I hope that as you view the delights of color, texture, and lines, that you’ll also almost be able to hear the music and sounds — and sometimes silence — that also accompanied me on this journey.
As a traveler in foreign lands, it is so important to show respect to the people, traditions, and places you visit, and I hope that you will find a sense of that respect in the images presented here.
I am typically a portrait photographer, but carry with me an insatiable urge to see and get to know the world. I have long enjoyed using a camera to deepen my explorations of new places and to tell stories of my journeys as they unfold.
Elizabeth Gritzmacher
Creation
While photographing a subject, I think of a strong word or short phrase that epitomizes
the feeling or thought the image evokes. I’m attracted to simple subjects from the
complex and cluttered world. I try to see beyond the obvious objective composition
and create images which arouse an emotional or thought-provoking response.
Andy Greenhill
Crusin
The photos I have selected reflect some of my interests. I have been taking my photography hobby seriously for more than 15 years, but I still feel I have so much more to learn. My goal is continue to take pictures and be in a state of constant improvement. Hopefully, this submission will provide me with feedback I need to keep me on that path.
Craig DeVan
Dare to Stand Out
Throughout my childhood, my family and I moved quite a number of times as a result of my father’s profession. At each location, we began uttering the word “home” but without fail we would find a reason to move yet again. Finally, we arrived in the beautiful pacific northwest and the rest, as they say, is history.
I am a landscape photographer based out of Portland, OR. Given my childhood experiences, I have grown to truly appreciate the simple things in life. Most importantly, I sincerely believe that everything around us has beauty to offer. One simply needs to find it within themselves to unlock said beauty. Thus, it was no surprise that as my photographic style developed, I found myself gravitating towards minimalistic images showcasing simple yet powerful subjects and all the while, telling a meaningful story.
The curated work you see presented here today focuses on one of our world’s most vital forms of life - trees. Not only are they beautiful, they also supply oxygen, shelter, protection and many other necessities ultimately aiding the survival of many species on Earth. Whenever I come upon a beautiful tree, I will stop to appreciate the sight. If I feel that I can do the marvel justice, I will make a picture. What you see here are 5 moments where I was able to bring that beauty before you - although I still feel I have not done them justice.
Minhaz Sarker
Darkness
What is the human body, if not raw? What is art, if not different? Through my lens I see and capture the human body in all of its elements, shapes, and forms. Inspiration pulled from raw emotion, experiences the human body goes through, and from other art forms, comes together to embody the essence of my work.
The idea of femininity and fluidity are shown through the beautiful exhale in “Veil”. Cannabis is a medicine for me and has allowed me to follow my dreams and meet my goals. “Darkness” showcases a struggle I face daily. It is a self portrait of me in my bedroom crawling and reaching to get out of bed and escape my depression. With “Natural” I wanted to bring a lighter idea of human experience. A simple cup of tea at a local shop. When capturing “Bound” I was in between a place of contemplating suicide. Seeing just the legs bound and on the edge of a bridge truly brought to light how I was feeling. “Vintage” highlights simple suburban life. A skater posed against a vintage truck.
Through my art, the message can sometimes be dark, or extremely positive, but always raw. Always profound. I’m Sammy Anne and this is my perspective.
Sammy Anne
Elwha River Light Leak
9 times out of 10, I find myself displeased with my photos. I have an obsession with symmetry, framing, and clarity, though simultaneously, I believe there is perfection in maximalism and abstraction. It’s a dichotomy I correlate with success, and when my photos seem to fall short of these extremes, when my expectations aren’t met, I feel I have failed to capture exactly what I set out to capture.
When I discovered my AE-1 had a light-leak, and that it was not properly capturing double-exposures to the expected standard, I chose to ignore it out of laziness and simply hope that images would produce the result I had in mind. It wasn’t until I realized these issues would persist that I was forced to either come to terms with them, or consider having the mechanics of the camera professionally fixed.
I’ve gradually come to understand, throughout my short time shooting film photos, that these light-leaks and imperfections are blessings in disguise, reminders that I won’t get what I want most of the time. My skies won’t be as clear, my lines won’t be perfectly parallel, and the faces of my subjects will be obstructed by abnormalities. These machine-made contributions to images I’ve created are teaching me to have patience with the stubborn, uncontrollable world around me.
Ethan Schwanz
Empire State of Selfie
I’ve always been an emotional person and tend to look to art for a sense of relief and understanding, a tangible vessel for empathy that says “it’s okay,” “you’re not alone,” “see, you can do this too.” Those feelings are the kind I aim to convey with my photos.
I am reactive and of the moment when I make photos. Occasionally I will plan shots, but much of the time I have ideas of techniques I want to try if the settings and light I find suit them. I love photographing people because I feel like I am preserving once-in-a-lifetime moments of interaction and expression.
My photos often involve in-camera double exposures. I seek to merge multiple separate images that may have been simple and straightforward alone but together are able to carry more complex meanings, as they inform and respond to each other.
I primarily use analog cameras, which I love for the mix of intended and unintended actions and consequences they involve. I like how film slows everything down and invites me to consider the minutiae of my process. The lack of instant gratification adds to the artistic process for me: the emotional journey of waiting to see the images and then being confronted with the reality of them versus what I have held in my expectations is a central part of the whole thing to me. I am always surprised how simultaneously fickle and forgiving film can be.
Allison Julander
End of Day
Photographers are often asked what their favorite type of photography is. My answer is that it is not so much about the WHAT as it is about the WHY…finding the beauty in something most would consider unlovely; capturing the emotion of a hard won fight; showing the primal fierceness of animals fighting (playing). I try to let others see what I see—the glory in the details and the unusual in the ordinary.
Lori Ackerman
Fall of Rome
Tick tick click
Images of shapes and shadows capturing the reflecting light
Within.
I live for these moments
Capturing space and time within a frame.
Click click bang
Goes the shutter of my camera
A tool I use to capture the nitty gritty
My version of reality.
Max Hinz
Fidget
I am a stalker of angles, a hunter of moments.
I am the photographer that constantly moves around the subject, looking for the unexpected vantage point or waiting for the interesting moment. I want to find something not there at first glance, not there to the casual observer, but something that must be sought out, waited out, coaxed out.
The viewer I hope, finds something to connect with in my pictures. Perhaps a picture evokes an emotion or memory, maybe it elicits questions, maybe its a simple appreciation of beauty. There is so much visual noise in our time and culture, we are awash in imagery from the wonderful, to the annoying, to the banal. So if my work holds a person's attention, connects with them in some unique way, even briefly, then it feels like success.
Shannon Butler
Fleeting Melancholy
As a photographer I try to capture candid shots of people doing everyday activities; while in nature capturing moments of tranquility/equilibrium or sometimes the opposite. I believe that it’s within these moments that we see glimpses of the true individual, without the familiar mask or facade we’re accustomed to. Sometimes even when posing a model, I give little to no directions in an attempt to capture that essence in a staged environment.
This body of work illustrates my fascination with nature and how impactful it is in our lives. It’s the calmness one finds in seclusion surrounded by trees or the peace that one feels hearing the crashing of the waves. My aim is to illustrate the perfect escape from the noise and hustle we regularly find ourselves in today’s society.
Joe Djanga
Flying Down
I am a stalker of angles, a hunter of moments.
I am the photographer that constantly moves around the subject, looking for the unexpected vantage point or waiting for the interesting moment. I want to find something not there at first glance, not there to the casual observer, but something that must be sought out, waited out, coaxed out.
The viewer I hope, finds something to connect with in my pictures. Perhaps a picture evokes an emotion or memory, maybe it elicits questions, maybe its a simple appreciation of beauty. There is so much visual noise in our time and culture, we are awash in imagery from the wonderful, to the annoying, to the banal. So if my work holds a person's attention, connects with them in some unique way, even briefly, then it feels like success.
Shannon Butler
Frankenstein
I am a stalker of angles, a hunter of moments.
I am the photographer that constantly moves around the subject, looking for the unexpected vantage point or waiting for the interesting moment. I want to find something not there at first glance, not there to the casual observer, but something that must be sought out, waited out, coaxed out.
The viewer I hope, finds something to connect with in my pictures. Perhaps a picture evokes an emotion or memory, maybe it elicits questions, maybe its a simple appreciation of beauty. There is so much visual noise in our time and culture, we are awash in imagery from the wonderful, to the annoying, to the banal. So if my work holds a person's attention, connects with them in some unique way, even briefly, then it feels like success.
Shannon Butler
Gaea's Blessings
As a photographer I try to capture candid shots of people doing everyday activities; while in nature capturing moments of tranquility/equilibrium or sometimes the opposite. I believe that it’s within these moments that we see glimpses of the true individual, without the familiar mask or facade we’re accustomed to. Sometimes even when posing a model, I give little to no directions in an attempt to capture that essence in a staged environment.
This body of work illustrates my fascination with nature and how impactful it is in our lives. It’s the calmness one finds in seclusion surrounded by trees or the peace that one feels hearing the crashing of the waves. My aim is to illustrate the perfect escape from the noise and hustle we regularly find ourselves in today’s society.
Joe Djanga
Gas Works Double Exposure
9 times out of 10, I find myself displeased with my photos. I have an obsession with symmetry, framing, and clarity, though simultaneously, I believe there is perfection in maximalism and abstraction. It’s a dichotomy I correlate with success, and when my photos seem to fall short of these extremes, when my expectations aren’t met, I feel I have failed to capture exactly what I set out to capture.
When I discovered my AE-1 had a light-leak, and that it was not properly capturing double-exposures to the expected standard, I chose to ignore it out of laziness and simply hope that images would produce the result I had in mind. It wasn’t until I realized these issues would persist that I was forced to either come to terms with them, or consider having the mechanics of the camera professionally fixed.
I’ve gradually come to understand, throughout my short time shooting film photos, that these light-leaks and imperfections are blessings in disguise, reminders that I won’t get what I want most of the time. My skies won’t be as clear, my lines won’t be perfectly parallel, and the faces of my subjects will be obstructed by abnormalities. These machine-made contributions to images I’ve created are teaching me to have patience with the stubborn, uncontrollable world around me.
Ethan Schwanz
Hug Point
I am deeply in love with where I live. Having lived in the Pacific Northwest for only a short time, I feel an intense pressure to experience every aspect of it in as many ways as I can, and work to fulfill that goal through photography. From walking through my neighborhood to taking trips somewhere new, I have found myself using different types of cameras and film to attempt to capture even an ounce of the beauty in nature that exists here. A pinhole camera softens the rushing violence of a waterfall, black and white film highlights the textures of the coast, and a portrait lens creates a dreamy bokeh as a backdrop for the subject.
Brita Enflo
Infected Paradise
As a photographer I try to capture candid shots of people doing everyday activities; while in nature capturing moments of tranquility/equilibrium or sometimes the opposite. I believe that it’s within these moments that we see glimpses of the true individual, without the familiar mask or facade we’re accustomed to. Sometimes even when posing a model, I give little to no directions in an attempt to capture that essence in a staged environment.
This body of work illustrates my fascination with nature and how impactful it is in our lives. It’s the calmness one finds in seclusion surrounded by trees or the peace that one feels hearing the crashing of the waves. My aim is to illustrate the perfect escape from the noise and hustle we regularly find ourselves in today’s society.
Joe Djanga
Internal Turmoil
As a photographer I try to capture candid shots of people doing everyday activities; while in nature capturing moments of tranquility/equilibrium or sometimes the opposite. I believe that it’s within these moments that we see glimpses of the true individual, without the familiar mask or facade we’re accustomed to. Sometimes even when posing a model, I give little to no directions in an attempt to capture that essence in a staged environment.
This body of work illustrates my fascination with nature and how impactful it is in our lives. It’s the calmness one finds in seclusion surrounded by trees or the peace that one feels hearing the crashing of the waves. My aim is to illustrate the perfect escape from the noise and hustle we regularly find ourselves in today’s society.
Joe Djanga
Into the Ramandan Sunset
Title: An American in Northern Africa
My hope is that this collection will transport the viewer and bring you an entwined sense of the magic of Morocco and the rich dance with history that can be perceived on its surface. I hope that as you view the delights of color, texture, and lines, that you’ll also almost be able to hear the music and sounds — and sometimes silence — that also accompanied me on this journey.
As a traveler in foreign lands, it is so important to show respect to the people, traditions, and places you visit, and I hope that you will find a sense of that respect in the images presented here.
I am typically a portrait photographer, but carry with me an insatiable urge to see and get to know the world. I have long enjoyed using a camera to deepen my explorations of new places and to tell stories of my journeys as they unfold.
Elizabeth Gritzmacher
It in Camazotz
The world can be so loud and busy, a constant rush. So I look for the quiet.
In the night, when the city slumbers, time seems to slow and I can slow. The city becomes a set that has no actors. The scene is very inviting. There is a freedom for me in the quiet stillness of the night. I can be in the moment and see the potential my surroundings with more ease.
In the night I explore, with my Pentax 67 medium format film camera. The joy comes from my process. I create one photo which will represent the moment, the discovery. Hearing the loud shutter fire in the midst of the silence. Only seeing in my imagination the results.
I enjoy the wonder of exploring, the intentional creating, and then waiting.
Angela Holm
It's All Fun and Games Until the Biting
Photographers are often asked what their favorite type of photography is. My answer is that it is not so much about the WHAT as it is about the WHY…finding the beauty in something most would consider unlovely; capturing the emotion of a hard won fight; showing the primal fierceness of animals fighting (playing). I try to let others see what I see—the glory in the details and the unusual in the ordinary.
Lori Ackerman
Jackpot
The photos I have selected reflect some of my interests. I have been taking my photography hobby seriously for more than 15 years, but I still feel I have so much more to learn. My goal is continue to take pictures and be in a state of constant improvement. Hopefully, this submission will provide me with feedback I need to keep me on that path.
Jango
I am a stalker of angles, a hunter of moments.
I am the photographer that constantly moves around the subject, looking for the unexpected vantage point or waiting for the interesting moment. I want to find something not there at first glance, not there to the casual observer, but something that must be sought out, waited out, coaxed out.
The viewer I hope, finds something to connect with in my pictures. Perhaps a picture evokes an emotion or memory, maybe it elicits questions, maybe its a simple appreciation of beauty. There is so much visual noise in our time and culture, we are awash in imagery from the wonderful, to the annoying, to the banal. So if my work holds a person's attention, connects with them in some unique way, even briefly, then it feels like success.
Shannon Butler
Jantzen Beach
The photos I have selected reflect some of my interests. I have been taking my photography hobby seriously for more than 15 years, but I still feel I have so much more to learn. My goal is continue to take pictures and be in a state of constant improvement. Hopefully, this submission will provide me with feedback I need to keep me on that path.
Craig DeVan
Jenny
I use the camera as an entry to any world I want to go. Whether I'm photographing for myself or for paid work I always look for what is real and unseen and the same time. I like to create beauty with an edge.
Abigayle Tarsches
Ladds Rose
I am deeply in love with where I live. Having lived in the Pacific Northwest for only a short time, I feel an intense pressure to experience every aspect of it in as many ways as I can, and work to fulfill that goal through photography. From walking through my neighborhood to taking trips somewhere new, I have found myself using different types of cameras and film to attempt to capture even an ounce of the beauty in nature that exists here. A pinhole camera softens the rushing violence of a waterfall, black and white film highlights the textures of the coast, and a portrait lens creates a dreamy bokeh as a backdrop for the subject.
Brita Enflo
Latourell
I am deeply in love with where I live. Having lived in the Pacific Northwest for only a short time, I feel an intense pressure to experience every aspect of it in as many ways as I can, and work to fulfill that goal through photography. From walking through my neighborhood to taking trips somewhere new, I have found myself using different types of cameras and film to attempt to capture even an ounce of the beauty in nature that exists here. A pinhole camera softens the rushing violence of a waterfall, black and white film highlights the textures of the coast, and a portrait lens creates a dreamy bokeh as a backdrop for the subject.
Brita Enflo
Lines & Stripes
I have worked professionally for 17+ years a photographer in Portland, Oregon but have also been shooting photos since I was in high school in the 1970's, also in Portland.
My current work is mostly people and portrait photography where I try to capture the essence of the person or connect with my subject and I have a large body of people portrait photos. I worked for a modeling and acting agency and learned to work with all sorts of performance artist, actors and many models. Through my work with the local creative folks I have collaborated on 100’s of photo sessions in all sorts of random situations and this is what I am submitting. Five images shot this year of my work with visually interesting creatives I have had the pleasure of working with.
Patrick Smith
Living on the Edge
Throughout my childhood, my family and I moved quite a number of times as a result of my father’s profession. At each location, we began uttering the word “home” but without fail we would find a reason to move yet again. Finally, we arrived in the beautiful pacific northwest and the rest, as they say, is history.
I am a landscape photographer based out of Portland, OR. Given my childhood experiences, I have grown to truly appreciate the simple things in life. Most importantly, I sincerely believe that everything around us has beauty to offer. One simply needs to find it within themselves to unlock said beauty. Thus, it was no surprise that as my photographic style developed, I found myself gravitating towards minimalistic images showcasing simple yet powerful subjects and all the while, telling a meaningful story.
The curated work you see presented here today focuses on one of our world’s most vital forms of life - trees. Not only are they beautiful, they also supply oxygen, shelter, protection and many other necessities ultimately aiding the survival of many species on Earth. Whenever I come upon a beautiful tree, I will stop to appreciate the sight. If I feel that I can do the marvel justice, I will make a picture. What you see here are 5 moments where I was able to bring that beauty before you - although I still feel I have not done them justice.
Minhaz Sarker
Long Journey
Title: An American in Northern Africa
My hope is that this collection will transport the viewer and bring you an entwined sense of the magic of Morocco and the rich dance with history that can be perceived on its surface. I hope that as you view the delights of color, texture, and lines, that you’ll also almost be able to hear the music and sounds — and sometimes silence — that also accompanied me on this journey.
As a traveler in foreign lands, it is so important to show respect to the people, traditions, and places you visit, and I hope that you will find a sense of that respect in the images presented here.
I am typically a portrait photographer, but carry with me an insatiable urge to see and get to know the world. I have long enjoyed using a camera to deepen my explorations of new places and to tell stories of my journeys as they unfold.
Elizabeth Gritzmacher
Magnanimous
My artistry was born in the aftermath of loss. I feel as though being behind the lens of a camera allows me the opportunity to heal while capturing random moments in time that will be gone forever. The ability to show people how I see the world is something for which I will always be grateful and as big as this world is, there are plenty of urban areas to be explored and shared through my eyes.
Darnell McAdams
Makai
Tick tick click
Images of shapes and shadows capturing the reflecting light
Within.
I live for these moments
Capturing space and time within a frame.
Click click bang
Goes the shutter of my camera
A tool I use to capture the nitty gritty
My version of reality.
Max Hinz
Masked Beauty
Throughout my childhood, my family and I moved quite a number of times as a result of my father’s profession. At each location, we began uttering the word “home” but without fail we would find a reason to move yet again. Finally, we arrived in the beautiful pacific northwest and the rest, as they say, is history.
I am a landscape photographer based out of Portland, OR. Given my childhood experiences, I have grown to truly appreciate the simple things in life. Most importantly, I sincerely believe that everything around us has beauty to offer. One simply needs to find it within themselves to unlock said beauty. Thus, it was no surprise that as my photographic style developed, I found myself gravitating towards minimalistic images showcasing simple yet powerful subjects and all the while, telling a meaningful story.
The curated work you see presented here today focuses on one of our world’s most vital forms of life - trees. Not only are they beautiful, they also supply oxygen, shelter, protection and many other necessities ultimately aiding the survival of many species on Earth. Whenever I come upon a beautiful tree, I will stop to appreciate the sight. If I feel that I can do the marvel justice, I will make a picture. What you see here are 5 moments where I was able to bring that beauty before you - although I still feel I have not done them justice.
Minhaz Sarker
Misty Morning
My camera is my meditation. It’s my chance to get out into the world with the only purpose being to see what nature might present to me that day. A rainy morning can lead to an unexpected rainbow. A foggy morning may reveal the details and drama of a small mountain stream. A drive though the countryside might offer a ray of sunlight coming through the morning clouds or beautiful color backlighting an old church. A drive on a gray day may offer the opportunity to view a spectacular landscape in a more subtle way. I love to view my world through the lens of my camera. It helps me see and explore and pause and enjoy and savor.
Eloise Carson
Moonlight
Light illuminates the world; in its absence we tremble. Through light we see colors and shapes. In its absence we see shadows, texture, and depth. Even the slightest variation of light alters our perception. Not surprisingly, the word ‘photographer’ comes from the Greek words “to draw with light.” And as a photographer I challenge myself to do more than just draw with the available light, but to push past those boundaries and create images by manipulating and controlling supplemental light. I have been challenged over the course of this year to create images in an assortment of themes using different techniques. Despite the variety of subject matter, the overarching theme that emerged was my determination to use light to refine composition and reveal new features previously hidden from the viewer. I have experimented with light-bending, light-spinning high-sync flash, off-camera flash, and even hand held flashlights to emphasize elements in a photograph that would otherwise go unnoticed. Things that were once illuminated are now hidden in shadow, and those places that were obscure and mysterious are now bare and exposed. Although light is the single most important element in a photograph, orchestrating light in ways to either expose venerability or hide the obvious is how I create interesting and captivating.
Michelle Maria Swanson
Morning Light
My camera is my meditation. It’s my chance to get out into the world with the only purpose being to see what nature might present to me that day. A rainy morning can lead to an unexpected rainbow. A foggy morning may reveal the details and drama of a small mountain stream. A drive though the countryside might offer a ray of sunlight coming through the morning clouds or beautiful color backlighting an old church. A drive on a gray day may offer the opportunity to view a spectacular landscape in a more subtle way. I love to view my world through the lens of my camera. It helps me see and explore and pause and enjoy and savor.
Eloise Carson
Natural
What is the human body, if not raw? What is art, if not different? Through my lens I see and capture the human body in all of its elements, shapes, and forms. Inspiration pulled from raw emotion, experiences the human body goes through, and from other art forms, comes together to embody the essence of my work.
The idea of femininity and fluidity are shown through the beautiful exhale in “Veil”. Cannabis is a medicine for me and has allowed me to follow my dreams and meet my goals. “Darkness” showcases a struggle I face daily. It is a self portrait of me in my bedroom crawling and reaching to get out of bed and escape my depression. With “Natural” I wanted to bring a lighter idea of human experience. A simple cup of tea at a local shop. When capturing “Bound” I was in between a place of contemplating suicide. Seeing just the legs bound and on the edge of a bridge truly brought to light how I was feeling. “Vintage” highlights simple suburban life. A skater posed against a vintage truck.
Through my art, the message can sometimes be dark, or extremely positive, but always raw. Always profound. I’m Sammy Anne and this is my perspective.
Sammy Anne
Nesting
Tick tick click
Images of shapes and shadows capturing the reflecting light
Within.
I live for these moments
Capturing space and time within a frame.
Click click bang
Goes the shutter of my camera
A tool I use to capture the nitty gritty
My version of reality.
Max Hinz
NGC6188
I'm always interested in the similarities and differences between Art and Science. Although they take very different approaches, at their essence, Art and Science both endeavor to reveal the truth, and that is the most noble goal that any of us can pursue.
The truth in my photographs of deep-space objects is not always the obvious truth of “what do these mysterious things actually look like” because that truth is neither interesting (to the artist) or useful (to the scientist). Instead, we use sophisticated processing techniques to reveal and accentuate details that would not be visible to the naked eye even if you were right next to the object. Or inside it. Colors tell us the chemical make-up of diffuse clouds of molecules, and their shape and texture speak volumes about the forces that created and will ultimately destroy the object.
I consider myself a student of both Art and Science. As such, I strive to keep these studies simple and direct. The science is basic data collection and analysis. The art is best described as formalism, and I have applied the same passion for line, color, and texture to other genres of photography as well, using landscape, still life, nudes, and architecture.
Greg Marshall
Of the Land By the Sea
The oceans of our world are a foreign place. We can stroll their beaches and boat upon their surface, but we can never really venture far from the borders between our world and that one. The oceans of this world are also incomprehensibly old, on the order of 4 billion years, and thus they work on a scale that is equally alien to us. I don't understand the ocean. I am confounded by its pull on me, mystified by its depths and breadths, left wondering at its ebbs and flows. It is my foolhardy attempt to understand the unfathomable that leads me to photograph the ocean. While I make use of a number of different approaches, two that I favor are the use of long exposure and the documentation of other human beings interacting with the ocean. The long exposures give me the reason to linger and to look for longer. The photographing of other people are my attempts to capture in them what so draws me to the ocean and thereby better understand that relationship the sea and I share. I don't honestly expect that the ocean has answers for me or if it does it will never deign to share them, but I shall keep watching for as long as I can.
Zeb Andrews
Omega
I'm always interested in the similarities and differences between Art and Science. Although they take very different approaches, at their essence, Art and Science both endeavor to reveal the truth, and that is the most noble goal that any of us can pursue.
The truth in my photographs of deep-space objects is not always the obvious truth of “what do these mysterious things actually look like” because that truth is neither interesting (to the artist) or useful (to the scientist). Instead, we use sophisticated processing techniques to reveal and accentuate details that would not be visible to the naked eye even if you were right next to the object. Or inside it. Colors tell us the chemical make-up of diffuse clouds of molecules, and their shape and texture speak volumes about the forces that created and will ultimately destroy the object.
I consider myself a student of both Art and Science. As such, I strive to keep these studies simple and direct. The science is basic data collection and analysis. The art is best described as formalism, and I have applied the same passion for line, color, and texture to other genres of photography as well, using landscape, still life, nudes, and architecture.
Greg Marshall
On Coming Traffic
People are the subject, willing participant or not.
In everyone else, there is ourselves; past, present, or future.
People can only maintain a mask for short periods of time.
Wait long enough, and you will capture genuine expression.
Photography freezes motion; it condenses spans of time.
Twenty-Eighteen was a year of exploration.
Away from places (landscapes) and toward people (portraits).
Ultimately incorporating both landscapes and people via street photography.
I am seeking to incorporate drama via lighting, composition, and interaction.
Michael Montez
Pam
People are the subject, willing participant or not.
In everyone else, there is ourselves; past, present, or future.
People can only maintain a mask for short periods of time.
Wait long enough, and you will capture genuine expression.
Photography freezes motion; it condenses spans of time.
Twenty-Eighteen was a year of exploration.
Away from places (landscapes) and toward people (portraits).
Ultimately incorporating both landscapes and people via street photography.
I am seeking to incorporate drama via lighting, composition, and interaction.
Michael Montez
Panther Creek
I am deeply in love with where I live. Having lived in the Pacific Northwest for only a short time, I feel an intense pressure to experience every aspect of it in as many ways as I can, and work to fulfill that goal through photography. From walking through my neighborhood to taking trips somewhere new, I have found myself using different types of cameras and film to attempt to capture even an ounce of the beauty in nature that exists here. A pinhole camera softens the rushing violence of a waterfall, black and white film highlights the textures of the coast, and a portrait lens creates a dreamy bokeh as a backdrop for the subject.
Brita Enflo
Passing On
While photographing a subject, I think of a strong word or short phrase that epitomizes
the feeling or thought the image evokes. I’m attracted to simple subjects from the
complex and cluttered world. I try to see beyond the obvious objective composition
and create images which arouse an emotional or thought-provoking response.
Andy Greenhill
Patrick
People are the subject, willing participant or not.
In everyone else, there is ourselves; past, present, or future.
People can only maintain a mask for short periods of time.
Wait long enough, and you will capture genuine expression.
Photography freezes motion; it condenses spans of time.
Twenty-Eighteen was a year of exploration.
Away from places (landscapes) and toward people (portraits).
Ultimately incorporating both landscapes and people via street photography.
I am seeking to incorporate drama via lighting, composition, and interaction.
Michael Montez
Perfect Tools
My artistry was born in the aftermath of loss. I feel as though being behind the lens of a camera allows me the opportunity to heal while capturing random moments in time that will be gone forever. The ability to show people how I see the world is something for which I will always be grateful and as big as this world is, there are plenty of urban areas to be explored and shared through my eyes.
Darnell McAdams
Pink
Light illuminates the world; in its absence we tremble. Through light we see colors and shapes. In its absence we see shadows, texture, and depth. Even the slightest variation of light alters our perception. Not surprisingly, the word ‘photographer’ comes from the Greek words “to draw with light.” And as a photographer I challenge myself to do more than just draw with the available light, but to push past those boundaries and create images by manipulating and controlling supplemental light. I have been challenged over the course of this year to create images in an assortment of themes using different techniques. Despite the variety of subject matter, the overarching theme that emerged was my determination to use light to refine composition and reveal new features previously hidden from the viewer. I have experimented with light-bending, light-spinning high-sync flash, off-camera flash, and even hand held flashlights to emphasize elements in a photograph that would otherwise go unnoticed. Things that were once illuminated are now hidden in shadow, and those places that were obscure and mysterious are now bare and exposed. Although light is the single most important element in a photograph, orchestrating light in ways to either expose venerability or hide the obvious is how I create interesting and captivating.
Michelle Maria Swanson
Portal
People are the subject, willing participant or not.
In everyone else, there is ourselves; past, present, or future.
People can only maintain a mask for short periods of time.
Wait long enough, and you will capture genuine expression.
Photography freezes motion; it condenses spans of time.
Twenty-Eighteen was a year of exploration.
Away from places (landscapes) and toward people (portraits).
Ultimately incorporating both landscapes and people via street photography.
I am seeking to incorporate drama via lighting, composition, and interaction.
Michael Montez
Primary Swings
My artistry was born in the aftermath of loss. I feel as though being behind the lens of a camera allows me the opportunity to heal while capturing random moments in time that will be gone forever. The ability to show people how I see the world is something for which I will always be grateful and as big as this world is, there are plenty of urban areas to be explored and shared through my eyes.
Darnell McAdams
Protest
Light illuminates the world; in its absence we tremble. Through light we see colors and shapes. In its absence we see shadows, texture, and depth. Even the slightest variation of light alters our perception. Not surprisingly, the word ‘photographer’ comes from the Greek words “to draw with light.” And as a photographer I challenge myself to do more than just draw with the available light, but to push past those boundaries and create images by manipulating and controlling supplemental light. I have been challenged over the course of this year to create images in an assortment of themes using different techniques. Despite the variety of subject matter, the overarching theme that emerged was my determination to use light to refine composition and reveal new features previously hidden from the viewer. I have experimented with light-bending, light-spinning high-sync flash, off-camera flash, and even hand held flashlights to emphasize elements in a photograph that would otherwise go unnoticed. Things that were once illuminated are now hidden in shadow, and those places that were obscure and mysterious are now bare and exposed. Although light is the single most important element in a photograph, orchestrating light in ways to either expose venerability or hide the obvious is how I create interesting and captivating.
Michelle Maria Swanson
Renee
I have worked professionally for 17+ years a photographer in Portland, Oregon but have also been shooting photos since I was in high school in the 1970's, also in Portland.
My current work is mostly people and portrait photography where I try to capture the essence of the person or connect with my subject and I have a large body of people portrait photos. I worked for a modeling and acting agency and learned to work with all sorts of performance artist, actors and many models. Through my work with the local creative folks I have collaborated on 100’s of photo sessions in all sorts of random situations and this is what I am submitting. Five images shot this year of my work with visually interesting creatives I have had the pleasure of working with.
Patrick Smith
Ricreall Church
My camera is my meditation. It’s my chance to get out into the world with the only purpose being to see what nature might present to me that day. A rainy morning can lead to an unexpected rainbow. A foggy morning may reveal the details and drama of a small mountain stream. A drive though the countryside might offer a ray of sunlight coming through the morning clouds or beautiful color backlighting an old church. A drive on a gray day may offer the opportunity to view a spectacular landscape in a more subtle way. I love to view my world through the lens of my camera. It helps me see and explore and pause and enjoy and savor.
Eloise Carson
Running Chicken Nebula
I'm always interested in the similarities and differences between Art and Science. Although they take very different approaches, at their essence, Art and Science both endeavor to reveal the truth, and that is the most noble goal that any of us can pursue.
The truth in my photographs of deep-space objects is not always the obvious truth of “what do these mysterious things actually look like” because that truth is neither interesting (to the artist) or useful (to the scientist). Instead, we use sophisticated processing techniques to reveal and accentuate details that would not be visible to the naked eye even if you were right next to the object. Or inside it. Colors tell us the chemical make-up of diffuse clouds of molecules, and their shape and texture speak volumes about the forces that created and will ultimately destroy the object.
I consider myself a student of both Art and Science. As such, I strive to keep these studies simple and direct. The science is basic data collection and analysis. The art is best described as formalism, and I have applied the same passion for line, color, and texture to other genres of photography as well, using landscape, still life, nudes, and architecture.
Greg Marshall
Sanctuary
Throughout my childhood, my family and I moved quite a number of times as a result of my father’s profession. At each location, we began uttering the word “home” but without fail we would find a reason to move yet again. Finally, we arrived in the beautiful pacific northwest and the rest, as they say, is history.
I am a landscape photographer based out of Portland, OR. Given my childhood experiences, I have grown to truly appreciate the simple things in life. Most importantly, I sincerely believe that everything around us has beauty to offer. One simply needs to find it within themselves to unlock said beauty. Thus, it was no surprise that as my photographic style developed, I found myself gravitating towards minimalistic images showcasing simple yet powerful subjects and all the while, telling a meaningful story.
The curated work you see presented here today focuses on one of our world’s most vital forms of life - trees. Not only are they beautiful, they also supply oxygen, shelter, protection and many other necessities ultimately aiding the survival of many species on Earth. Whenever I come upon a beautiful tree, I will stop to appreciate the sight. If I feel that I can do the marvel justice, I will make a picture. What you see here are 5 moments where I was able to bring that beauty before you - although I still feel I have not done them justice.
Minhaz Sarker
Self
I use the camera as an entry to any world I want to go. Whether I'm photographing for myself or for paid work I always look for what is real and unseen and the same time. I like to create beauty with an edge.
Abigayle Tarsches
Self 2
I use the camera as an entry to any world I want to go. Whether I'm photographing for myself or for paid work I always look for what is real and unseen and the same time. I like to create beauty with an edge.
Abigayle Tarsches
Sensuality
While photographing a subject, I think of a strong word or short phrase that epitomizes
the feeling or thought the image evokes. I’m attracted to simple subjects from the
complex and cluttered world. I try to see beyond the obvious objective composition
and create images which arouse an emotional or thought-provoking response.
Andy Greenhill
Sentinal
Photographers are often asked what their favorite type of photography is. My answer is that it is not so much about the WHAT as it is about the WHY…finding the beauty in something most would consider unlovely; capturing the emotion of a hard won fight; showing the primal fierceness of animals fighting (playing). I try to let others see what I see—the glory in the details and the unusual in the ordinary.
Lori Ackerman
Shame
While photographing a subject, I think of a strong word or short phrase that epitomizes
the feeling or thought the image evokes. I’m attracted to simple subjects from the
complex and cluttered world. I try to see beyond the obvious objective composition
and create images which arouse an emotional or thought-provoking response.
Andy Greenhill
Sierra Light
My camera is my meditation. It’s my chance to get out into the world with the only purpose being to see what nature might present to me that day. A rainy morning can lead to an unexpected rainbow. A foggy morning may reveal the details and drama of a small mountain stream. A drive though the countryside might offer a ray of sunlight coming through the morning clouds or beautiful color backlighting an old church. A drive on a gray day may offer the opportunity to view a spectacular landscape in a more subtle way. I love to view my world through the lens of my camera. It helps me see and explore and pause and enjoy and savor.
Eloise Carson
Snow Stairs
I have worked professionally for 17+ years a photographer in Portland, Oregon but have also been shooting photos since I was in high school in the 1970's, also in Portland.
My current work is mostly people and portrait photography where I try to capture the essence of the person or connect with my subject and I have a large body of people portrait photos. I worked for a modeling and acting agency and learned to work with all sorts of performance artist, actors and many models. Through my work with the local creative folks I have collaborated on 100’s of photo sessions in all sorts of random situations and this is what I am submitting. Five images shot this year of my work with visually interesting creatives I have had the pleasure of working with.
Patrick Smith
Spacetime
Tick tick click
Images of shapes and shadows capturing the reflecting light
Within.
I live for these moments
Capturing space and time within a frame.
Click click bang
Goes the shutter of my camera
A tool I use to capture the nitty gritty
My version of reality.
Max Hinz
St Johns Bridge
I’ve always been an emotional person and tend to look to art for a sense of relief and understanding, a tangible vessel for empathy that says “it’s okay,” “you’re not alone,” “see, you can do this too.” Those feelings are the kind I aim to convey with my photos.
I am reactive and of the moment when I make photos. Occasionally I will plan shots, but much of the time I have ideas of techniques I want to try if the settings and light I find suit them. I love photographing people because I feel like I am preserving once-in-a-lifetime moments of interaction and expression.
My photos often involve in-camera double exposures. I seek to merge multiple separate images that may have been simple and straightforward alone but together are able to carry more complex meanings, as they inform and respond to each other.
I primarily use analog cameras, which I love for the mix of intended and unintended actions and consequences they involve. I like how film slows everything down and invites me to consider the minutiae of my process. The lack of instant gratification adds to the artistic process for me: the emotional journey of waiting to see the images and then being confronted with the reality of them versus what I have held in my expectations is a central part of the whole thing to me. I am always surprised how simultaneously fickle and forgiving film can be.
Allison Julander
Stuck in the Middle
Throughout my childhood, my family and I moved quite a number of times as a result of my father’s profession. At each location, we began uttering the word “home” but without fail we would find a reason to move yet again. Finally, we arrived in the beautiful pacific northwest and the rest, as they say, is history.
I am a landscape photographer based out of Portland, OR. Given my childhood experiences, I have grown to truly appreciate the simple things in life. Most importantly, I sincerely believe that everything around us has beauty to offer. One simply needs to find it within themselves to unlock said beauty. Thus, it was no surprise that as my photographic style developed, I found myself gravitating towards minimalistic images showcasing simple yet powerful subjects and all the while, telling a meaningful story.
The curated work you see presented here today focuses on one of our world’s most vital forms of life - trees. Not only are they beautiful, they also supply oxygen, shelter, protection and many other necessities ultimately aiding the survival of many species on Earth. Whenever I come upon a beautiful tree, I will stop to appreciate the sight. If I feel that I can do the marvel justice, I will make a picture. What you see here are 5 moments where I was able to bring that beauty before you - although I still feel I have not done them justice.
Minhaz Sarker
Summer Daze
I’ve always been an emotional person and tend to look to art for a sense of relief and understanding, a tangible vessel for empathy that says “it’s okay,” “you’re not alone,” “see, you can do this too.” Those feelings are the kind I aim to convey with my photos.
I am reactive and of the moment when I make photos. Occasionally I will plan shots, but much of the time I have ideas of techniques I want to try if the settings and light I find suit them. I love photographing people because I feel like I am preserving once-in-a-lifetime moments of interaction and expression.
My photos often involve in-camera double exposures. I seek to merge multiple separate images that may have been simple and straightforward alone but together are able to carry more complex meanings, as they inform and respond to each other.
I primarily use analog cameras, which I love for the mix of intended and unintended actions and consequences they involve. I like how film slows everything down and invites me to consider the minutiae of my process. The lack of instant gratification adds to the artistic process for me: the emotional journey of waiting to see the images and then being confronted with the reality of them versus what I have held in my expectations is a central part of the whole thing to me. I am always surprised how simultaneously fickle and forgiving film can be.
Allison Julander
Swan Nebula
I'm always interested in the similarities and differences between Art and Science. Although they take very different approaches, at their essence, Art and Science both endeavor to reveal the truth, and that is the most noble goal that any of us can pursue.
The truth in my photographs of deep-space objects is not always the obvious truth of “what do these mysterious things actually look like” because that truth is neither interesting (to the artist) or useful (to the scientist). Instead, we use sophisticated processing techniques to reveal and accentuate details that would not be visible to the naked eye even if you were right next to the object. Or inside it. Colors tell us the chemical make-up of diffuse clouds of molecules, and their shape and texture speak volumes about the forces that created and will ultimately destroy the object.
I consider myself a student of both Art and Science. As such, I strive to keep these studies simple and direct. The science is basic data collection and analysis. The art is best described as formalism, and I have applied the same passion for line, color, and texture to other genres of photography as well, using landscape, still life, nudes, and architecture.
Greg Marshall
Swimming Lessons
Photographers are often asked what their favorite type of photography is. My answer is that it is not so much about the WHAT as it is about the WHY…finding the beauty in something most would consider unlovely; capturing the emotion of a hard won fight; showing the primal fierceness of animals fighting (playing). I try to let others see what I see—the glory in the details and the unusual in the ordinary.
Lori Ackerman
Taking in the Medina
Title: An American in Northern Africa
My hope is that this collection will transport the viewer and bring you an entwined sense of the magic of Morocco and the rich dance with history that can be perceived on its surface. I hope that as you view the delights of color, texture, and lines, that you’ll also almost be able to hear the music and sounds — and sometimes silence — that also accompanied me on this journey.
As a traveler in foreign lands, it is so important to show respect to the people, traditions, and places you visit, and I hope that you will find a sense of that respect in the images presented here.
I am typically a portrait photographer, but carry with me an insatiable urge to see and get to know the world. I have long enjoyed using a camera to deepen my explorations of new places and to tell stories of my journeys as they unfold.
Elizabeth Gritzmacher
The Look
I have worked professionally for 17+ years a photographer in Portland, Oregon but have also been shooting photos since I was in high school in the 1970's, also in Portland.
My current work is mostly people and portrait photography where I try to capture the essence of the person or connect with my subject and I have a large body of people portrait photos. I worked for a modeling and acting agency and learned to work with all sorts of performance artist, actors and many models. Through my work with the local creative folks I have collaborated on 100’s of photo sessions in all sorts of random situations and this is what I am submitting. Five images shot this year of my work with visually interesting creatives I have had the pleasure of working with.
Patrick Smith
The Will to Live
My artistry was born in the aftermath of loss. I feel as though being behind the lens of a camera allows me the opportunity to heal while capturing random moments in time that will be gone forever. The ability to show people how I see the world is something for which I will always be grateful and as big as this world is, there are plenty of urban areas to be explored and shared through my eyes.
Darnell McAdams
The End of the Line
The world can be so loud and busy, a constant rush. So I look for the quiet.
In the night, when the city slumbers, time seems to slow and I can slow. The city becomes a set that has no actors. The scene is very inviting. There is a freedom for me in the quiet stillness of the night. I can be in the moment and see the potential my surroundings with more ease.
In the night I explore, with my Pentax 67 medium format film camera. The joy comes from my process. I create one photo which will represent the moment, the discovery. Hearing the loud shutter fire in the midst of the silence. Only seeing in my imagination the results.
I enjoy the wonder of exploring, the intentional creating, and then waiting.
Angela Holm
The Wave Maker
The oceans of our world are a foreign place. We can stroll their beaches and boat upon their surface, but we can never really venture far from the borders between our world and that one. The oceans of this world are also incomprehensibly old, on the order of 4 billion years, and thus they work on a scale that is equally alien to us. I don't understand the ocean. I am confounded by its pull on me, mystified by its depths and breadths, left wondering at its ebbs and flows. It is my foolhardy attempt to understand the unfathomable that leads me to photograph the ocean. While I make use of a number of different approaches, two that I favor are the use of long exposure and the documentation of other human beings interacting with the ocean. The long exposures give me the reason to linger and to look for longer. The photographing of other people are my attempts to capture in them what so draws me to the ocean and thereby better understand that relationship the sea and I share. I don't honestly expect that the ocean has answers for me or if it does it will never deign to share them, but I shall keep watching for as long as I can.
Zeb Andrews
U and Me
The world can be so loud and busy, a constant rush. So I look for the quiet.
In the night, when the city slumbers, time seems to slow and I can slow. The city becomes a set that has no actors. The scene is very inviting. There is a freedom for me in the quiet stillness of the night. I can be in the moment and see the potential my surroundings with more ease.
In the night I explore, with my Pentax 67 medium format film camera. The joy comes from my process. I create one photo which will represent the moment, the discovery. Hearing the loud shutter fire in the midst of the silence. Only seeing in my imagination the results.
I enjoy the wonder of exploring, the intentional creating, and then waiting.
Angela Holm
Veil
What is the human body, if not raw? What is art, if not different? Through my lens I see and capture the human body in all of its elements, shapes, and forms. Inspiration pulled from raw emotion, experiences the human body goes through, and from other art forms, comes together to embody the essence of my work.
The idea of femininity and fluidity are shown through the beautiful exhale in “Veil”. Cannabis is a medicine for me and has allowed me to follow my dreams and meet my goals. “Darkness” showcases a struggle I face daily. It is a self portrait of me in my bedroom crawling and reaching to get out of bed and escape my depression. With “Natural” I wanted to bring a lighter idea of human experience. A simple cup of tea at a local shop. When capturing “Bound” I was in between a place of contemplating suicide. Seeing just the legs bound and on the edge of a bridge truly brought to light how I was feeling. “Vintage” highlights simple suburban life. A skater posed against a vintage truck.
Through my art, the message can sometimes be dark, or extremely positive, but always raw. Always profound. I’m Sammy Anne and this is my perspective.
Sammy Anne
Vintage
What is the human body, if not raw? What is art, if not different? Through my lens I see and capture the human body in all of its elements, shapes, and forms. Inspiration pulled from raw emotion, experiences the human body goes through, and from other art forms, comes together to embody the essence of my work.
The idea of femininity and fluidity are shown through the beautiful exhale in “Veil”. Cannabis is a medicine for me and has allowed me to follow my dreams and meet my goals. “Darkness” showcases a struggle I face daily. It is a self portrait of me in my bedroom crawling and reaching to get out of bed and escape my depression. With “Natural” I wanted to bring a lighter idea of human experience. A simple cup of tea at a local shop. When capturing “Bound” I was in between a place of contemplating suicide. Seeing just the legs bound and on the edge of a bridge truly brought to light how I was feeling. “Vintage” highlights simple suburban life. A skater posed against a vintage truck.
Through my art, the message can sometimes be dark, or extremely positive, but always raw. Always profound. I’m Sammy Anne and this is my perspective.
Sammy Anne
War and Peace Nebula
I'm always interested in the similarities and differences between Art and Science. Although they take very different approaches, at their essence, Art and Science both endeavor to reveal the truth, and that is the most noble goal that any of us can pursue.
The truth in my photographs of deep-space objects is not always the obvious truth of “what do these mysterious things actually look like” because that truth is neither interesting (to the artist) or useful (to the scientist). Instead, we use sophisticated processing techniques to reveal and accentuate details that would not be visible to the naked eye even if you were right next to the object. Or inside it. Colors tell us the chemical make-up of diffuse clouds of molecules, and their shape and texture speak volumes about the forces that created and will ultimately destroy the object.
I consider myself a student of both Art and Science. As such, I strive to keep these studies simple and direct. The science is basic data collection and analysis. The art is best described as formalism, and I have applied the same passion for line, color, and texture to other genres of photography as well, using landscape, still life, nudes, and architecture.
Greg Marshall
Well Met
Photographers are often asked what their favorite type of photography is. My answer is that it is not so much about the WHAT as it is about the WHY…finding the beauty in something most would consider unlovely; capturing the emotion of a hard won fight; showing the primal fierceness of animals fighting (playing). I try to let others see what I see—the glory in the details and the unusual in the ordinary.
Lori Ackerman
What is Left By Water Wind and Other Natural Agents
The oceans of our world are a foreign place. We can stroll their beaches and boat upon their surface, but we can never really venture far from the borders between our world and that one. The oceans of this world are also incomprehensibly old, on the order of 4 billion years, and thus they work on a scale that is equally alien to us. I don't understand the ocean. I am confounded by its pull on me, mystified by its depths and breadths, left wondering at its ebbs and flows. It is my foolhardy attempt to understand the unfathomable that leads me to photograph the ocean. While I make use of a number of different approaches, two that I favor are the use of long exposure and the documentation of other human beings interacting with the ocean. The long exposures give me the reason to linger and to look for longer. The photographing of other people are my attempts to capture in them what so draws me to the ocean and thereby better understand that relationship the sea and I share. I don't honestly expect that the ocean has answers for me or if it does it will never deign to share them, but I shall keep watching for as long as I can.
Zeb Andrews
Winter's Breath
Light illuminates the world; in its absence we tremble. Through light we see colors and shapes. In its absence we see shadows, texture, and depth. Even the slightest variation of light alters our perception. Not surprisingly, the word ‘photographer’ comes from the Greek words “to draw with light.” And as a photographer I challenge myself to do more than just draw with the available light, but to push past those boundaries and create images by manipulating and controlling supplemental light. I have been challenged over the course of this year to create images in an assortment of themes using different techniques. Despite the variety of subject matter, the overarching theme that emerged was my determination to use light to refine composition and reveal new features previously hidden from the viewer. I have experimented with light-bending, light-spinning high-sync flash, off-camera flash, and even hand held flashlights to emphasize elements in a photograph that would otherwise go unnoticed. Things that were once illuminated are now hidden in shadow, and those places that were obscure and mysterious are now bare and exposed. Although light is the single most important element in a photograph, orchestrating light in ways to either expose venerability or hide the obvious is how I create interesting and captivating.
Michelle Maria Swanson
Within
Tick tick click
Images of shapes and shadows capturing the reflecting light
Within.
I live for these moments
Capturing space and time within a frame.
Click click bang
Goes the shutter of my camera
A tool I use to capture the nitty gritty
My version of reality.
Max Hinz
Yellow Brick Road
People are the subject, willing participant or not.
In everyone else, there is ourselves; past, present, or future.
People can only maintain a mask for short periods of time.
Wait long enough, and you will capture genuine expression.
Photography freezes motion; it condenses spans of time.
Twenty-Eighteen was a year of exploration.
Away from places (landscapes) and toward people (portraits).
Ultimately incorporating both landscapes and people via street photography.
I am seeking to incorporate drama via lighting, composition, and interaction.
Michael Montez
Yes, They Bite
I am a stalker of angles, a hunter of moments.
I am the photographer that constantly moves around the subject, looking for the unexpected vantage point or waiting for the interesting moment. I want to find something not there at first glance, not there to the casual observer, but something that must be sought out, waited out, coaxed out.
The viewer I hope, finds something to connect with in my pictures. Perhaps a picture evokes an emotion or memory, maybe it elicits questions, maybe its a simple appreciation of beauty. There is so much visual noise in our time and culture, we are awash in imagery from the wonderful, to the annoying, to the banal. So if my work holds a person's attention, connects with them in some unique way, even briefly, then it feels like success.
Shannon Butler
Youthful Bliss
As a photographer I try to capture candid shots of people doing everyday activities; while in nature capturing moments of tranquility/equilibrium or sometimes the opposite. I believe that it’s within these moments that we see glimpses of the true individual, without the familiar mask or facade we’re accustomed to. Sometimes even when posing a model, I give little to no directions in an attempt to capture that essence in a staged environment.
This body of work illustrates my fascination with nature and how impactful it is in our lives. It’s the calmness one finds in seclusion surrounded by trees or the peace that one feels hearing the crashing of the waves. My aim is to illustrate the perfect escape from the noise and hustle we regularly find ourselves in today’s society.
Joe Djanga