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Robert Pohl Photography: Special Guest Post

Alexis Marie: I have loved sharing the stories and inspirations of some truly interesting individuals during the InFocus Alumni photography blog series. Are you excited about InFocus 2016? We will soon release the call for submissions and we would love to see your work. For now, I’m pleased to introduce Robert Pohl, a modern photographer engaging traditional processes.

Welcome Robert!

 

GUEST POST

 

"Piano" copyright Robert Pohl

“Piano” copyright Robert Pohl

My name is Rob Pohl.  I was born in Edmonton over half a century ago and have lived here my entire life.  I’ve been photographing the area specifically, but the world in general for about 35 years.  I started out shooting film, and have stayed with it.  I spend my working days in an office staring at a computer monitor.  When I want to escape from that world and immerse myself in my photography, the last thing I want to do is spend yet more hours staring at a stupid monitor. While the masses have embraced digital photography and image manipulation software, I continue to work with film and traditional wet photography.   I enjoy the relaxation and escape of the darkroom, the mixing of the chemistry, the experimentation, and the process of creating something with my hands.  I shoot black and white film and process and print everything myself.  In this age of digital photography that makes me a dinosaur.  But I also think that it sets me apart from the masses that blast away with digital cameras.  My approach is much more methodical and measured and I try to make every shot count.

"Schoolhouse" copyright Robert Pohl

“Schoolhouse” copyright Robert Pohl

Most of my work is shot with a large format 4″ x 5″ view camera.  A dabble a little with medium format roll film, and with the even larger 8″ x 10″ format.  I shoot mostly landscapes, landscape details, and historical images.  It disturbs me somewhat that our province is falling victim to massive population growth and extensive development.  Mankind seems too wrapped up in economic growth and development and seems to place little value on the natural world, and a responsibility to our planet.  We all need to step back and take a deep breath and garner a little appreciation for the world around us, and what our lifestyle is doing to it.  Hopefully my imagery helps to illustrate an appreciation for where we have come from, where we are going, and what the consequences are.

"Rock Pool" copyright Robert Pohl

“Rock Pool” copyright Robert Pohl

In early 2015 I became involved in the InFocus Photography Exhibition that has expanded from Calgary and Banff, to the provincial level.  The YEG show in Edmonton that I was involved in was curated by Alexis Marie Chute.  I felt privileged to be included in that show, and hope to take part in future exhibitions.  I’ve included a selection of images that are typical of my work.  I regularly post work to my Flickr account, and to my blog…

https://www.flickr.com/photos/130527519@N08/

www.robertspohl.blogspot.com

 

Wilfred Kozub Photography: Special Guest Post

Alexis Marie: Are you enjoying the InFocus Alumni photography blog series? Today I would like to introduce you to Wilfred Kozub, photographer and artist of many mediums.

Welcome Wilfred!

 

GUEST POST

 

Wilfred Kozub, Multi media Artist

 

These are exciting times as I seem to have a lot of art projects on the go. I have gradually branched out from being a painter and pop/electronic musician to becoming a multi media artist.

 

"Treads" copyright Wilfred Kozub

“Treads” copyright Wilfred Kozub

I feel that colour and motion are the most conspicuous features in my paintings. These are elements that I typically bring to my photographic images, and to my music, too. I am now applying the same sensibility to my recent ventures in making little lyric videos to post on YouTube for my tunes. An extended music-based film titled “The Weather” will come out in the fall of 2015.

 

"Go North" copyright Wilfred Kozub

“Go North” copyright Wilfred Kozub

My paintings are frequently populated by swallows, magpies . . . and electrical activity. The goal has always been to engage the viewer with interesting ideas in an accessible format – keep it simple and make it striking!  My painting, No One Gets Zapped is a good example of the electrical motion and vibrant colour that I’m talking about, and you can hear its audio equivalent in my song, Wilfred In The City.  

 

"Delirious World" copyright Wilfred Kozub

“Delirious World” copyright Wilfred Kozub

Although photography isn’t at all new to me, I have recently brought my camera into action more and more with my photographic images now sharing nearly equal billing with my paintings on art cards and prints that I regularly show at the Royal Bison Art & Craft fair. My paintings have also been displayed in group and solo art shows with The Works, at the Artery, and other Edmonton gallery venues. It was a proud moment for me to ‘come out’ officially as an artistic photographer at the inaugural InFocus show for the Exposure Photography Festival in Edmonton (February, 2015). What a fine show it was, and such an excellent opportunity to have some of my new photographs displayed alongside the works of terrific Edmonton photographic artists.

 

My artwork and photography frequently can be seen in the graphic design for albums by my band, Wilfred N & the Grown Men. I have come to recognize the decorative quality of many of my paintings which use repetitive images (see I See By The Colour of Your Eyes That You Are One of Us). A new painting titled Delirious World has become the centerpiece for new cards and prints – and for my freshly designed, Delirious World printed silk scarves. That image is going to be expanded and transformed to be re-purposed as the cover art for my upcoming tenth Wilfred N & the Grown Men album titled Passing Through Time. A debut solo Wilfred Kozub album, “What’s Gonna Become of Us” is also in the works, and my photograph Ancient Flowers, Rome will be the cover image for that one. Lots going on! . . .  I had better get to work!

Listen to “Wilfred in the City”

Wilfred Kozub

 

Contact Info:

 

Email:  wilfredkozub@gmail.com

Facebook: https://www.facebook.com/wilfred.kozub

Twitter: https://twitter.com/wngm

 

 

Links:

The Wilfred Kozub Art & Ponder Tumblr Page:

http://wilfredkozub.tumblr.com/

 

Wilfred Kozub on Soundcloud

https://soundcloud.com/wilfred-kozub

 

Wilfred N & the Grown Men on Bandcamp

                  https://wilfrednthegrownmen.bandcamp.com/

 

Wilfred N & the Grown Men on AmazingTunes

http://amazingtunes.com/wilfrednandthegrownmen

 

 

 

Videos:

Nobody Has To Know            https://www.youtube.com/watch?v=Yab2dUwo6J0

Wilfred In the City            https://www.youtube.com/watch?v=0WGA9YpxXPo

Thunder on the Tundra    https://www.youtube.com/watch?v=rVmQUZgcR_U

 

 

Gerry Dotto Photography: Special Guest Post

Alexis Marie: Continuing on in the InFocus Alumni photography blog series, I am pleased to introduce Gerry Dotto. Taking the everyday and making it interesting is quite a feat. I hope you enjoy Gerry’s images and the way he expounds on them.

Welcome Gerry!

 

GUEST POST

 

On a recent trip to Boston, I visited the Museum of Fine Arts to see an exhibition of works by two historically prominent photographers: Herb Ritts and Gordon Parks. It was a great show, and the impact of seeing iconic photos up close and in person really left an impression. This experience truly underscores the importance of getting one’s photographs printed and, if the occasion arises, put on display. It’s one thing to look at a digital image on the screen, but it’s no comparison to a well-printed photograph that allows you to truly appreciate the tone, the light and the detail.

 

copyright Gerry Dotto

“Stickers or Stamps, Crutches or Stilts” 2014, Digital print on photo paper 22” x 17” (55.9 x 43.2 cm) image size Edition of 30, copyright Gerry Dotto

I recently had the opportunity to participate in the InFocus Edmonton exhibition, where I showed a photo from a series I’ve been developing called “Flow of Traffic Theory.” My work is conceptual in nature and is based on exploring our interaction with everyday forms of visual communication. This series originated from my fascination with the simplicity and universality of the imagery used on road signs. Specifically, signs whose words and symbols have become obscured or distorted in some way.

 

Peach Inspediment - Composite 1, 2014, Digital print on photo paper, 22” x 16” (55.9 x 40.6 cm) image size, Edition of 30, Copyright Gerry Dotto

Peach Inspediment – Composite 1, 2014,
Digital print on photo paper, 22” x 16” (55.9 x 40.6 cm) image size, Edition of 30, Copyright Gerry Dotto

Over the course of the last several years, I’ve kept a keen eye out for road signs that have been damaged, run over, victims of adverse weather or compromised by construction. The interesting thing is that these signs are generally overlooked by drivers—no need to look at a sign that can’t be read. The signs, in effect, become “invisible.” The value of these signs, relative to the message they once carried, has been lost. They now take on an aesthetic value of their own, either in their appearance, the reinterpretation of their message or based on the context of their physical location. The images in this series set out to reveal the relative beauty of these objects that have lost their inherent value.

 

"Red Cross" 2012, Digital print on photo paper, 22” x 15.5” (55.9 x 39.4 cm) image size, edition of 30, Copyright Gerry Dotto

“Red Cross” 2012, Digital print on photo paper, 22” x 15.5” (55.9 x 39.4 cm) image size, edition of 30, Copyright Gerry Dotto

During the run of the InFocus Edmonton exhibition, I met a few photographers whose work I was familiar with but hadn’t had the occasion to meet yet. Seeing my work in relation to theirs, as well as other photos in the show, fostered some new perspectives on how I approached my own picture making. I realized that many of my photos of road signs were taking on human characteristics, in the sense that I was portraying them like they were portraits of people—people wearing masks. What are they hiding? Is it about insecurity? A secret identity? Is it a game? In the end, these photos offer more questions than answers.

 

Ultimately, photography is a medium about “showing” what’s in our world and, in theory, it captures “truth.” The photographic print remains the best medium for revealing the photographer’s vision. Personally, I benefitted from this exhibition experience when deeper aspects of my own work were revealed to me. While I set out to show the world my vision, I’m hiding from it, too. You can see more of my work on my website, gerrydotto.com, or contact me at gerry@gerrydotto.com

 

 

Why Analogue Photography: Guest Post by Candace Makowichuk

Alexis Marie: The third in our line-up for the InFocus Alumni photography blog series is Candace Makowichuk. Candace uses alternative process in her photography and the way she talks about it is inspiring. I hope you enjoy her work!

Welcome Candace!

 

GUEST POST

 

Why Analogue Photography

by Candace Makowichuk

 

Why? This is a word I continually hear from photographers and others when they find out that I shoot film and specialize in historical photographic processes. Why go through all that work when you can do similar techniques digitally? For me there are many reasons why I have chosen to continue working with the photographic processes I love.

 

I have always been interested in the “alternative” photographic processes since the beginning of my art studies. Today I work with Gum Bichromate, Cyanotype, Van Dykes, Bromoil and Silver Gelatin. I will be pursuing Tin Types and Lith prints over the next several months. The processes I have mentioned are just a few of the many invented in the 19th and 20th Century and it would be amazing to have the time to learn more!

 

Copyright Candace Makowichuck

“Modern Touch” copyright Candace Makowichuk

These historical photographic processes render one-of-a-kind images, impossible to predictably reproduce by hand. It is this unpredictability, which fascinates me. You have only so much control over the final print; the rest is due to chemistry, the hand coating, and your support/backing (paper, fabric, ect). The many steps involved all react to your individual style of work – and sometimes mistakes or accidents produce wonderful results!

 

The time required to learn one of these many processes is challenging. It requires patience and determination as it can take considerable trial and error to become proficient. This challenge is also appealing to me as the satisfaction of producing your first successful print using a new process is very rewarding.

 

Copyright Candace Makowichuck

“Twisted” copyright Candace Makowichuk

I do shoot digital. I have to as large sheet film – 16×20 and larger – is no longer available. Many of the historical processes use a contact printing technique and the most economical way to make a large negative is to output digitally. This also interests me – combining modern technology with historical.

 

The hand coated emulsions and Bromoil techniques are unique in their appearance as the hand of the artist is very evident in every part of the image, from the brush strokes to the applying of ink. This is the main appeal as to why I pursue these processes, the evidence of a human touch. I become a part of it, it is physical. From the movements of processing film, to the movements of coating your supports, to the movement of processing your print, you are immersed in the physical component of producing an image. Also being in the dark with the sound of water where time disappears. All very different from sitting in front of your computer to produce a photograph.

 

"Way Up" copyright Candace Makowichuk

“Way Up” copyright Candace Makowichuk

The InFocus exhibition in Edmonton Alberta showcased a variety of photographers work and I was pleased to have been a part of it. There were two of us in this exhibition that use analogue based photography for our work allowing the public to have the opportunity to view processes that are rarely used today. Both of us analogue photographers in the InFocus exhibition are members of the Monochrome Guild, a group of photographers dedicated to working with film-based processes.

 

Contact Candace:

Twitter: Sunprintstudio

Web Site: www.candacemakowichuk.com

 

Martin Snider Photography: Special Guest Post

Alexis Marie: We continue the InFocus Alumni photography blog series with photographer Martin Snider. Martin has a unique perspective on the world and I’m glad he is sharing it with us.

Welcome Martin!

 

GUEST POST

 

Thinking back, I can remember those frigid mornings spent on the barren prairies of the greater CFB Wainwright training area.  I watched the brilliant pinks and oranges set fire to the sky as the sun would crest the horizon, spilling rays of light onto the frost covered blades of grass below.  At the time such scenes were not often the object of my focus, however, I can recall them vividly now.  On occasion though, the opportunity might arise long enough for me to snap a quick picture to send back home, serving as a postcard to a world beyond my immediate one. Without even realizing it at the time, that’s where my romance with the lens and world began.

Copyright Martin Snider

Copyright Martin Snider

Its been a little while now, since that chapter of snapping covert sunrise cell phone pics began. In the mean time a lot has changed. The learning curve was pretty steep for someone who’s photographic experience had been limited to taking maybe 5 rolls of film in their life (with an old film point and shoot none the less). Through much trial and error, as well as guidance from colleagues and friends, an image of my place in the photo scene is now starting to develop.

As a rookie to this, I have been infinitely fortunate in working along side some incredibly talented individuals. They have greatly aided in inspiring me, as well as guiding my course in the right direction.  Being one of the featured artists in this past years InFocus YEG exhibition, has to date been one of the largest contributing factors in encouraging me to pursue my dream of becoming a professional photographer. Receiving such recognition has only given validity to my experiment in challenging perspective, while at the same time practicing my technique and creativity.

Copyright Martin Snider

Copyright Martin Snider

Modern technology and social media have also been highly instrumental in aiding my attempts at visual story telling.  Through Instagram I’ve collected a catalogue of photos, documenting my travels, as well as moments from my day to day life.  Included in this album are various highlights from a summer spent adventuring through British Columbia’s interior as well as Vancouver Island and the American Pacific North West.  At this time I’m looking forward to utilizing social media further by incorporating Tumblr and Snapchat to share more of the story behind the photos.

To be able to wake up every day and live out your passion, all the while being the person who you were made to be, is the ultimate goal for me.  In my eyes, that’s what true freedom is.  To communicate the beauty and mystery in life through an image is what continues to give these attempts meaning and provides the drive which always draws my best foot forward.  Hopefully that shows through my work and breathes authenticity in each photo.

Copyright Martin Snider

Copyright Martin Snider

 

Life is a story, how will you tell yours?

 

Best Regards,

Martin Snider

 

Facebook: M. Snider Photography

Instagram: @after.mars

Tumblr: www.tumblr.com/blog/aftermarsphoto

Snapchat: mjrsnider

 

Q&A to Help Prepare Your InFocus Edmonton Photography Submission

Is there a theme for InFocus?

There is no theme or categories for the exhibition. It is an open-theme show which means you may submit photographs of any subject you like. The goal of InFocus is to exhibit the best work by Edmonton and area photographers.

Is there a limit to the number of photographs I can submit?

No. You can submit as many photographic images as you’d like. The cost to enter is $10 per three images. If you want to enter more than three, you may do so in a subsequent entry.

Am I guaranteed to be included in the exhibition?

No. As the goal of InFocus YEG is to show the best work from our city and area, and also the fact that our space is limited, only a select number of photographs and photographers will be included. Even if your work is not selected, it may just mean we ran out of space and we strongly encourage you to submit again next year.

Who can submit to InFocus?

Anyone living in Edmonton or the surrounding communities may submit. The competition is open to professionals and amateur photographers, students and young people.

How will the photographs and photographers be selected?

InFocus is curated by Alexis Marie Chute, BFA, MFA candidate. She will select the images for inclusion from all submissions. She is looking for high quality photography that exhibits the talent and interests of our creative community.

Where will the photographs be displayed?

InFocus will be hung in the large multi-purpose room in the Annex building of Harcourt House Artist Run Centre.

Why is it important that InFocus is a part of Exposure Photography Festival?

Exposure 2015 is the first year that the festival is province-wide. In past, Exposure has only included Calgary, Banff and Canmore. As it is Edmonton’s first festival, it is important we celebrate our local talent and imagery.

When will the exhibition take place?

InFocus will be open to the public for viewing on Saturday, February 21, 2015 from 10am until 10pm. It will reopen to the public again on Sunday, February 22, 2015 from 10am until 5pm.

What is the deadline to submit to InFocus?

To be considered for the featured image to represent InFocus in the Exposure magazine, the deadline is OCTOBER 24, 2014. The call for submissions for InFocus will officially close on NOVEMBER 30, 2014. There will be no extended deadline. Please submit early.

What is the schedule of when photographers will be notified, and when I would need to drop off my work and pick it up?

Please see the official call for submissions page for the InFocus Edmonton Schedule.

Do I need to resize my files for submission?

Yes. Please see the InFocus Edmonton Technical Details on the official call for submissions page.

Does my photograph(s) need to be framed to be accepted?

Your images must be prepared in a professional manner for exhibition. What that means is that they need to be printed at a high quality and either framed or printed on canvas and stretched. All photographs must be wired for easy hanging. Any work accepted for the exhibition but then delivered without the above listed standards, will be disqualified from the exhibition.

What do you recommend for framing?

Professional framing is always best but professional quality consumer frames will also be accepted. There must be real glass, not plastic, used in the framing. Simple black frames with mated images are a classic way to present your photograph(s). Please note the type of framing/presentation method chosen when submitting your work.

How much mating should I have around my photographs?

The size of the mat is personal preference and also a consideration of style and impact. It can be visually catching to have a smaller image with a large mat, or no mat around a photograph in a simple frame, for example. Generally, a minimum of two inches of mat around an image will give the photograph room to breathe.

Do you accept mixed media art?

We will accept mixed media art as long as the primary medium is photography. If you have questions about your specific piece, please email Alexis Marie: info@alexismariechute.com

What size should I make my photographs for the exhibition?

This is up to you. If you are flexible regarding the size you print your image(s) for the exhibition, please note this in your submission form. Depending on space factors and the number of works to be shown, extremely large photographs may not fit – but this is where the curatorial magic comes in. At the end of the day, size your images to match your vision.

Why do I need to submit my CV and artist statement?

This information will be available for viewers of the exhibition. This information is often of interest to visitors wishing to purchase a photograph. Things to list on your artist CV that relate to you as a photographer: education, classes, exhibitions, publications, collaborations, memberships, volunteering, grants, etc. If you do not have anything to list in these categories – that’s okay! Maybe InFocus will be your first accolade on your new photography CV. If you do not submit a CV, that is totally fine.

What is important to include is your artist statement. This can be as short as a few sentences to a few paragraphs. In your artist statement you can talk about how you got interested in photography, how you take your photographs, why photography is important to you and the meaning behind your work.

Can I submit a series of photographs?

Yes. The whole series may be accepted or only one image depending on space.

Why is there a fee to submit?

InFocus is a 100% volunteer effort, a labor of love. The fee to submit your photographs goes to the practical aspects of mounting the exhibition. Such expenses include: listing the exhibition in the Exposure magazine, advertising the show, printing invitations and posters, venue insurance, reception party snacks and wine, and small printed programs for the show.

How do you accept payment?

PayPal.

Can I sell my photograph(s) displayed during InFocus?

Yes! One of the goals of InFocus is to support our local creative talent. All photographers will retain 100% of their sales. Volunteers will provide interested buyers with the photographer’s contact information and purchase details.

How can I volunteer for InFocus?

InFocus has many volunteer opportunities including: hanging and striking the show, distributing the call for submissions and exhibition posters, manning the show, and setting up for and clean up after the reception, for example. If you would like to sign up to volunteer, first of all: THANK YOU! Please contact Alexis Marie to be added to our volunteer list: info@alexismariechute.com

How should I price my photograph(s)?

This is a personal decision. Some things to consider: printing costs, framing costs and your own value as a photographer (your worth should never be underestimated!). Think about what price you are comfortable selling your work? Please do not value your work too low. If your photography is accepted into InFocus, you may discuss the price with the curator at that time.

What should I list for the date and medium of my photographs?

The date should be listed as the year the image was made. The medium can be something to the effect of “Photograph” or “Photograph on aluminum” or “Mixed-medium Photograph” or “Giclée print” for example.

What is the Curator Talk?

At 6:30pm on Saturday, February 21, 2015, curator Alexis Marie Chute will discuss the ideas and importance behind InFocus Edmonton as well share about the photography and photographers selected for the show.

When is the reception party taking place?

Following the Curator Talk on Saturday, February 21, 2015, InFocus will host a reception and Exposure Photography Festival party. There will be live music, snacks and drinks. If you would like an invitation to the reception party, please send your mailing address to info@alexismariechute.com. All photographers are encouraged to attend and invite their family and friends. It is going to be a great night!

 

If you have questions not addressed here, please email info@alexismariechute.com and you will receive timely answers. Odds are that if you are wondering, others are as well.

Best wishes for submitting to InFocus Edmonton! We look forward to seeing your work!

Click here to read the InFocus YEG Call for Submissions.

Click here to submit to InFocus YEG!

Follow us on Twitter: @infocusYEG