Lee Marmon: "The Acoma Collection"

His photos — historic and unique — are as diverse as the life he has lived. Best known for his iconic photograph “White Man's Moccasins”, which embodies the clash of two cultures, Laguna Pueblo photographer Lee Marmon has chronicled the history of his people for more than six decades.

Beginning on March 1st through April 30th, the Albuquerque Photographers’ Gallery presents “Lee Marmon, The Acoma Collection”, with a reception for the artist on Friday, March 1st, from 6 to 9 pm.

Lee Marmon embarked on his extraordinary career after serving in World War II when he started photographing tribal elders at the suggestion of his father. From that beginning, his work took him to Hollywood, the White House, Acoma Pueblo and back home to Laguna. Along the way he photographed presidents, celebrities, tribal elders, dancers, and sacred landscapes of the Southwest. His work is a unique visual record of American life and has garnered many awards, including the Lifetime Achievement Award from the Santa Fe Indian Market and The Czech Republic's Kantuta humanitarian award.

Marmon's work has been widely shown in galleries and museums throughout the world. Some are in the permanent collection at the White House. In 2009, the University of New Mexico acquired Marmon's collection of more than 40,000
negatives and many of his last silver gelatin prints now belong to Acoma Pueblo. Through a special arrangement with Acoma, Albuquerque Photographers' Gallery in Old Town is thrilled to show and offer for sale these rare works of art that are among the last of his personally printed and signed photographs. The gallery will also offer works from Marmon's personal collection, including original silver gelatin prints of “White Man's Moccasins”, as well as several high quality posters. And now, some of his work is available for purchase on our website.

His daughter, the writer Leslie Marmon-Silko, once wrote of her father that he served, “the most ancient of Pueblo imperatives: to honor all beings, but especially our beloved ones, gone before us”. These are not snapshots, she added, but “lively plays between sunlight and shadow to reveal the precious and beloved outside of time”.

The Albuquerque Photographers' Gallery is located at 303 Romero Street, NW in Old Town Albuquerque and is New Mexico's preeminent gallery of contemporary photography. More information is available from the gallery's website, http://www.abqphotographersgallery.com/

Black & White or Color?

Which do you prefer? There are arguments on both sides. Many "purists" make the blanket statement that they like black and white over color for everything. Others only shoot color. One answer to the question would be "It depends". The important thing is to consider your answer carefully and know why you've chosen one way or another. Remember, this choice is a storytelling tool like anything else.

Here are some examples to make the point about how color or lack of it can make a difference in the message a photograph imparts:

One of the biggest arguments for using black and white for people pictures is that it strips away colors that could distract from the emotion of the moment. Instead of your eye being drawn to the green trees or the yellow lettering in the t-shirt, it is drawn into the tortured expression on the faces and the body language. Perhaps since this picture has fairly subdued colors to begin with you could argue the other side, but imagine if the shirt was red.

This picture cries out for color for practical reasons as well as the fact that it just makes a prettier image. The plight of the Kentucky player is made much more dramatic and obvious by the fact that he is surrounded by a towering mass of orange. In the B&W version the viewer has to work harder to figure out what is going on.

When I started out in news photography, we shot slide film and B&W film. We didn't use color negative and convert later so we had to decide on the spot which to use. Each kind of film used a different approach--a different kind of thought process in order to do each justice. I think you can begin to see why in these examples.

-Janet Worne

APG Workshops

The Albuquerque Photographers' Gallery is now offering workshops for photographers of all experience levels, starting with "Personal Vision: Taking Control of the Creative Process" on September 12th, 6-8 PM.

A camera can calculate mathematically the right exposure and focus the lens for you but it has no idea what feelings or messages you are trying to communicate in your image. What if you decided to take control and make the creative decisions based on what vision you have in your head?

"Personal Vision" offers 10 tools to help you make better and more creative images. These tools are not expensive and are not found in the latest high tech equipment or software. Remember, the most important piece of photographic equipment in the world is your brain—and you already own it.

This two-hour class is geared toward advanced beginners— those who are familiar with their own cameras and want to move beyond snapshots, or photographers at any level who want a little extra inspiration. Attendees may bring one of their own photos (either a print or a jpeg on a flash drive) for critique, depending on the available time at the end of the class.

Instructor:
Janet Worne has been a professional photographer for over 30 years, most of that time as a photojournalist. While working for newspapers in three states, she has covered a wide variety of subjects, including sports, news, features, and art. She has won numerous awards from ANMPAS, Associated Press and the National Press Photographers Association, among others. Some of her work is in the permanent collection at The National Museum for Women in the Arts in DC. She has taught college level photography and served as a mentor for NPPA. Janet currently lives in New Mexico, pursuing fine art photography.

Check our website, we will soon have details and updates on this or any other future workshops.

Auld Reekie

Historic Edinburgh, the capital of Scotland, was at one time nicknamed “Auld Reekie” because of the open sewers and smoke from thousands of chimneys. Chimney Sweeps had thriving businesses, often employing young boys—known as “climbing boys”—to climb up into the narrow chimneys until legislation in the 1800’s put an end to child labor.

By the mid-twentieth century, electric and gas-fired heating systems replaced most of the old coal and wood fires used previously. In the last few years, however, homeowners have been re-opening the old chimneys to bring back the beauty of real fires.

On a recent trip to that historic and beautiful city, I was visually attracted to the thousands of chimney pots that crowded the skyline. The rooftops reminded me of my favorite childhood movie—Mary Poppins. The clay pots were varied and anthropomorphic. On some buildings they were identical and lined up like soldiers marching to war. Others were mismatched and comical. The other movie I was reminded of from my childhood was “Alice in Wonderland”, where the flowers took on human characteristics.

The last two days I was there I must have missed many interesting sights because I was too busy looking up with my camera.

--Janet Worne

Lessons From Yellowstone

Yellowstone is a wonderland of geysers, hot springs and, of course, wildlife. The park, established in 1872, is “the core of one of the last, nearly intact natural ecosystems in the Earth’s temperate zone.” On the Mammoth Hot Springs Terrace, travertine formations grow rapidly to create an ever-changing scene that looks like an icy moonscape thanks to a chalky white material leaching from the limestone by the hot water.

I recently had the opportunity to spend a week in Yellowstone at a time when it is possible to see more wildlife than people—early March. We stayed in Gardner Montana, near the north entrance at Mammoth Hot Springs. The 'Snow Coach' excursions had ceased and the only way to get anywhere was by car on the road between Mammoth and Cooke City, about 60 miles of east-west road through the Lamar Valley. Although relatively short in length, that stretch of highway might be one of the most ecologically diverse and scenic 60 miles in the United States. We drove it every day for a week, and it was an adventure that I never tired of.

Of course, my primary focus for the trip was photography and I had my DSLR, a wide selection of lenses, a tripod, filters, etc., whenever we hit the road. I soon discovered that I was constantly switching between 'landscape' and 'wildlife' shooting modes as opportunities presented themselves. In many respects, these two modes require opposite techniques, camera settings, and equipment. Not being blessed with two camera bodies, the switching soon became an issue, especially in the case of fleeting and unpredictable wildlife sightings, as well as changing light conditions. Experience is a great teacher, but sometimes it takes a while, and opportunities missed are a harsh way to learn. So here are a few tips to keep in mind if you find yourself in a similar situation.

As you travel, whether hiking or in a vehicle, have your camera and lens ready for wildlife - it more often requires quick response and if you are in 'landscape' mode the chance may pass before you can switch. This means: a long lens mounted with no polarizer or Neutral Density filter attached, higher than normal ISO (400), aperture priority at wide open or close to it, continuous autofocus, high speed continuous shooting mode, and spot metering. All of the above allow for faster response time and increases the chance of sharp images - especially if the subject is moving. Other settings that I sometimes use for landscape mode will ruin that elusive wildlife shot. Such as 'exposure delay', or HDR auto-bracketing mode. The former reduces mirror vibration, but makes a DLSR act like a point and shoot with a huge shutter lag time. The later will just get you a lot of improperly exposed images. Also, if the light is poor, use a higher ISO than you might like. A noisy picture is better than a blurry one.

In low light or harsh sunlight/shadow conditions, consider using a 'flash extender' to bring out the details of those critters. They consist of a plastic fresnel lens attached to a bracket on your flash unit to focus the light. While they are inexpensive and do work up to a certain point, they are also bulky when added to your flash unit. But I sure wished I had mine attached when wolves crossed the road 100 yards from me early one morning!

Finally, and most importantly, after taking that idyllic landscape shot, and before you begin to move on to another location, reset your camera to 'wildlife' settings so you are ready for that once in a lifetime opportunity.

--Tom Spross

Ansel Adams Quote

"To photograph truthfully and effectively is to see beneath the surfaces and record the qualities of nature and humanity which live or are latent in all things."

-Ansel Adams

Rhythm in Photography

Rhythm permeates our world. Music tempts us to move with the flow of notes and the pacing of words on a page encourages us to stay up late to finish a favorite book. Our bodies pulse with the constant rhythmic beating of our hearts, a comforting reminder that we live. Rhythm is alive in the visual arts as well.

Rhythm is “a strong, regular, repeated pattern of movement and sound”, according to the Oxford American Dictionary. In his book, Photography & the Art of Seeing, Freeman Patterson says: “Rhythm is a way to use pattern. A pattern may be repeated at random, but if it is repeated at regular intervals, we speak of rhythm.”
If rhythm is movement within repeated patterns, then photography is fertile ground in which to harness that flow. The patterns can be lines, shapes or color, and the positioning of the repetitions can lead the eye in the direction of the photographer’s choosing and influence the tone or feel of the image. In the examples shown here, black lines bending into progressively smaller and smaller triangles sweep us up the stairwell, and repeated colors and shapes of boats march the viewer diagonally across the page in rows. Notice how each rhythm may have a different pace, sometimes dynamic, sometimes plodding.

We can break it down to the step-by-step technique and use it consciously or we can let it flow without thought from that place deep inside us where inspiration is born. You know you have succeeded when you look at it and it feels right in your gut.

-Janet Worne

Henri Cartier-Bresson Quote

“Photography implies the recognition of a rhythm in the world of real things.”

-Henri Cartier-Bresson

How Does it Make You Feel?

When you create a photograph, what is it that urges you to click the shutter at that moment? When purchasing a photograph in your favorite gallery, what is it about that image that called out to you and stopped you in your tracks?

Many people simply don’t know. It is that indefinable something that whispers in your ear so softly that only your subconscious can hear. Is it the composition or colors? Perhaps you felt a special connection to the subject of the photo. Whatever reason you come up with, it can probably be drilled down to the very core of what makes a great photograph. How it makes you feel. And because we all look at art through a different cultural and experiential lens, a single image can elicit a different visceral response from everyone who views it.

Take this photo, “Shaker Dreams”, as an example. What feelings does it evoke in you when you look at it?

Does it make you feel nostalgic? Scared? Hopeful?

I’ve had a variety of responses to this photograph. Some people find it a bit scary. They don’t want to know what’s behind the door and the last thing they would want to do is climb those stairs to find out. Others are filled with hope and anticipation. They are bursting to know what is behind a door with such glorious light spilling through its window.

How does it make you feel?


--Janet Worne

“In The Mind’s Eye” Opens On Friday

When the Albuquerque Photographers’ Gallery sent out the call for entries for their first juried show, “In the Mind’s Eye”, they asked for photographers to answer the question: “What is your vision of the world?” The instructions elaborated, saying that “it could be surreal or authentic, fantasy or truth—or it may include elements of both”.

The response was fantastic with over 100 photos entered from artists who have created a collection of highly imaginative images, and in some cases, surreal enough to be a backdrop for the most stylized of science fiction films.

Images were evaluated independently by three award-winning professional photographers and scored based on three criteria: Creativity, Technique, and Impact. The judges were Leroy Perea, founder of ANMPAS (Annual New Mexico Photographic Art Show), Urey Lemen, a founding member of APG, and Kent Winchester, also a member of APG.

The top 30 scoring images will be on display at the Albuquerque Photographers’ Gallery in Plaza Don Luis, Old Town Albuquerque, from February 3rd through the 29th. The opening reception will be on February 3rd, 5:00 to 8:00 PM.

For more information visit the APG website, www.abqphotographersgallery.com or call (505) 244-9195.

We hope to see you there!

Georgia O'Keefe Quote

"To create one's own world in any of the arts takes courage."

--Georgia O'Keefe

The Dawning of a New Year

It begins with a gentle lightening of the horizon. No more than a hint of what is to come. So subtle and gradual is the beginning that it is not always recognized for what it is. It could be the lights of a nearby town or the harsh beacons of a highway. It couldn’t be the dawn. Could it?

There is something magical about the moment when night changes to day. That precise moment is calculated and published in newspapers. The longest and shortest days are celebrated as solstices. Even birds become silent in reverence for that moment.

Then it pounces. Minute by minute the sky evolves and suddenly a new day is born. Each one begins in a different way. Sometimes it’s a symphony of light and shadow blending brush strokes of crimson and pink over a dark, dusky blue. Always changing, never waiting until the camera is in the right place, never hesitating for “just one more picture”.

And sometimes the dawning is cold and dreary. Black drains from the sky to reveal a gray, monochromatic world, as if it were veiled to the eye. Trees float into focus as the minutes silently pass.

When enough of the new light filters through, the day begins in earnest. The wind picks up, birds begin to sing, and people move about. Suddenly, it’s another day.

The dawning of the New Year has always been a time of hope, a new beginning. There is the feeling that no matter how dark and dismal the past has been this day is the first day of the rest of your life. It is a chance to start fresh. Past mistakes don’t count.

But why this day? Why do we not celebrate it on the first day of spring? Or on the day of the first new moon? The fact that different countries and religions celebrate it on different days tells us that it’s not the particular day that is important. It’s the feelings we associate with it. So wouldn’t it be nice if we made a fresh start every morning as the sun slips past the horizon to banish the dark corners of our lives?

Happy New Year. Happy new day.

--Janet Worne

Henri Cartier-Bresson Quote

“A photograph is neither taken nor seized by force. It offers itself up. It is the photo that takes you. One must not take photos.”

--Henri Cartier-Bresson

Minor White Quote

“Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts.”

--Minor White

New Members

APG has added two new members to our group of talented photographers.


Tye Hardison arrived in August to replace the departing Peter Boehringer. He brings with him a dramatic and unique vision to the gallery. His love of nature started 30 years ago while hunting and fishing in northern New Mexico. Later, after he purchased his first camera, he went on to photograph the many enchanting landscapes of our state. More...

Mellany Herrera replaces Rebecca Golding starting this month. Mellany’s work is filled with color and imagination. Her vision is realized using digital tools and High Dynamic Range (HDR) process resulting in rich and detailed images. Check back at our website in the next few weeks to see more about Mellany.

We will miss Rebecca and Peter even as we welcome our new members.

Hummingbird Photography Simplified

Each spring, New Mexico backyards are humming with black-chinned and broad-tails as they battle over feeding territories and entertain us with their aerobatics. A month later, the Rufous arrive with their bright flashes of red and orange. Photographers everywhere are scrambling to take “the best hummer shot ever”. They dream of the elaborate (and expensive) equipment they will need to accomplish their goal.

If you research hummingbird photos on the Internet, you will find most, if not all, serious shooters use strobes. As in LOTS of flash units fired remotely from multiple angles. While this undoubtedly produces some stunning and sharp images, it is also quite expensive and time-consuming to set up. But there are other ways to do it.

I have never used more than a single flash, sometimes with an flash extender on a 300mm lens, and found that approach is often more frustrating than useful. For one thing, the birds freak out at the moment of the flash and wind up in strange unflattering flight positions. Another disadvantage is that flash units must recycle, which prohibits using the continuous shooting mode available in most digital SLR cameras.

So this spring I decided to try a simpler setup with no flash. The main issue with any wildlife image is subject sharpness. And getting a sharp image means lots of available light. Why? Because you need both a high shutter speed to freeze motion, and a small aperture (more depth of field) to get more of the subject in the focal range. A fast lens is your best friend here. A 70-200mm, f2.8 is a good candidate. Or an 85mm, f1.8 will work well because you can be fairly close to the birds--if you let them get used to your presence and do not make quick movements. I even used a 50mm, f1.8 with some success, as can be seen in this image. Finally, use higher ISO than usual if your camera body can deliver clean images with it.

My backyard portal faces east, so about an hour after sunrise I have great backlight on the birds at my feeder, which hangs on the east end of the portal. This is great for silhouette shots, but not so hot for anything else. The key is to use a reflector. I improvised one out of standard foam board. The white surface reflects the sunlight quite well, but must be positioned close to the feeder. I used a ladder to hold the reflector, while I stood on the second rung and placed my camera with 50mm lens just above it. With a longer lens, you will probably need to be further back from the feeder. Also, it helps to be shooting at a horizontal or downward angle to get a dark background from trees or bushes since the sky will be too bright.

Experiment with different reflector angles, distance, and lenses until you get your own 'perfect hummer shot'.

-Tom Spross

Ernst Haas Quote

“The camera doesn't make a bit of difference. All of them can record what you are seeing.

But, you have to SEE.”

--Ernst Haas

Pinhole Photography

Taking pictures with a pinhole camera is like peering through a chink in a wall and looking into the past. The resulting photos look as if they have been taken at least a hundred years ago, which makes sense considering Leonardo Da Vinci was the first to use the pinhole concept with his "Camera Obscura." The basic idea is that light travels through a tiny hole and casts an image, backwards and upside-down, onto the negative. Exposures range from 30 seconds to nearly 2 minutes depending on the size of the hole.

To make this historic camera you can use an oatmeal box painted black, inside and out. The lens is a piece of aluminum pie plate pierced with a needle and taped over a 1.5 square inch hole in the side of the box. I use black and white photographic paper as a negative, which is placed inside the box (in total darkness) to fit the curve of the wall opposite the lens. The emulsion side faces the hole. It is this curve that gives the extreme wide-angle look to the pictures. Use a heavy piece of black paper secured with rubber bands over the lens as your lens cap. After setting the camera in position for the picture, with a rock on top to keep it steady, remove the lens cap for 30 seconds or so. You will need to try a few times to find the correct exposure.

Back in the darkroom, develop the paper negative in the normal manner (there are many good books that describe this process in detail) using black and white chemistry. Sandwich this negative with another piece of paper (emulsion to emulsion with the negative on top) and shine a light through it to produce the positive, which then must be developed like the negative. You can also scan the negative on a flat-bed scanner and create the positive in Photoshop. If done correctly the result is a photograph similar to the ones you see here.

There you have it, cheap and easy photographic thrills. Amateur photographers quite often ask me what kind of camera I use and how much it costs. They are impressed with expensive gear. I tell them it doesn't matter what equipment you use, a photographer can make a good picture with an oatmeal box.

I admit I still have a few bugs to work out here. With a little refinement and experimentation I could clean up some of the extra lines and strange flares of light in these pictures. But I kind of like them. It adds a little of the old world feel that these images have. And who's to say that the smudges of light in the cemetery picture are flaws in my lens and not civil war ghosts?

-Janet Worne

W. Eugene Smith Quote

“What use is having a great depth of field, if there is not an adequate depth of feeling?”

- W. Eugene Smith

Working Hard...

We are hard at work, getting ready for Karl Koenig's show, "In This Place...". The photos have been hung, the invitations are out, and we are preparing refreshments for the reception--this Friday, 6-9 PM.

This show is not to be missed. Karl's work is amazing and one-of-a-kind. He is the inventor of an alternative process he calls, gumoil, which exudes a very organic quality. He also uses the photogravure process with quite beautiful results. We hope to see you there!