Maine Media Workshops has always had a low-profile presence in Maine. And yet people come from all over the globe to attend classes with world-renowned photographers. What gives? It’s time MMW takes a leadership role in defining Maine’s own fine art photography community and this new gallery could be a terrific launching pad.

With Rockport’s  CMCA (Center for Maine Contemporary Art) ready to move forward once again under the leadership of Director Suzette McAvoy, the midcoast could become a real center for Maine’s huge, but impossibly scattered and unconnected, fine art photography community. Could MMW be the home or jumping off point for a Maine Fine Art Photography Association and opens its doors and connections to enable Maine’s own community of world-class photographers to become a powerful, organized community within the larger population of Maine’s artistic citizens? I think it could. And I think it’s time.

M. Bernard, I’le St. Louis, Paris, 1999 © Peter Turnley. All Rights Reserved.

The new MMW gallery kicks off with an exhibit of photojournalist Peter Turnley’s work – read the press release here. It mentions the role the gallery hopes to play in the revitalization of Rockport Village itself. There is a new restaurant on the street level in the building called “Shepherd’s Pie” and I bet it will become an important player in that goal as well. By the way the restaurant’s phone number is not yet listed with Directory Assistance and it will be a big help to you if I give it to you: 207-236-8500. It was not easy to get this information!!

The opening reception for Turnley and the gallery is Tuesday, June 8 from 6:30 – 8. Let’s hope it’s the beginning of something vital for Maine’s own photographic artists as well as the world’s.

This week, five stellar fine art photographers joined me for supper. Every other month I offer a “salon” evening in my Portland condo for a small group of Maine’s fine art photographers to try and recreate the days when people actually talked to each other face-to-face about something they were all passionate about – art, literature, music or philosophy.

For me, it’s all about fine art photography and there’s nothing I’d rather spend the evening doing than talking about it with the people in Maine who are actually making the photographs.

This time around I brought together Melonie Bennett, Felice Boucher, Rose Marasco, Jack Montgomery and Denise Froehlich, pictured in this order above. Each artist carted a sample of their work to the gallery and in this picture all five samples can be seen on the walls.

The fine art photography community in Maine needs to strengthen its impact and one way to do this is to make sure these artists know each other, learn from each other and move forward together to make an impact on the world’s art scene. At these salons the photographers who gather are so hungry for connection no introductions are necessary. Surrounded by their work in an intimate little group show, they dive right in getting to know each other and discussing the images on the wall.

So, what’s in it for me? Frankly – there needs to be a cohesive  fine art photography community in order for there to be a fine art photography market in Maine, so building the market also involves building the community. Without a community, there’s nothing to build visibility for. And I’m determined to do just that. I talk to the artists about creating dynamic websites, entering competitions, getting their work OUT THERE and supporting it non-stop including NOT donating work when requested by endless organizations that assume art is free and artists live by air alone. Demand to be paid and paid properly for your decades of shooting and level of expertise. I talk to them about culling their work for the very best pictures they can offer so we can build a fine art photography community that is second to none in this country. Trust me, the talent in this state is world-class. So let’s take it to the world.

So the three hours we spent around the dinner table talking about photography in general and these photographers’ work specifically is worth its weight in gold – for us all.

Getting connected – building a market. Getting visibility, selling fine art photographs. There’s a process here and the future is today.

He just got back from his third trip to New Zealand – he calls the country “an addiction” and I heartily agree after my month there in January. His photographs will convince you of it in a heartbeat.

He took up my challenge of sharing his New Zealand photographs with the rest of us and they definitely put my own, posted here a month or so ago, firmly in the snapshot category! My favorite is one titled “Castle Hill” – Freddy said at a public lecture last fall that this is a “shot-of-a-lifetime” -  the sun hit this ancient monument just as he was driving to the site and was still 5 miles away. He nabbed it on the spot. I saw it on a big screen and it is a heart-stopping image of ancient boulders.

Castle Hill © Freddy Silva

Tongariro © Freddy Silva

Aspiring © Freddy Silva
Tongariro © Freddy Silva

Topeka © Freddy Silva

After a month in New Zealand I felt ready to get back to Maine and back to work. I have to admit I felt a tug on my heartstrings when I saw Freddy’s pictures. They made me know for certain I’d be going back.

Nude Youth Playing the Pipe (1910) • F. Holland Day

But when you review Jack’s website there is no doubt the work is all his. He has two major portfolios featured on the site: Genderwork, and Coming of age at the turn of the century. Frankly, there are many, many phenomenal images there.

But let’s step back. In 2008, Susan Maasch Fine Art in Portland included Jack’s work in a show titled “Gender Through the Artist’s Eyes”. I hadn’t met Jack yet, but had heard about him – “local attorney making REALLY weird photographs, etc…” and the gallery was crowded at the opening night we attended. But I saw something incredible there that night – one of the most poignant, tender portraits I had ever seen, and I don’t say that lightly. It has haunted me ever since.

Cindy 2004, Boston © 2004 Jack Montgomery. All rights reserved.

Yep, it’s a guy in that vinyl dress. But as I studied this photograph I felt that all of mankind’s struggles through the ages were summed up here, in this one image. At the same time, I was stunned by the artist’s success in capturing this one person’s own deeply and quite painfully personal story. A perfect and powerful photograph that needed no written support or explanation (people: STOP writing about your photographs, please!). This photograph writes its own book.

When I ran into Jack last week during First Friday at Susan Maasch Fine Art, I was delighted to hear he has a show opening there in April. He’s working on a nearly complete video. He’s a busy man: he’s on the board of Maine Media Workshops, and the Institute for Doctoral Studies in the Visual Arts. He also serves the Portland Museum of Art as a member of the Photography Advisory Committee. Did I mention he’s an attorney (Bernstein, Shur, Sawyer & Nelson)? But he very obviously goes somewhere deeply aesthetic and far away from all of this when he’s taking pictures.

I loved reading about Jack’s childhood in his artist’s statement – how his mother wove her family history for him in a hardscrabble tapestry. The Arthur Schopenhauer quote- “And so it is that in our childhood years the foundation is laid of our later view of the world, and there with as well of its superficiality or depth: it will be in later years unfolded and fulfilled, not essentially changed.“  supports Jack’s strong sense of time and place that very clearly influences his work, especially the new series Coming of age at the turn of the century.

Rosie and Jay © Jack Montgomery. All rights reserved.

Molly and Lucky © Jack Montgomery. All rights reserved.

Katie in the Pond © Jack Montgomer. All rights reserved.

Sebastian at Morse Mountain Beach © Jack Montgomery

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It just about kills me not to reproduce every image on Jack’s website here in this blog posting, but that’s a good problem. Log on to his website and take the time to thoughtfully review the two collections. It will be the most rewarding thing you do this week.

If you stepped inside the recent exhibit at the University of New England “Going Forward, Looking Back – Practicing Historic Photographic Proceses in the 21st Century” you know that your heartbeat picked up immediately. Who knew so much incredible work was going on in New England studios? The exhibit stimulated a huge interest in historic processes – exactly what it was designed to do – and many viewers and artists returned again and again to study the works.

In fact the demand to understand these processes was so great that the Bakery Collective in Westbrook took action of its own. Coming up are the three remaining courses taught by highly accomplished Maine artists and you need to sign up and get your hands dirty. (Wet Collodion with Keliy Anderson-Staley was held Feb. 20-21, but will repeat May 8/9 and Pinhole Photography with Jack Nordby took place 2/27)

Mt. Mitchell © David Wolfe, 2009 (10″x16″)

On March 20, you can spend the day with VoxPhotographs artist David Wolfe to learn how platinum/palladium prints are made and make one yourself. David has had two shows at VoxPhotographs. He operates Wolfe Editions in Portland. He knows what he is doing.

Disembark © David Wolfe, 2007 (8″x10″)

Then on April 3, Brenton Hamilton will give you an opportunity to learn about cyan and bichromate prints. Brenton has been a fixture at the Maine Media Workshops for 20 years and in fact, the “Going Forward, Looking Back…” exhibit ends up there this fall after two venues in MA. At MMW the exhibit opens on October 22, 5-8.

Poet of Levitation © Brenton Hamilton

Brenton is a renaissance man. He was a guest artist at VoxPhotographs in October 2008 and the show was edgy, brilliant and totally original.

There’s no guarantee early May will be hospitable either, so plan on spending May 8 and 9 learning about Wet Collodion with Keliy Anderson-Staley.

Tintype © Keliy Anderson-Staley

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One of the best things Maine has going for it (besides September) is how many opportunities there are to learn about photography and meet the shakers and  movers of it all. So, if you live here and have to put up with our miserable spring, you deserve to give yourself total relief at the Bakery Collective workshops.

Such was the case recently with Portland artist and master printer Noah Krell. First I heard about his printing skills from Nathan Eldridge and René Braun at my 6/25 photographers’ salon at the gallery. They raved about him as an important part of their work as photographers – they’ve had Noah print their work at his digital-imaging business called Pure Photographic Goodness in Portland. Unfortunately, remembering names is not a skill I can claim. Obviously.

Anina at Rest © Noah Krell

A few days later, I was blown away by a photograph “Anina at Rest” in the current show “Island Artists: Fairfield Porter and the Great Spruce Head Island Artists” (through July 14) at Courthouse Gallery in Ellsworth. Hmmm. Artist: Noah Krell. Never heard of him. Where ARE these people hiding? In another room was a dynamite “Self Portrait” image. Guess what? Also by Noah Krell. Karin Wilkes, Director at Courthouse Gallery said she had heard he was leaving for the west coast soon. So, when I got back to my laptop that evening, I googled him, e-mailed him and asked him for the images electronically to include in a posting about him and could he send more info. about himself? When he responded he mentioned his business Pure Photographic Goodness and yes, he is leaving Portland in August and will land in San Francisco to pursue his MFA.

Although the image “Anina at Rest” is beyond stunning (I think my friend Susan Davens would have stolen it if she could have gotten away with it. But then I would have stolen it from her house on my next visit, so the friendship might have become strained), I’m not sure the impact can be felt from the reproduction here, but it’s better than nothing.His “Self Portrait” has the impact here it has on the wall at Courthouse Gallery:

Self Portrait © Noah Krell

Much of Noah’s work on his website is not for the faint of heart. I do remember seeing his image “In the Kitchen” recently somewhere – where??? CMCA 2008 Bienniel? I have no clue, but it’s unforgettable, trust me. Some would say Krell’s work is controversial. I say it’s obvious he doesn’t take public sentiment into consideration when he’s setting up a shot or engaging in performance art. He’s making very provocative, clear-eyed images about domestic arrangements and sexuality in today’s world. This artist is focused on making terrific pictures, period. Look. Look at the details. Look again. You’ll see what I mean.

Noah grew up in South Hiram, Maine and was graduated from College of the Atlantic in 2001. But…. he’s ready to fly west. Noah, will you stay in touch and send me an image from time to time so I can post it here and keep us all up-to-date on your work and where it’s going? And when you’re ready, come back and stir it up for us again, okay?

Blueberry Field, Winter © Stacey Cramp

Although I saw them every time I went in the gallery, every time they took me a bit by surprise. I’m definitely partial to square format framing, but I really liked the way Cramp continued to divide up many of the images into three or four distinct horizontal sections. I found I saw more in the images each time I studied them.

Seawall Beach Sand © Stacey Cramp

I also found that many of the images crossed over from satisfying Maine landscapes, easily read and appreciated, to something much more abstract. Step back, or stick your nose right up to the prints – there was always a freshness about them.

If you go on to Stacey’s website you’ll see she’s been busy. Most recently she did the cover shot for Jan/Feb PortCityLife magazine.

I also got an e-mail notice recently that she has moved into a shared studio space at 82 Gilman St. and that there is an Open House coming up soon – Feb. 19, 6-8. It’s under the auspices of AIGA.

Stacey published a popular calendar for 2009 and it continues to prove the breadth of her work and interests.

Okay, it all makes sense so far, right?

But Stacey Cramp has a secret. And it’s a monochromatic one.

She has a portfolio of about a dozen heartstopping black and white square format landscapes taken with her Hasselblad, many of which she took using a pinhole lens cover.They are traditional dark room prints, many selenium toned, giving off a soft violet hue. When she asked me to look at the images at the end of a photo review session at the gallery recently, I was happy to comply.

I had no idea I would be stepping through the Wardrobe.

When I opened the portfolio, my immediate world changed. These were gorgeous images that gave me that rare experience of losing myself in them and tuning out everything else. They  filled my senses entirely, leaving no room for any other stimulus.

Special Road © Stacey Cramp

The best photographs speak for themselves and these don’t need any words from me to enhance their value to the viewer, that’s for sure.

Morse Mountain Tree © Stacey Cramp

Fisherman’s Point, Dawn © Stacey Cramp

No, this secret can shout all on its own just fine.

Well, Brenton Hamilton is such a pioneer. Fearless in his commitment to making cyanotypes in a world much more geared to the digital moment, Brenton is one of fewer than a dozen artists in the world seriously pursuing this 1840′s photographic process.

In 1842, Sir John Herschel invented a photographic process using two chemicals:  ammonium iron citrate and potassium ferricyanide. All early photographic techniques were spawned from decades of gentlemen scientists mixing and matching chemicals and compounds, and after much experimentation, Herschel finally figured out how these two chemicals, when dissolved in water, applied to paper and exposed to ultra-violet light (sunlight) would produce an image – although a blue one. He called these images “cyanotypes” and this process was the basis for the “blueprint” process used by engineers through much of the 20th century.

Brenton is a thoughtful man with a deep belief that nothing is an island. If you’ve ever heard him lecture on The History of Photography at Maine Media Workshops you know how deftly he pulls together a perfect stew of history, social customs, literature, politics, music and more to chart the course of photography since 1839. His cyanotypes reflect that same approach to life – Brenton’s work is often allegoric, often a fabric woven from the complementary colors of ancient history, mythology, poetry and music, and often includes deft references to himself and his personal history.

Poet of Levitation © Brenton Hamilton

Brenton is using the private Portland viewing gallery at VoxPhotographs to mount his first one-man show in Maine. As I look around me day after day and enjoy the supreme privilege of studying these works at my leisure, I picture Brenton in his studio: lost in the joy of quiet and private creation after giving out so much to his students month after month, inspired by the gorgeous colors of Maine’s coast he sees out his windows, and then connecting so unequivocally with the earth’s source of life by mounting each image in his studio window to be developed by sunlight, as only Maine sunlight can be in July and August.

Our own Renaissance man – following a dream of personal expression and craft at a level that is rare even here in Maine, in this place where creativity and individualism are so honored.

Ancient Coin Tondo © Brenton Hamilton

Of all the photographers, I guess Dave Wade’s images stayed with me the longest. I liked his perspectives and the images were obviously the work of a really confident photographer. I was delighted to see his work again at the current Addison Woolley show – “The Urban Eye” – here in Portland and you need to get in there to see especially Wade’s four shots of Commercial St. at night. I love them. Street photography is my thing, so this show is like dessert, I can tell you.

Utopia © Dave Wade, all rights reserved

Wade also is showing some “double exposure” shots of NYC which I liked, but would not have said were from the same photographer. When you cruise through Dave’s website (www.davewadephoto.com) you’ll see that this is one versatile guy who has an eye for just about any kind of image needed and does commercial work as well as his fine art photography. I really, really like his use of color in the Commercial St. shots and the one below of LA.

©Dave Wade, all rights reserved

“Versatile” doesn’t quite cut if for this photographer – he hosts WMPG’s “Juke, Jive and Jazz” each week, and loves and lives his music and poetry as well as his photography careers. He lived in Japan for 12 years before settling in Portland.

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Also in the Urban Eye show is a fabulous photographer by the name of Rene Braun. I loved every one of his photographs which is a rare thing in a show. Each one surprised me and drew me in and I hope to get back to Addison Woolley (before the show ends on August 30) to see the images again. He works from gutsy angles, especially successful in his image titled “Manhattan, New York” (2007) of a couple sharing a smoke in some dubious place that allowed Braun to take full advantage of some great light sources. What a photograph! Many of his photos evoke real tension. He was born in the Czech Republic and now lives in Windham, Maine. Here’s Rene’s website and if you google him, you’ll find some other interesting things!

Okay, the title is a tad saccharine, but Carl Little doesn’t let us down. Take a look at the images he awarded the top honors to and you’ll settle deeper into your couch and keep clicking that NEXT button.

You know that Maine is a beautiful and scenic place, and there are some breathtaking vistas in this show that are unmistakingly MAINE. And there’s a lobster shot! And it’s one of my favorite images in the show! So there!

The Elusive Catch © Jennnifer Huppe

It’s cool to see what 80 +- photographers consider their best and ultimate shot(s) of their idea of Maine. And it’s a tribute to Carl that he can choose some images you would see on a Maine calendar and doesn’t apologize. The manipulated digital shots are my favorite category and I spent the most time studying the black and white shots. They are really strong. It’s great to see what Maine’s professional and amateur photographers are doing out there – and if you are a photographer or just interested in photographs this is a must-scroll.

The site doesn’t allow me to swipe images to brighten up this posting (Jennifer Huppe (above) sent me a jpeg at my request), so I’ll insert one of two photographer Susan Guthrie (of Belfast and an artist exclusively represented by VoxPhotographs) had accepted. Other than this… you’ll have to go see for yourself.

Closed © Susan Guthrie, Courtesy of VoxPhotographs