Cat and Shadow, Bagno Vignoni, Italy, Copyright 2009 Marcie Feldman

I bet the cat in Marcie Feldman’s Cat and Shadow has no idea how good he’s got it. He’s at the Bagno Vignoni hot springs, a gloriously restorative and scenic spot for a soak. I’m not the only one who thinks these baths are magical—the Medicis used to zip down here from Florence for a dip. And this feline probably has no idea who the Medicis are. I’d wager he doesn’t even like water. But judging from the way he’s staring at the wall, he just might appreciate the outrageously gorgeous light of his Tuscan setting. Maybe.

Marcie Feldman captured he light bouncing off the pocked stone wall so that it seems to be coming from the surface itself, and it ties the entire image together. It gives depth and nuance to the tree’s shadow, creating warm edges and variations where a shadow might normally be flat and unchanging. And it’s these same variances that allow a two-dimensional projection of a shape to hold more visual ground than the three-dimensional cat and bench in the foreground.

And that’s saying nothing of the tree itself. More horizontal than it is vertical, at least in this cropping, it’s unusual in its own right. The framing of the shot emphasizes its uniqueness, too, with a slightly right-of-center approach. This allows the left branches to expand, forming an effective counterbalance to the heavy, geometric bench. And the little kitty has positioned himself to round out the image visually and conceptually—he’s a live presence in a scene of stillness, offering just a hint of movement and activity.

But maybe he already knew that.

About Erin Carlman Weber as “The Untrained Eye”
Erin Carlman Weber likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. What does that have to do with photography? Well, she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer, the Boston Globe and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about things that aren’t food.

-Ed Riddell
Curator, Le Fotografie

String Circle On Leaves ©2000 Gloria Lamson

Gloria Lamson’s photos have been an intriguing addition to Le Fotografie. She plays with nature, but it’s not so much a manipulation as a subtle, thought-provoking rearrangement. Her images force the viewer to consider notions of natural and human-made beauty, and the possibilities for interaction between the two.

At first glance, String Circle on Leaves is jarring. The string seems an imposition, almost, albeit a pretty one. But I’ve done some careful pondering, and I think the string and leaves are a natural pairing, both visually and conceptually.

There are two levels of organization within the plant. On the micro level, we’ve got the neat, orderly parallel lines of the creases of the leaves. Very tidy. At the macro level, we’ve got the opposite—the tangled jumble of the leaves themselves, seemingly without order. These work together to emphasize different aspects of the mini string installation. The radial arrangement of the cotton appears organized and messy at once. The frayed, meandering string ends are in contrast with the orderly neatness of the veins within the leaves. And the large scale haphazard arrangement of the fronds function to push the careful weaving of the center to the visual forefront.

Lamson has done something very interesting with this installation. She’s essentially taken a processed bit of nature—the string having come from a cotton plant, of course—and laid it over a bit of “pure” nature. It’s a lovely and provocative take on a before and after shot, a lens through which to view the age-old dichotomy of humans and nature. She’s given us visual and symbolic layers that make for a fascinating romp through this issue.

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
Erin Carlman Weber likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. What does that have to do with photography? Well, she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about things that aren’t food.

-Ed Riddell
Curator, Le Fotografie

Screen shots of Issue 7 of Le Fotografie Magazine.

SIGN UP FOR A FREE MONTHLY SUBSCRIPTION TO LE FOTOGRAFIE MAGAZINE BY CLICKING THIS LINK.

Issue #7 of Le Fotografie Magazine features Victoria Blumberg’s beautiful and provocative photographs of flowers. 

Click here to access the new issue in full page view.

Le Fotografie announces the seventh beautiful issue of Le Fotografie On-Line Magazine devoted exclusively to the images and photographers featured at Le Fotografie. Le Fotografie Magazine is issued on a monthly basis and may be freely viewed through the Our Magazine page at the Le Fotografie web site.

Here’s what you’ll find in the third issue of Le Fotografie Magazine:

• Beautiful reproductions of some of Victoria Blumberg’s beautiful, abstract flower images.
• Photographic tips and ideas about what makes Victoria’s flower images work.
• Information about why Victoria Blumberg makes her gorgeous flower images.
• Insights about selected photographs including some of the reasons why particular images were selected to be featured at Le Fotografie.
• Links to purchase the featured images by simply clicking on the image in the magazine.
• Information about what differentiates fine art photographs from the many images we see in everyday life.

All this information comes to you completely without charge as our way of promoting a greater understanding of photography as art. As many of you know, Le Fotografie is dedicated to the mission of making beautiful, original prints of images by our talented group of photographers available at amazingly low prices. The prints are not reproductions or “posters.” These are original, custom, made-to-order prints available in sizes from 8×10 to 16×20. To learn more about how these prints are made and why we are undertaking this effort please view the information pages at www.lefotografie.com.

Please help us in our mission of making fine art photographs affordable for everyone by telling your friends about this unique new concept in fine art photography.

Edward Riddell
Curator, Le Fotografie

House On Fire ©2010 Bob Hills

This is a startling image, mostly because the title’s not just a clever name. Bob Hills’ decision to call it House on Fire is quite apt. A couple of people have walked by while I’ve been sitting with my review copy of this photo, and their reactions were identical. “Whoa. That house looks like it’s on fire.” Yes. Yes, it does.

The trompe l’oeil of this rock formation and ancient dwelling is something else, and Bob Hills captured it at the exact right moment. The fiery effect is a combination of variation in the orange-y red hues that make up the rock itself and perfect timing with regard to the light. He snapped this shot just as the sunlight burst in on the right side of the frame and set the rocks above ablaze. (Pun 100 percent intended.) The angle is key for the illusion, too. The lines in the rock rush straight overhead, making it seem all the more flame-like. If Hills had positioned himself even a little bit downhill, the effect would be one of impressive geology rather than fiery deception.

This little house seems like a dangerous place to be, all afire and whatnot, but I’d guess it was one of the safer places to set up a homestead back in the day. Since the house and its surroundings are stone, it’s rather flameproof. The irony. Maybe its original inhabitants thought its striking resemblance to a conflagration would keep the baddies away.

Or perhaps they were drawn to it because, as my always perceptive other half pointed out, it also looks a bit like Don King’s hair.

Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
Erin Carlman Weber likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. What does that have to do with photography? Well, she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about things that aren’t food.

-Ed Riddell
Curator, Le Fotografie

Screen shots of Issue #6 of Le Fotografie Magazine. Available for viewing now.

SIGN UP FOR A FREE MONTHLY SUBSCRIPTION TO LE FOTOGRAFIE MAGAZINE BY CLICKING THIS LINK.

Issue #6 of Le Fotografie Magazine features landscapes, architectural photos and portraits by photographer David Fullagar. 

Click here to access the new issue in full page view.

Le Fotografie announces the sixth issue of Le Fotografie Magazine devoted exclusively to the images and photographers featured at Le Fotografie. Le Fotografie Magazine is issued on a monthly basis and may be freely viewed through the Our Magazine page at the Le Fotografie web site.

Here’s what you’ll find in the third issue of Le Fotografie Magazine:

• Beautiful reproductions of some of David Fullagar’s memorable black & white and color images.
• Photographic tips and ideas about what makes a particular photo “work.”
• Information about how David Fullagar developed his passion for photography.
• Insights about selected photographs including some of the reasons why particular images were selected to be featured at Le Fotografie.
• Links to purchase the featured images by simply clicking on the image in the magazine.
• Information about what differentiates fine art photographs from the many images we see in everyday life.

All this information comes to you completely without charge as our way of promoting a greater understanding of photography as art. As many of you know, Le Fotografie is dedicated to the mission of making beautiful, original prints of images by our talented group of photographers available at amazingly low prices. The prints are not reproductions or “posters.” These are original, custom, made-to-order prints available in sizes from 8×10 to 16×20. To learn more about how these prints are made and why we are undertaking this effort please view the information pages at www.lefotografie.com.

Please help us in our mission of making fine art photographs affordable for everyone by telling your friends about this unique new concept in fine art photography.

Edward Riddell
Curator, Le Fotografie

La Jolla Pigeons ©1988 Jonathan Stuart

La Jolla Pigeons by Jonathan Stuart and Moulton Barn in Winter by Marcie Feldman are separated by more than a few factors, and having sprung from the lens of two different photographers is least of them. They were snapped sixteen years and nearly 1,100 miles apart. One makes you feel like pulling on sandals and taking a shoreline stroll, while the other evokes an urge to wrap up in a blanket, cocoon-style, mug of steaming hot cocoa in hand.  Marcie Feldman’s barn and Jonathan Stuart’s beachside pavilion had both caught my eye on the Le Fotografie site, but in entirely different ways. It wasn’t until the two prints arrived, one nestled atop the other, that their similarities began to emerge. And as I contemplated all that they share, new points of divergence began to emerge.  A side-by-side comparison of these two shots offered this novice a surprisingly thorough lesson in the small but vital factors that affect grand landscapes.

Both buildings are shot from an angle, rather than straight on. This approach lends both a visual interest and a fuller representation of the structure. And each photographer has employed a relatively large amount of foreground, providing context and visual cues about location. Both scenes were shot with indirect light, which conveys a certain solemnity not just for the black and white gradations of the barn, but also in the greens and blues of the beachside pavilion shot.

Moulton Barn In Winter ©2004 Marcie Feldman

Though the two photos share more than you might expect, all things considered, it’s their differences that are most revealing and instructive. Take the location of the horizon line relative to the building, for instance. Stuart positions it well above the little green hut. In Feldman’s shot, the barn covers all but the tiniest bit on the right side of the frame. In the former, the horizon dominates the building, while in the latter the reverse is true. The two photographers use this element for the same purpose, but to arrive at opposite ends.  For Stuart’s pavilion, it reinforces smallness, and for Feldman it asserts the barn’s visual dominance.

Along the same lines, the amount of space each building occupies relative to the rest of the frame imparts different emphasis. Feldman’s barn fills up fully a third of the shot. I’d give Stuart’s pavilion about an eighth. In choosing to allocate the space his or her respective ways, each photographer implies something different about what the viewer’s focus should be. The barn, with its marvelous texture, lines and weathered wood, is the star of Feldman’s story. In Stuart’s landscape tale, the pavilion plays more of a supporting role. (Literally. It’s holding up that gaggle of pigeons.) It’s vital, but it’s more like one element among many that come together to tell Stuart’s tale.

Finally, the presence and role of the sky in each are quite opposite. In Stuart’s frame, the clouds loom overhead, providing a sense of dynamism, carrying the eye downward. In contrast, the sky is almost a non-element behind Feldman’s barn, nearly indistinguishable from the snow in the foreground. The effect is somber and still, again reinforcing the emphasis on the barn.

Moulton Barn and La Jolla Pigeons make an unlikely but telling pair. Taken together, they form a study in different approaches to the same basic elements—a building situated in an expanse of nature. I still consider myself a relative newcomer to thinking critically about photography, and lessons like this—concrete examples of one tactic versus another—are some of the most effective for me. I’m thankful for the serendipitous bit of packaging that coupled these two images together.

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
As a photography geek I was looking for someone with a fresh approach to looking at and writing about photographs. All you have to do is read one of Erin Carlman Weber’s posts to see that I certainly found what I was looking. Erin likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. What does that have to do with photography? Well, she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food.

-Ed Riddell
Curator, Le Fotografie

©2010 Richard J. Murphy (No, we're not giving away the title yet!)

Today I bring you a daring feat heretofore never attempted at The Untrained Eye. I shall write a review of this Richard J. Murphy print without knowing its proper name. Gasp!

I’ve written plenty about how the title of a print influences my reading of the image, and it’s still very true 20-odd reviews in. I lean heavily on this cue to tell me what I’m looking at and provide a frame of reference. But not this time. The subject matter seems obvious. I’m thinking we’ve got a line of quartz running through a slab of darker rock. We’ll see how close I am.

This image—let’s call it “Line in Rock” for now—suggests texture and movement where I know there isn’t any, and that’s a pretty good trick. There’s directionality to the grain (do rocks have a grain?) that evokes a range of things that it clearly is not. Bristly animal fur, for one. Or a feeling of looking down into a crevasse during a rainstorm. Up close, the contrast that gives the feeling of movement fades away. The continuity between light and dark is more obvious, which makes it seem like the flat surface I’m assuming it is. (Wouldn’t it be wonderful if this ended up being a shot of a faraway galaxy with a majestic bolt of space lightning running through it? I’d love to be wrong if that were the case.)

The line, remarkable in its bright straightness, also suggests things I assume it cannot be. There’s the aforementioned lightning, but it also resembles a root stretching downward through soil, little filaments branching off in search of moisture. The effect of placing the line slightly right of center deemphasizes the line itself, though it remains a strong element. The asymmetry allows the variations in shape and color of the white flecks a bit more visual prominence and contrast with the line.

Alright. The suspense is killing me. Firing up my browser for a grand reveal of the title, and hopefully a clue about what I’m looking at.

Oh, how wrong I am! It’s called “Champlain Ice.” Quartz, space galaxy, animal fur, roots… See what happens when you leave yourself in the dark for a bit? Opens up a whole world of possibilities.

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”

Erin Carlman Weber likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. What does that have to do with photography? Well, she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about things that aren’t food.

-Ed Riddell

Curator, Le Fotografie

Sample screenshots of Issue #5 of Le Fotografie Magazine featuring the work of photographer John Telford.

SIGN UP FOR A FREE MONTHLY SUBSCRIPTION TO LE FOTOGRAFIE MAGAZINE BY CLICKING THIS LINK.

Issue #5 of Le Fotografie Magazine features some of the most memorable images from photographer John Telford’s more than four decade career. 

Click here to access the new issue in full page view.

Le Fotografie announces the fourth issue of Le Fotografie Magazine devoted exclusively to the images and photographers featured at Le Fotografie. Le Fotografie Magazine is issued on a monthly basis and may be freely viewed through the Our Magazine page at the Le Fotografie web site.

Here’s what you’ll find in the third issue of Le Fotografie Magazine:

• Beautiful reproductions of some of John Telford’s most memorable black & white and color images.
• Photographic tips and ideas about what makes a particular photo “work.”
• Information about John Telford’s professional career and his philosophy about photography.
• Insights about selected photographs including some of the reasons why particular images were selected to be featured at Le Fotografie.
• Links to purchase the featured images by simply clicking on the image in the magazine.
• Information about what differentiates fine art photographs from the many images we see in everyday life.

All this information comes to you completely without charge as our way of promoting a greater understanding of photography as art. As many of you know, Le Fotografie is dedicated to the mission of making beautiful, original prints of images by our talented group of photographers available at amazingly low prices. The prints are not reproductions or “posters.” These are original, custom, made-to-order prints available in sizes from 8×10 to 16×20. Each print bears the Le Fotografie Authorized Special Edition Print imprint and the copyright of the photographer. This “imprint” may be easily covered when framing or matting but stays on the print to attest to its authenticity. To learn more about how these prints are made and why we are undertaking this effort please view the information pages at www.lefotografie.com.

Please help us in our mission of making fine art photographs affordable for everyone by telling your friends about this unique new concept in fine art photography.

Edward Riddell
Curator, Le Fotografie

Our new iPad app takes full advantage of the iPads big gorgeous screen and touch navigation.

Photography You Can Live With.
Inspiration For Photographers And Collectors.

Click Here To Learn More Or To Download To Your iPad Via iTunes.

The Le Fotografie iPad App is a curated collection of more than 250 high resolution, fine art photographs from 15 photographers. Images are presented in 14 separate galleries arranged by subject including: Grand Landscapes, Architecture, Foreign Countries, Wildlife, Still Life, Sports And Adventure, Off-The-Wall and others. Each photograph features a description, a photographic tip and a satellite map of its location. The Le Fotografie App will inspire photographers and collectors alike. You may also download the app directly from your iPad by going to the App Store and typing in “Le Fotografie” in the search window.

Black Rod And Salt, Great Salt Lake ©2007 Paul Adams

The horizon line on the right side of the frame in Black Rod and Salt by Paul Adams screams Rorschach inkblot to me.  It appears Paul Adams simply inked up the hills and folded them down, stamping them onto the water. I’m going to have to assume it didn’t happen that way, because although Mr. Adams is a highly capable photographer, I don’t think omnipotence is part of his skill set. You never know, though.

Anyway. To return to Paul Adams’s adeptness with a camera, this is simply a stunning image. It manages to be dreamy and desolate, warm and cold all at once. The fiery lights at either edge confer a sort of magic, almost, on the rest of the frame. The brilliant yellowy-oranges peek out and around the mountains, and are made more dramatic in their perfect reflection and symmetry.

Everything about the image draws the eye to the titular pole in the center of the frame—the “V” of rocky salt clods in the foreground, the narrowing of the reflection on the horizon line, and direction of the clouds overhead. But the rod remains more an anchor point than visual center, I think. As the only rigid, nonorganic shape in the frame, its oddity and oppositeness is spare and unobtrusive, yet indispensable as subtle juxtaposition with the rest of the shot.

The little islands of salt in the water are cloudlike in their shape and arrangement, echoing the clouds above and carrying the notion of reflection and symmetry through the entire image. In fact, order this print and flip it 180 degrees. The effect when viewed this way, with sky and water switched, is a brilliantly spooky echo between the heavens and the lake.

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
As a photography geek I was looking for someone with a fresh approach to looking at and writing about photographs. All you have to do is read one of Erin Weber Carlman’s posts to see that I certainly found what I was looking for. Erin likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. What does that have to do with photography? Well, she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food.

-Ed Riddell
Curator, Le Fotografie

Sample pages from the newly released Volume 1, Issue 4 of Le Fotografie Magazine.

SIGN UP FOR A FREE MONTHLY SUBSCRIPTION TO LE FOTOGRAFIE MAGAZINE BY CLICKING THIS LINK.

Issue #4 of Le Fotografie Magazine features the photographs of landscape photographer, Paul Adams. It showcases some of Adams’ most ethereal images in stunning full screen views.

Click here to see the full issue in full page view.

Le Fotografie announces the fourth issue of Le Fotografie Magazine devoted exclusively to the images and photographers featured at Le Fotografie. Le Fotografie Magazine is issued on a monthly basis and may be freely viewed through the Our Magazine page at the Le Fotografie web site .

Here’s what you’ll find in the third issue of Le Fotografie Magazine:

• Beautiful reproductions of some of Paul Adams’ magical, landscape images.
• Photographic tips and ideas about what makes a particular photo “work.”
• Information about Paul Adams’ professional career and his philosophy about photography.
• Insights about selected photographs including some of the reasons why particular images were selected to be featured at Le Fotografie.
• Links to purchase the featured images by simply clicking on the image in the magazine.
• Information about what differentiates fine art photographs from the many images we see in everyday life.

All this information comes to you completely without charge as our way of promoting a greater understanding of photography as art. As many of you know, Le Fotografie is dedicated to the mission of making beautiful, original prints of images by our talented group of photographers available at amazingly low prices. The prints are not reproductions or “posters.” These are original, custom, made-to-order prints available in sizes from 8×10 to 16×20. Each print bears the Le Fotografie Authorized Special Edition Print imprint and the copyright of the photographer. This “imprint” may be easily covered when framing or matting but stays on the print to attest to its authenticity. To learn more about how these prints are made and why we are undertaking this effort please view the information pages at www.lefotografie.com.

Please help us in our mission of making fine art photographs affordable for everyone by telling your friends about this unique new concept in fine art photography.

Edward Riddell
Curator, Le Fotografie

Fall Colors #11 ©2007 Edward Riddell

Edward Riddell’s Fall Colors #11 is the photographic equivalent of a sports car commercial in which the car weaves, skids and slides around effortlessly while along the bottom there’s a little warning that reads “Professional driver on a closed course.” Don’t try this at home, kids. It might look cool, but it’s better left to those who know how to handle it.

The number of blurry photos I’ve taken is not insignificant. However, unsurprisingly, none of them comes close to the effect of Fall Colors #11. And here’s where our professional comes in.  In Riddell’s hands, various elements of nature are reduced to the very softest versions of their shapes, colors and patterns. The result is marvelous trickery. If the image wasn’t featured on a photography website, you could tell me it was watercolor painting and I’d probably believe you. (I’m a trusting sort.) The shapes and colors bleed into one another, making it seem but a shirttail relation to what it actually is—a photograph of an autumnal field.

The composition and variation in the patchwork of greens, golds and browns is effective, with the darkest bit of brown holding important visual ground in the right front corner. The S-shaped curve of gold that weaves through the frame carries the eye along, providing a sense of unity and interconnectedness. And the splash of green at the top finishes the scene with a hit growth and freshness.

As with any discipline—painting, cooking, writing, photography—when you know the rules, you’re better at breaking them. Edward Riddell and his Fall Colors #11 make a prime example of this, turning notions of landscape images and blurry photos on their ears.

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
As a photography geek I was looking for someone with a fresh approach to looking at and writing about photographs. All you have to do is read one of Erin Carlman Weber’s posts to see that I certainly found what I was looking for. Erin likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. What does that have to do with photography? Well, she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food.

-Ed Riddell
Curator, Le Fotografie

Elk And Hades by Jonathan Stuart

Jonathan Stuart’s Elk and Hades falls squarely into the “What the…?” category. It raises so many questions. Where are these two going? Do you think they’re friends, the noble beast and the god of the underworld? The weather looks mighty bad. Do you suppose they’re cold? Someone bring them blankets! A closer look reveals the name of a gallery at the bottom right of the trailer, which clarifies nothing. What the heck kind of gallery exhibits such stylistically disparate sculptures? We may never know.

For me, the impact of this photo is delivered by its content more than anything else. Subtle, it’s not. The pairing of a very classic representation of a figure of Greek mythology on a trailer with a true-to-life model of a forest denizen is jarring, both visually and conceptually. But it’s certainly Jonathan Stuart’s skill as a photographer that allows the bizarreness of the scene to take center stage. It’s shot from an effective angle, with the side of Hades’s box parallel to the viewer, allowing for a clear peek inside, and the arc of the elk’s back draws the eye up and rightward through the rest of the image. There’s nothing to distract the viewer from rampant speculation about what brings these two together on the side of a wintry road.

Aside from fun, edgy whimsy, what this image offers is a reminder about the realities of photography as an art form. It has a carefully considered, planned aspect, in which the artist must make sure he’s properly positioned at the exact right time of day. A photographer must possess the skill to use light, angle, cropping and all his other tools to convey to the viewer what he finds valuable or interesting about something semi-static, like a landscape or a person. But then there’s the other side of that coin, where being in the right place at the right time means success. Aside from skilled, he must also be lucky and able to use chance and speed to capture once-in-a-lifetime scenes. You know, like a large mammal and a Greek god road tripping together.

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
Erin Carlman Weber likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. But she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food. As a photography geek I was looking for someone with a fresh approach to looking at and writing about photographs. All you have to do is read one of her posts to see that I certainly found what I was looking for.

-Ed Riddell
Curator, Le Fotografie

Volume 1, Issue 3 of Le Fotografie Magazine featuring photographer, Robert Smith.

SIGN UP FOR A FREE MONTHLY SUBSCRIPTION TO LE FOTOGRAFIE MAGAZINE BY CLICKING THIS LINK.

Le Fotografie announces the third issue of Le Fotografie Magazine devoted exclusively to the images and photographers featured at Le Fotografie. Volume 1, Issue 3 features the photography of wildlife photographer, Robert Smith. Le Fotografie Magazine is issued on a monthly basis and may be freely viewed through the Our Magazine page at the Le Fotografie web site (when on the Our Magazine page be sure to click on the magazine preview to view the magazine in full screen mode) or you may view the third issue in stunning full screen mode by clicking this link.

To receive notifications as new issues of Le Fotografie Magazine are released make sure you subscribe to this blog by clicking the link on the upper right of the blog page. You may also receive all Le Fotografie updates and special offers by clicking on the Click Here To Sign Up For A Free Subscription To Le Fotografie Magazine link on every page of the Le Fotografie web site.

Here’s what you’ll find in the second issue of Le Fotografie Magazine:

• Beautiful reproductions of some of Robert Smith’s best known images along with some newly released images.
• Information about Robert Smith’s professional career and his philosophy about photography.
• Insights about selected photographs including some of the reasons why particular images were selected to be featured at Le Fotografie.
• Links to purchase the featured images by simply clicking on the image in the magazine.
• Information relating to the techniques used by Robert Smith in making his unique images.
• Photographic tips.

All this information comes to you completely without charge as our way of promoting a greater understanding of photography as art. As many of you know, Le Fotografie is dedicated to the mission of making beautiful, original prints of images by our talented group of photographers available at amazingly low prices. The prints are not reproductions or “posters.” These are original, custom, made-to-order prints available in sizes from 8×10 to 16×20. Each print bears the Le Fotografie Authorized Special Edition Print imprint and the copyright of the photographer. This “imprint” may be easily covered when framing or matting but stays on the print to attest to its authenticity. To learn more about how these prints are made and why we are undertaking this effort please view the information pages at lefotografie.com.

Please help us in our mission of making fine art photographs affordable for everyone by telling your friends about this unique new concept in fine art photography.

Edward Riddell
Curator, Le Fotografie

Hope by Matt Mallams

Whoa. Talk about symbolism. Outdoor wall posters are transitory in nature, but the missing chunks of our president in Matt Mallam’s Hope are weightier than, say, a ragged Maroon 5 concert poster. Unless you really, really value Adam Levine as a bearer of hope. But that’s the furthest we’ll go down that path.

It’s impossible to know where Matt Mallams stands politically just by looking at this photograph. Though the actual poster and its ruined state carry a decidedly anti-Obama slant, the photograph is a different thing entirely. It’s a powerful statement about the mindset of a not-insignificant portion of our country, one that you don’t have to share to recognize its importance for the shape of our collective future. So, I don’t think Mallams necessarily pulled the lever for McCain in 2008. He could just be one of those rare Americans who like dialogue with people of differing opinions.

The marvelous texture of the wall tells a story. Brushstrokes of glue are visible where the chunks of poster are missing. From them I can travel out and up the paintbrush, along the arm of the hopeful, likely young Obama supporter. And the cracks and splinters tell the opposite side. The rundown wall as a surface for this now-defaced poster is suggestive context for an encapsulation of an Obama-then-and-now tale.

Interestingly, this photo was taken in 2008. It’s reasonable to assume that whoever was responsible for defacing the poster didn’t support Obama as a candidate or was upset at his victory. Still, in 2008, Obama’s optimism and message still resonated with a good many Americans for whom that’s no longer the case. The collective sky-high confidence in our president circa 2008 has been damaged, so the implications of this image are even more powerful now. Mallams has captured a powerful metaphor for the rise and fall of Obama-branded hope.

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
Erin Carlman Weber likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. But she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food. As a photography geek I was looking for someone with a fresh approach to looking at and writing about photographs. All you have to do is read one of her posts to see that I certainly found what I was looking for.

-Ed Riddell
Curator, Le Fotografie

Type Blocks by Cristine Wehner

I keep a sticky note on my computer bearing an ever-growing collection of words I mean to use someday in my writing. When Cristine Wehner’s Type Blocks was added to Le Fotografie, I saw in its blurred S blocks an opportunity to finally take ‘sibilant’ off that list. Sort of self-serving, I know, but now that I’m holding the print, it’s clear that this fuzzy photo has quite a bit more to offer.
So, why blurry? Why not sharp focus? I love printing press relics and probably would have been just as happy with a clear, straight shot of the blocks. But Cristine Wehner clearly knows not everyone is a geek like me. With her deliberate lack of focus in shooting this collection of letters, she has succeeded in abstraction. The type blocks are no longer tied to their role as players in a printing press. They have been removed from that context and placed back into the larger, more widely understood category of the Roman alphabet.

The fuzzy irregularity of this shot is off-putting in an excellent way. The uncertainty of the soft focus and the preponderance of shadows are evocative of a psychological thriller. Factor in the greenish cast and I’m slightly on edge. And the whole scene tilts left while the bottom row of letters remains firmly planted along the straight line of the base of the frame, adding to the slightly unsettling but very interesting effect of the angle from which this was taken. I should have known this one would offer more than just help knocking a word from my list.

Now, if only someone would post a photo of something hairy so I could cross ‘hirsute’ off that piece of paper…

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
Erin Carlman Weber likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. But she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food. As a photography geek I was looking for someone with a fresh approach to looking at and writing about photographs. All you have to do is read one of her posts to see that I certainly found what I was looking for.

-Ed Riddell
Curator, Le Fotografie

Window And Shadow by Sarah Hoffman

This photo is just so simple. Window And Shadow by Sarah Hoffman is simple like those monochromatic modern art paintings that leave some people scoffing about how their three-year-olds could have pulled off the same thing. But raise your hand if you think your photo of a random Tuscan window would turn out even half as interesting as this one. (My hand is not raised. And professional photographers, you’re excluded.)

So, what is it about this image that sets it apart from the ones I took on my Tuscan vacation? I tried for some artsy Italian building shots. Why don’t they look like this one?

Let’s start with asymmetry and cropping. Sarah Hoffman, has placed the window ever-so-slightly off-center, which allows for a fuller, more dramatic expansion of the wedge of sunlight through the top half of the image. And the cropping lends an illusion of floating. As a viewer, you have no idea where you are. You could be looking at the first floor just as easily as the third. There’s no point of reference, no clue to ground you to a specific, understood vertical point in the building’s architecture.

The slice of light is the main workhorse in terms of visual impact, though. While I find the drama and contrast of the sunlight and shade are best appreciated from a distance of a few feet, I’m also a fan of viewing photos from just a couple inches away*, a practice handsomely rewarded when applied to this image. Up close and personal, you get the full impact of the shadows as they roll into and spill out of the cracks and crevices of the stone. The effect on perception of texture is such that you feel you should be able to reach out and feel the roughness of the side of the building. (You can’t, though. I checked.) And the parts of the stone left in the shade seem almost flat in comparison.

If your three-year-old can pull that off, let me know. I’ve got a guy she should talk to.

*A word of caution about this viewing method: if assessing art at close-range in a gallery, try not to leave face grease on the glass. The employees don’t really like that. Stuffed shirts, they are.

Erin Weber Carlman

The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”

Erin Carlman Weber likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. But she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a contributor to The Urban Grocer and Leite’s Culinaria and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food. As a photography geek I was looking for someone with a fresh approach to looking at and writing about photographs. All you have to do is read one of her posts to see that I certainly found what I was looking for.

-Ed Riddell

Curator, Le Fotografie

Osteospermum by Victoria Blumberg

I consider myself a bit too hip for flower photos. They’re so often done in a generic, snooze-inducing way, and using them as a subject matter is kind of like cheating, I think. Flowers are already nice to look at.

But this particular blossom gave me pause. Uh oh.  I am turning 27 this year. Does my affinity for this osteospermum mark the beginning of the end of my coolness? The jury’s still out, but if I’m going down, please let me do it swinging.

Victoria Blumberg’s Osteospermum is atypical in its use of focus. She doesn’t attempt to paint an entire scene by placing the flower in its natural habitat. Rather, she uses focus to show what she thinks is important to notice about the plant, providing a marvelously fun example of the artist as gatekeeper of information.

And what exactly is Ms. Blumberg letting us know about this plant? What does she want us to see? The texture and colors of the petals, for starters. This bud gives a sense of possibility, of freshness and growth, with the green vein running through the brilliant purples of the petals. And the petal at the top right has sprung into action, giving the viewer a sense of what’s to come. Its placement and focus draw the eye upward and provide a quirky, refreshing bit of asymmetry.

The decisions Victoria Blumberg made with respect to angle and focus also emphasize the radial arrangement of the petals. We humans have a tendency to think of ourselves as the creators of organization and regularity, while nature is wild and disorderly. The harmony and tidiness of this wee plant is an excellent reminder of all the ways, large and small, that nature plans for and manages itself. Plants are cool. And I’m sticking with that, even if it means I myself am less so.

Erin Weber Carlman
The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”
Erin Carlman Weber likes food, pretty things, travel, writing and any combination thereof.  In fact, she likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. But she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a frequent contributor to The Urban Grocer, and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food.

-Ed Riddell
Curator, Le Fotografie

Sample screen shots of the second issue of Le Fotografie Magazine featuring photographer, Dave Black.

Le Fotografie announces the second issue of Le Fotografie Magazine devoted exclusively to the images and photographers featured at Le Fotografie. Issue 2, Volume 1 features the photography of sports photographer and light painter, Dave Black. Le Fotografie Magazine is issued on a monthly basis and may be freely viewed through the Our Magazine page at the Le Fotografie web site (when on the Our Magazine page be sure to click on the magazine preview to view the magazine in full screen mode) or you may view the second issue of the magazine directly by clicking this link.

To receive notifications as new issues of Le Fotografie Magazine are released make sure you subscribe to this blog by clicking the link on the upper right of the blog page. You may also receive all Le Fotografie updates and special offers by clicking on the Join Our Mailing List link on every page of the Le Fotografie web site.

Here’s what you’ll find in the second issue of Le Fotografie Magazine:

• Beautiful reproductions of some of Dave Black’s best known images.
• Information about Dave Black’s professional career and his philosophy about photography.
• Insights about selected photographs including some of the reasons why particular images were selected to be featured at Le Fotografie.
• Links to purchase the featured images by simply clicking on the image in the magazine.
• Information relating to the techniques used by Dave Black in making his unique images.
• Photographic tips.

All this information comes to you completely without charge as our way of promoting a greater understanding of photography as art. As many of you know, Le Fotografie is dedicated to the mission of making beautiful, original prints of images by our talented group of photographers available at amazingly low prices. The prints are not reproductions or “posters.” These are original, custom, made-to-order prints available in sizes from 8×10 to 16×20. Each print bears the Le Fotografie Authorized Special Edition Print imprint and the copyright of the photographer. This “imprint” may be easily covered when framing or matting but stays on the print to attest to its authenticity. To learn more about how these prints are made and why we are undertaking this effort please view the information pages at lefotografie.com.

Please help us in our mission of making fine art photographs affordable for everyone by telling your friends about this unique new concept in fine art photography.

Edward Riddell
Curator, Le Fotografie

Leonardo & Adriano Marconi, Montalcino, Italy by Edward Riddell

Leonardo and Adriano Marconi have been staring at me for a while, waiting for me to speak. (Look at the photo. I’m serious. You, too, will feel their eyes following you around the room.) They want to know what I think of them.

Viewing Edward Riddell’s Leonardo & Adriano Marconi, Montalcino, it has not been easy coming up with an answer to that. How am I supposed to think about a portrait? More importantly, how am I supposed to think about a portrait with which I have a personal connection, like this one? (On a particularly wonderful trip I took last year, I was lucky enough meet these two and visit their butcher shop.) This, for me, was a new exercise. Well, new if you exclude my personal connection to the legions of school photos at my parents’ house, of course.

In order to give the Marconis my thoughts, I had to come up with my personal definition of the purpose of a portrait. I landed at this: on the most basic level, a portrait should convey something fundamental about its subject. In the case of the aforementioned school photos, it might simply be to express your age as you quickly leave it behind for adulthood, and to remind your parents that you were indeed cute once, especially with that gap in your front teeth.

And what has Edward Riddell conveyed about this father-and-son pair? Foremost, seriousness and dedication to craft. The fist of the younger Marconi, the raised eyebrows and humongous knife of the elder, the beautiful, marbled cuts of beef in the foreground—from a glance, you know these guys mean business. Meaty business. Riddell’s use of light helps, too. The shadowing over the left sides of their faces and over the folds and wrinkles of their clothing lends a sense of gravity. And their physical proximity, arms just touching, conveys actual closeness. These two aren’t merely coworkers. This is a family-run operation.

Now, if you’ll excuse me, I have to run. I’ve got to feed an inexplicable craving for a bloody steak. Until next time, Marconis.

Erin Weber Carlman

The Untrained Eye

About Erin Carlman Weber as “The Untrained Eye”

Erin Carlman Weber likes food, pretty things, travel, writing and any combination thereof.  In fact, she likes food so much that she tracked down and enrolled in a graduate program at Boston University that’s comprised entirely of talking, thinking and reading about food, with a liberal sprinkling of eating and cooking, too. But she also enjoys a good photograph every now and then, since one cannot live on food alone. (Or can you? Erin will have to check on that…) She is a freelance writer and a frequent contributor to The Urban Grocer, and has been writing for Le Fotografie since October 2010. But I’m not sure how long we’re going to be able to keep calling her “The Untrained Eye” since she’s starting to get pretty good at writing about something besides food.

-Ed Riddell

Curator, Le Fotografie