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Steve revealed to an intrigued crowd at tonight's meeting that he waited 7 years before entering a print competition. He won a blue ribbon his first time out in 2000 and hasn't stopped since! He describes entering print competition as a learning process, a time to share one's work and an opportunity to get feedback from colleagues even before entering. You have to understand the categories and how the judges judge in order to know where to enter a print. For example, the "portrait" of the bride was entered in the Social category rather than Portraits and did well-"Portraits are judged much more closely" he explained. An image has to "Wow" you and the judges every time you look at it--"You should not get tired of the image no matter how many times you look at it", says Steve. The portrait of the elderly couple is good, but there's nothing to wow the judges with. We learned from our state president Martin Comiskey, who made the four hour round-trip drive to attend the meeting, that the new rules for competition--all electronic!!!--will be out in the next few days. No prints will enable many more people to enter. We're in a new world!! Do you miss film and slides??--tonight I did as Steve talked about his long nights in the darkroom.


Over her lifetime, Joan Munkacsi (1948 - 2008) cemented her father’s place within the photographic canon by writing about his work and partnering with Howard Greenberg Gallery, which has represented Martin Munkacsi since organizing an exhibition of his work in 1984. Joan was the primary force in reestablishing an appreciation for the remarkable contributions Munkacsi made to the field. In 1992, she helped the Aperture Foundation publish a definitive monograph of his work and in 2007, she assisted the International Center of Photography in mounting a major retrospective in New York City. In the year before her passing, she also helped to obtain a long-lost trove of over 4,000 glass plate negatives that had been missing since her father’s death in 1963.
PPANJ members--if you go to the show, be sure to write some comments!
address 59 Tinker Street, Woodstock NY 12498
telephone 845-679-9957 fax 845-679-6337
email info@cpw.org


"Who Shot Rock & Roll is the first major museum exhibition on rock and roll to put photographers in the foreground, acknowledging their creative and collaborative role in the history of rock music. From its earliest days, rock and roll was captured in photographs that personalized, and frequently eroticized, the musicians, creating a visual identity for the genre. The photographers were handmaidens to the rock-and-roll revolution, and their images communicate the social and cultural transformations that rock has fostered since the1950s. The exhibition is in six sections: rare and revealing images taken behind the scenes; tender snapshots of young musicians at the beginnings of their careers; exhilarating photographs of live performances that display the energy, passion, style, and sex appeal of the band on stage; powerful images of the crowds and fans that are often evocative of historic paintings; portraits revealing the soul and creativity, rather than the surface and celebrity, of the musicians; and conceptual images and album covers highlighting the collaborative efforts between the image makers and the musicians."


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The constant motif of Man Ray’s life was liberation, change, and transgression: whether in name, medium, style, or content, he sought to free the object or subject of its limitations, just as he sought to free himself from his own personal origins and outsider past. The exhibition will demonstrate how the artist’s assimilation, his emergence from an immigrant world of stereotype, ethnicity, and fixed identity, produced a dynamic polarity of revelation and concealment. It will examine the myriad means he used to create this willful construction of veiled identity, revealing a hide-and-seek game of encrypted self-reference seen throughout his oeuvre. His relentless chronicling of his career through self-portraits exemplifies this conundrum, as does his autobiography, “Self-Portrait,” which, without dates or reference to his family or origins, purported to chronicle his life. Alias Man Ray argues that issues of identity are central to the interpretation of Man Ray’s work, and that through his lifelong need for anonymity, his constant self-remaking and chronicling, the artist managed to shadow if not totally occlude his personal history.











There's so much to say about Irving Penn, the great innovator, that I thought I'd pull some copy straight from one of his obituaries. Take time to look up some of his iconic fashion images. If you are a wedding or studio portrait photographer, he's required studying for his beautiful lighting and posing.
From the Times Online....."In a career that lasted more than 60 years, Irving Penn marked himself out as one of the fathers of modern-day fashion, portrait and still-life photography. Along with the late Richard Avedon, his great colleague and rival, Penn brought about a change in postwar portraiture and fashion photography that was to have repercussions up to the present day.
For the first hundred years of photography, politicians, generals and actors had visited portrait studios in search of nobility and fine looks, expecting their cowardice or their pimples to be deftly retouched. They were paying to have their vanities gratified. Penn broke that compact between photographer and sitter. Penn’s subjects left themselves open to the photographer’s interpretation in the same way that Dora Maar left herself open to Picasso’s frantic interpretation.
It may be the norm today but in breaking that contract, Penn wanted to expose the life behind the achievement. He shot Martha Graham, WH Auden and Stravinsky, for example, posed in stark tight corners. bringing a drama to the composition and focusing all attention on those faces, assessing without flinching precisely the price, the damage of struggle, the achievement and the life itself.
Penn made a very handsome living at Vogue taking direct and austere photographs of beautiful models, focusing attention on the elegance to which many women aspired. His fashion photography influenced many, notably Norman Parkinson. But at the same time Penn was also one of the 20th century’s most distinguished practitioners of the time-honoured genre of still life. Following in the tradition of Chardin and other still-life painters, he brought his rigorous eye to the subject in photographs of great wit, simplicity and edginess. Taking such unpromising subjects as old cigarette butts, bones, street trash and lumps of tofu, he set about making a body of work that could shock as much as it could delight."
OK, so I am an art museum maniac. When I do have the time I see as much as I can as I did this past weekend. The Cezanne exhibit at the Montclair Art Museum is fantastic--focus is his American following of artists in the years after his death--how they incorporated his genius into their works.



If you have time, definitely see photographer Robert Frank's exhibit on his timeless book, The Americans, first published in the US 50 years ago in 1959. All 83 photographs from the book are on display at the Metropolitan Museum of Art until the end of December. Interesting the way the images are mixed with displays of the book itself, correspondence with colleagues such as Jack Kerouac who wrote the introduction and contact sheets displaying Mr. Frank's rather messy (my word) organizational style. He might like Lightroom!!
Conde Nast gave the magazine world a shock today when it closed its prestigious Gourmet magazine; also closed Modern Bride and Elegant Bride. Ad sales won't let the publisher maintain these pubs.