Rayko Gallery in San Francisco is hosting the opening reception for the 2010 International Juried Plastic Camera Show this Friday, February 26th. I was very fortunate to get a piece in the show alongside some really amazing artists. If you are in the Bay area and are available this Friday I highly recommend you swing by the gallery to check out the incredible work. If you aren’t available, fear not… the exhibit runs through April 17th. Further information about the exhibit and gallery can be found on RayKo’s website. The image that I have in the show, taken with a Holga plastic camera, is below. I hope to see you at the gallery this Friday!
Last week I took a short drive out to Point Reyes National Seashore, about an hour north of San Francisco, for a photo shoot. While there are certainly closer beaches, nothing matches Point Reyes. The large preserve that juts out into the Pacific Ocean features miles of uninterrupted beaches below looming cliffs, green rolling pasture land with black and white spotted cows, beautiful historic farmhouses and one of the most picturesque lighthouses that the west coast has to offer. As I meandered along the coastline snapping shots here and there I couldn’t help but think about our family on the east coast currently digging themselves out of blizzard conditions. Here I was on the beach in February in near 70-degree weather and I was once again reminded of why we live in California.
If you haven’t yet had a chance to view Alex Roman’s CGI masterpiece, “The Third and The Seventh” I would highly recommend you take a gander. It breaks down the barriers between photography, filmmaking, computer-generated imagery and architecture. While this project undeniably exists outside the realm of these defined borders, or perhaps between them, one thing is for sure: it is an artistic wonder. One guy (30 years old), on one PC (i7 920) creating beautiful imagery for one year and this is the result. A photographer friend of mine watched this short film, sat in silence for about 30 seconds after the screen had dipped to black and then finally broke his silence by exclaiming, “Well…. what do I do now?” Where does work like this leave photographers when computer-generated imagery can be confused for photography at its best? When you can create the most optimal environment (ie: sky, lighting, wind, shadows) in a computer, how can we as photographers compete with that? If nothing else, I can tell you that this film leaves me with equal parts intimidation and inspiration. Excuse me, I must get out there and shoot some architecture!
