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| Steve Anchell | Route 66 |
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Freestyle Photographic Supplies proudly announces a new upcoming gallery show entitled "ROUTE 66", featuring the fine-art black & white images of photographer Steve Anchell. Over a time period of nearly ten years, Anchell traversed the legendary highway, documenting with his oversized cameras the remnants of the American road culture that had flourished in the middle of the 20th century.
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| Freestyle Employees | Freestyle Exposed... The Tradition Continues |
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For over six decades, Freestyle Photographic Supplies has been devoted to supporting black & white photography. It has been renowned for excellence in customer service, providing the best photo materials money can buy and featuring the works of some of the world's finest photographers at its Creative Center for Photography. Last year, Freestyle hosted its first ever employee gallery exhibition, which was a resounding success. Thanks in large part to the overwhelmingly positive feedback the show received, we now proudly present Freestyle Exposed...The Tradition Continues! Once again, the people who've provided excellent photographic advice over the years get the chance to show you what they can do, and in the same place that has held works by photo luminaries like Edward Weston, Tim Rudman and Henry Gilpin. Containing works ranging from traditional fine-art, to far-out alternative processes, Freestyle Exposed...The Tradition Continues! pushes the boundaries of darkroom-based visual communication. Freestyle Exposed runs from August 20 through October 15. |
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| Jennifer Loomis | Portraits of Pregnancy: The Birth of a Mother |
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PORTRAITS OF PREGNANCY: THE BIRTH OF A MOTHER - A RETROSPECTIVE features the fine-art photography of celebrated maternity photographer, Jennifer Loomis. Loomis has been hailed for her work in distinguished publications and media like the New York Times, the Wall Street Journal, Good Morning America, CNN and many more. Loomis' photography is much more than simply the documenting of womens' pregnancies. It is a delicate, refined study and appreciation for a period in an expecting mother's life when she in many ways reaches the apex of her femininity, as the carrier and protector of new life. All of her images are shot on black and white film, which accurately captures the curves, swells and changes in her subjects' bodies that not only signal the impending arrival of the child within, but also the transformation of that subject's existence from merely female into motherhood. |
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| Members of Freestyle's Educational Steering Committee | emerging (I) 4 |
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Once again, members of Freestyle's Educational Steering Committee have selected a group of outstanding traditional and alternative process student work for a new exhibition of black-and-white prints. The work demonstrates the keen vision of a new photographic generation. The Educational Steering Committee, a group of photographic educators, is committed to teaching traditional darkroom skills to the photographers of tomorrow. They offer advice and council to Freestyle Photographic Supplies with regard to supplies, curriculum, and creative techniques. The Steering Committee also serves as a forum for the educators' thoughts and concerns about photography in the modern classroom. |
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| Frank Jackson | "@ see level" |
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Frank Jackson is a former Florida resident and artist who made his way West, where he discovered his penchant for traditional darkroom photography. Ranging in formats from diminutive 110 to the giant 8"x10", his work has allowed him to travel around the world in search of the perfect monochrome image. "I prefer shooting in black and white," says Jackson, "because it forces the viewer to look at the essence of an image... its form, tone, light, and shadow, instead of being distracted by the decorative efforts of color." |
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| Brent Wood | "Lost But Not Forgotten" |
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"Lost But Not Forgotten" is the result of a thirty year love affair between Freestyle Photographic Advisory Board member Brent Wood, and the broken down, dilapidated buildings that dot the various recesses of the American landscape. Forgoing digital in favor of older traditional and alternative cameras and development processes, Wood's distinctly analog approach marries itself perfectly to the vintage nature of his subject matter. His images take the viewer back to a slower, more deliberate time that existed before the rapid, impersonal atmosphere of the modern digital age. |
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| Freestyle Employees | Freestyle Exposed... It's All About Black & White |
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For over six decades, Freestyle has been devoted to supporting black & white photography. It has been renowned for excellence in customer service, providing the best photo materials money can buy, and featuring the works of some of the world's finest photographers at its Creative Center for Photography. Now Freestyle is poised to do something it has never done before in its long history. Introducing Freestyle Exposed... It's All About Black & White! - a new annual exhibition featuring the works of Freestyle's very own employees. The people who've given you excellent photographic advice over the years get the chance to show you what they can do, and in the same place that's held works by Edward Weston, Tim Rudman and Henry Gilpin. This show promises to be a leap in an exciting new direction, bringing a new "home-grown" approach - quite literally - to Freestyle's exhibitions. |
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| Jan Pietrzak | 25 Years Of Platinum |
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Jan Pietrzak is a master of the platinum /palladium process of photographic printing. A member of the Freestyle Advisory Board of Photographic Professionals, Jan has had his work displayed in several group and one man shows, including the Bakersfield Museum of Art, the City of Los Angeles Cultural Affairs Department, "La Coppa D'oro" in Parma Italy, the Laband Art Gallery at Loyola Marymount University, Pasadena City College, and Friends of Photography, Carmel, among many others. He currently teaches photography at Glendale College and Santa Monica College in Southern California. Jan's platinum and palladium work conveys the rich, textured ambiance of the "out of the way" locations he chooses to photograph, in a way that traditional silver gelatin printing cannot. The fact that the platinum/palladium image physically becomes an integral part of the print itself, rather than a mere emulsion residing on the paper's surface, reflects the depth and context of the subject within. As Jan himself states, "What I like about the platinum process is that it has a whole different feel; it evokes the subtleties of the landscapes I choose to photograph. It combines for me the processes of fine art printmaking and photography in a much more intimate way." |
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| Members of Freestyle's Educational Steering Committee | emerging (I) 3 |
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Members of Freestyle's Educational Steering Committee have selected a group of outstanding, silver-based student work for an exhibition of black-and-white prints. The work demonstrates the keen vision of a new photographic generation. The Educational Steering Committee, a group of photographic educators, is committed to teaching traditional darkroom skills to the photographers of tomorrow. They offer advice and council to Freestyle Photographic Supplies with regard to supplies, curriculum, and creative techniques. The Steering Committee also serves as a forum for the educators' thoughts and concerns about photography in the modern classroom. |
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| Robert Hirsch | WORLD IN A JAR: WAR & TRAUMA |
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The pictorial sculpture WORLD IN A JAR: WAR & TRAUMA curates and re-imagines key components from historical and original images to explore the workings of our collective societal memory involving loss, popular culture, religion, tragedy, and wickedness over the past four centuries. Using the Shoah as its point of departure, World in a Jar is a free-form montage that rethinks the customary linear narrative format by presenting an archive of what Mr. Hirsch chose to remember, without attaching a fixed ending. Over 800 jars are on display, each one a building block for a new structure. It is a flexible configuration allowing this to be a perpetual work in progress, recreating itself each time it is installed. It permits each photograph to not only present its own split-second historical reference, but also informs the context of the images surrounding it. This open-ended viewing experience, not unlike memory itself, can convey an endless tale that exists outside of chronological time.
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