Fine Art Photography Daily

Abstract

  • William Miller by February 1st, 2012

    Last week, I managed to make it to Santa Barbara to see the terrific New Directions show, jurored by Debra Klomp Ching at the Wall Space Gallery.

  • Greg Friedler by July 13th, 2011

    Colorado photographer, Greg Friedler, is a prolific image maker who has a range of work from sensitive still lifes to terrific portraiture, but he is most well know for his work with nudes.

  • Bill Miller by June 23rd, 2011

    Bill Miller became preoccupied with photography when he attended high school in Manhattan, but I think he was studying painting with Clyfford Still in another lifetime.

  • Bryan David Griffith by February 3rd, 2011

    Looking at photographers from Review LA…
    “I make fewer than 50 photographs a year.

  • Mary Ellen Bartley by January 6th, 2011

    I first saw Mary Ellen Bartley’s smart and simple still lifes at Photolucida two years ago.

  • Barbara Cole by October 21st, 2010

    I first met Toronto photographer, Barbara Cole, six years ago, when we both attended Review Santa Fe.

  • Blue Mitchell by September 3rd, 2010

    As we close in on a holiday that celebrates Labor, Blue Mitchell is the perfect photographer to showcase.

  • Rizwan Mirza by September 1st, 2010

    I met London photographer, Rizwan Mirza, several months ago.

  • Sarah Hadley on Al DaValle by August 29th, 2010

    Los Angeles photographer by way of Chicago, Sarah Hadley, shares work by Al Davalle on Lenscratch today.

  • Carrie Yury by August 20th, 2010

    I marvel at an image makers ability to explore new territory, and Carrie Yury is doing just that with her two series, Suits and First Ladies.

  • Pelle Cass by October 21st, 2009

    This week I am featuring a selection of Critical Mass portfolios that were stand-outs in my very subjective opinion. There are numerous others that have already been featured on Lenscratch.

  • Stefan Heyne by October 1st, 2009

    Having been a large scale minimalist painter in college and subsequent years after, I was immediatey drawn to Stephen Heyne’s photographic interpretations and explorations of that line

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