Issue No. 7
Long Lens Look
Louisville’s Ned Scott Archive opens its extensive files of Scott’s work to let us view never-before-seen images from the filming of The Wave in Thirties Mexico.
Angus Carroll remembers his father, Canadian photographer and journalist Jack Carroll, who in the mid-Fifties photographed and interviewed Marilyn Monroe (on the set of Niagra — her first leading role) and Elvis Presley (on the Steve Allen Show) just as they were poised on the brink of stardom.
He is most well known for his poignant photographs of Martin Luther King and the Civil Rights Movement, but or Spotlight feature illustrates the wide range of subjects tackled by Schulke — one of the era’s most accomplished photojournalists.
Always afraid of water, she conquered her phobia and went on to use the reflective property of the element to create innovative images of the nude body.
A magician with the camera, he reaches into our subconscious — a place between dream and reality. We spotlight photographs from his fabulous new book, Holding Venus.
Elizabeth Gill Lui
She spent a decade making photographs of the world’s great art museums, creating a tome to the brilliant architects who conceived them.
A mystic, a hermit, and a quintessential artist, Millea can look back on a long career filled with ups and downs. Our Spotlight feature heralds his latest breakthrough.
He has found his sanctuary, and now has time to pursue his passion wholeheartedly. We look at his new work, and see unbridled creativity.
A multifaceted artistic talent, Beckman had a hard time choosing between music, painting, and photography.For a brief period in the Sixties he expressed his vision only through the lens.
He has seen what the classic masters did. Now he carries on the tradition, but looks through his own eyes — the result is uniquely revealing.
Symbolic significance is found in the most mundane of objects — like an ordinary chair. Smolen discovered this truth when 20 years after her father’s death, she saw his empty chair: An image is not only about what is seen, but what is not seen.
Nature’s shapes speak to Baillie so strongly that he has to crop in close, illuminate them from within, cut masks, enhance the contrast — all in an effort to accentuate the intricate details of a leaf, a shell, a flower, and in doing so satisfy his fascination. He also succeeds in pleasing the eyes of others.