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Photo Projects

Photo Projects are from emerging and mid career artists. 

Submissions now accepted 

Dana Stirling: Cache

CameraChronicle Staff

 

My family roots back to Europe, but I was born in Israel. I was born two year after my family migrated to Israel due to anti-Semitic attacks on my brother’s Hebrew school. I was a child on a fence; a daughter to a migrating family. The house within culturally stayed European but outside was the Israeli controversial culture. I always felt a misfit with my partial incomplete identity; torn apart between parents who have never blended in to the Israeli culture I felt only half belonged too.

Over the years I have heard of my parent’s memories and stories. I remember hearing of snow, youth and happiness. Stories of happier days. The stories held on to the memories of times that I wasn’t a part of, and portraits of family members that always remained anonymous to me and their faces where no more distinct than any other person in generic photo album. These stories were supposed to be my heritage.

Family albums had become a standard in a process of portraying a family and the creation of a collective memory. Things as a birthday cake, children taking a bath or a family trip have become a portrait of the normal memory. Sometimes we don’t even remember the occasion but we can relive it by looking at the picture and assuming we remember the memory it represents. Both my family albums and the generic family albums are fascinating to me. As I grew up I’ve started to question photography’s function as my memory, as my family heritage. I cannot find much of a different between the histories found in my own family album to any other family album.

I started to look for my identity not only in the old photos but reflect my feeling from these photos on to the world around me. I look for Moments and objects were there is a tension that is created by their incomplete aesthetic. Photography allows me to look at the little and unimportant objects around me and make them a part of my history just by giving them attention. By looking at them I capture them to remember, not letting them go away, yet not trying to save them. Watching their last seconds before I leave and the moment becomes irrelevant, capturing their last breath. With my camera I grant them with eternity and in that I grant myself a memory.

For more works and information, visit danastirling1.wix.com

Dayna Bartoli: Florafaunal Angiography

CameraChronicle Staff

In juxtaposition to my artistic practice, I have a medical background as an ophthalmic photographer. This involves performing diagnostic tests that document the blood flow through the retinal vessels in the eye. In my series Florafaunal Angiography I transmute these sterile medical images into a context outside of diagnosing disease. Through compositing the internal sensory anatomy of the eye into the external visual perception of the world, pathologies become a part of the living imagery of flora and fauna. The two forms interweave and unify the anatomical and aesthetic experiences of sight as well as the contrasting photographic processes, creating a new spatial relationship.

Dayna Desireé Bartoli (1987) is an artist from Arizona who works in various mediums including photography, bookmaking, and mixed media objects. She graduated from Arizona State University in 2010 with a Bachelor of Fine Arts in photography, and received a Master of Fine Arts in 2015 from the Trondheim Academy of Fine Art in Norway. Many of Bartoli’s projects are driven by a fascination with natural phenomena and the language of medical and scientific representation. Bartoli has participated in exhibitions in Europe and the United States. Her photographs have been published in Harper’s magazine (July 2013) and she was named one of Lens Culture’s “21 New and Emerging Photographers” of 2013.

For more works and information, visit daynabartoli.com


Ville Kansanen: The Procession of Spectres

CameraChronicle Staff

The Procession of Spectres engages with vast landscapes to examine the fragmentary nature of the human condition and the emergence of self.

“This body of work represents a step from behind the veil of ideas and techniques to find earnest revelations of my struggle to be whole with my fragmented sense of self.”, explains the artist, Ville Kansanen.  It is a reach for connectivity with humanity and a reconciliation with the kind of isolation, which is necessary for creating work where one is exposing, what Kansanen refers to as ‘inscape’* and physical form to as little interference as possible. Psychologically the images represent the human experience of individuality in-flux and consciousness ever-changing in procession.

*Inscape is a concept derived by Gerard Manley Hopkins from the ideas of the medieval philosopher Duns Scotus. Hopkins felt that everything in the universe was characterized by what he called inscape, the distinctive design that constitutes individual identity. This identity is not static but dynamic. For surrealist painter Roberto Matta, it was a psychological space: "thepsychoanalytic view of the mind as a three-dimensional space: the 'inscape'."

Katherine Phipps: A Season in Private Mythology

CameraChronicle Staff

Not long ago I had an awakening. The way I see the world was forever changed, colored by mysticism and wonder. I stand in awe of the profound beauty of the universe. There are moments now when I escape away into my own cosmos, where I am ruled by the same stars and signs which also fascinated the ancient Greeks and Romans. A Season in Private Mythology are glimpses into my realms of experience, illusions of emotion and sensuality constructed by the temporal world as I pass through it. 

Katherine Phipps is an artist and photographer currently residing in Brooklyn, New York. Katherine graduated from Pratt Institute with a BFA in Photography in 2015. In addition to working on expanding her commercial portfolio, she continues to work on her current project, Private Mythology. Also an aspiring yoga teacher, she is interested in all kinds of spiritual practice, literature, philosophy, nature, found objects, and social change. 

Katherine is available for commission shoots of all kinds, assistantships, collaborations, retouching services, and design projects. See more at www.katherinephipps.com.

Christine Anderson: Wizard

CameraChronicle Staff

After 14 years and 78,000 miles my car—a green Volkswagen Beetle—is still cute despite worn seats and pitted exterior. I don’t blame her for breaking down once in a while. Really, I don’t. You see, I’m a sentimental person. We have bonded and mostly I like to think of her as vintage rather than old. It makes me feel better about our relationship.
Over the years, many mechanics have serviced the car. Kal, our current mechanic, has a way of giving me bad news without making me feel bad. His manner and his expertise inspired me to create the pictures
featured in Wizard. Kal is a lot like the Wizard from the Wizard of Oz story and I am perhaps a bit like Dorothy in the story. I bring my broken down car for repair and he fixes the car and sends us on our way. Dorothy, of course, sends herself home with the Ruby Slippers and eventually I will find my way to a new car. But for now I am thankful the Wizard is here keeping my car and me together.
Kal allowed me to photograph his shop during working hours, giving me access to premises, people, and auto parts. This book is a portrait of Kal’s car repair shop loosely based on the Wizard of Oz story enhanced with my own creative inspirations.

Christine Anderson is born 1964 New Jersey - United States.
Received her BFA in Fine Arts from Long Island – Southampton in 1986. Professionally she is a Designer/Art Director. She is now concentrating on her work as a Fine Arts Photographer. Currently she is working and living in New Jersey. Her work has been shown in Europe and the United States. Her work has been featured in Vogue Italia and othe publications. She has recently published a book of her current project WIZARD.

Follow Christine at
http://www.christineandersonphoto.com

 

Wen Hang Lin: Silence in Synethesia

CameraChronicle Staff

Silence in Synesthesia

I photographed in an attempt to glimpse the mystery in life hiding in plain sight. In the blink of an eye, two separate events, with no apparent or planned connection, randomly fused together by the colors and open up an abstract space. Like synesthesia, a neurological term for the mix of senses, the extra embedded sense broadens the experience of my humdrum daily life. The quest of searching the unseen has become a meditative monologue beyond a decisive moment.

Using coincidence as a tool, I build up blindly overlapping images by rewinding
the negative after the entire film is exposed, instead of using a traditional double-exposure setting. Without a plan or script, I simply observe life around me, recording images of the seemingly mundane. Through an entangled web of intended actions and unintended occurrences, two different, unrelated images randomly merge into one.

This methodology creates a theatrical encounter, playing in the present and using the moment. The end result cannot be foreseen, as life has mysteries, thereby a limit to calculation, to plan or to control. When the seen and unseen meet – and strangeness and beauty intertwine – I am presented with the infinite possibilities of coincidence and witness the familiar events transform into enigmatic.

You can see more of Wen at www.wensview.com


Maury Gortemiller: Now it's Never

CameraChronicle Staff

Now it's Never

A photograph should be indirectly brutal, harrowing and comic. In a truly satisfying image, far more information is withheld than delivered. To tell is human; to suggest, the province of seers and mystics.

My images are open-ended: scenes often resembling everyday places and occurrences with a dose of the uncanny. There is little distinction between images created spontaneously in situ and those that are staged or altered digitally.  Questions take precedence over answers, and what the viewer might see or experience in an image is far more important than any meaning I might assign.  A photograph is only a beginning, albeit a seductive, beguiling point of embarkation.

I think of my photographs as aesthetic occurrences which speak to an unidentifiable yearning. Scenes riddled with longing, suffused with unrequited desire, speak to the familiar world disintegrating into the surreal. It’s a craving that is recognizable but always just beyond description. A half-remembered face perhaps, the distant memory of a hazily-recalled conversation, or the simple but sobering realization of time unspooling behind us. The emotion is distinct, pungent and yet frustratingly ineffable. When photographs work well, when light and angle and frame coincide in sumptuous choreography - I can almost say what it is.

Maury Gortemiller is a photographer based out of Decatur, GA. He is also a competitive apneist, and plans to make an attempt on the breath-holding world record by fiscal year 2016.

www.maurygortemiller.com

Instagram: @elmaurygee

Jen Kiaba: Burdens of a White Dress

CameraChronicle Staff

Jen Kiaba is a Finalist for Critical Mass 2015. She shares an excerpt from her body of work "Burdens of a White Dress" which can also be found HERE

My work is about the loss of feminine agency that occurred in my youth growing up in the infamous Unification Church, a religious group referred to by popular media as a primary example of a cult, and its resulting internal landscape. This experience had a lasting effect on my psyche and sense of identity, and it is through writing and photography that I work through these effects.

Growing up in my insular community of religious fanaticism and charismatic, dangerous self-styled messiahs I was intimately familiar with precise, though backwards, logic. My journey into adulthood saw me plunging headfirst towards confronting those dangerous, faulty forms and proofs, unraveling the colorful spectacles of my childhood until only a tired and tattered man-behind-the-curtain remained.

My photographs are about those transitions and discoveries. They chronicle moments of fear, of awakening and oftentimes utilize characters to confront spectators, daring the viewer to follow them down the rabbit hole.

My most recent body of work, “Burdens of a White Dress,” is a set of surreal self portraits that reflect being born in a fringe religious movement. The project’s title refers to the emphasis placed on a woman’s role in my childhood. A woman’s value was intrinsically tied to her purity and virginity; after marriage that value shifted into the realm of motherhood. By using a square format and a stark palette, violently splashed with red, I explore the concepts of shame, of evil, of wantonness, and of the blood of womanhood, birth and death.

Because this was my own personal experience of leaving a repressive religious environment, I often use myself as a model. My body is then contorted or manipulated to demonstrate the internal effects of the struggle that it is to free one’s mind from a controlling belief system, and to demonstrate the repressed place that femininity had in my world.

My further writings can be found on The HairpinThe Huffington Post, Hudson Valley Mercantile and Conscious Living TV.


Photo Projects Submissions are OPEN!

Julia Dunham

CameraChronicle.jpg

Now accepting submissions for Photo Projects Features from emerging and mid-career artists. To submit send 5-10 photos to

contact@camerachronicle.com

with the subject PROJECT: YOUR NAME. Submissions will not be accepted without a a written supplement. The writing is up to you, explain your process, talk about inspiration, provide a focused type of analysis. Avoid biographies, literal explanations, and artist statements. Please do not send previously published writing. We also accept photo essays.  

Due to the high number of entries, only accepted submissions will be contacted. Please have high res files prepared. See our submission page below.