Sharon Caplan Cohen: Renewal

Mill Valley resident and photographer, Sharon Caplan Cohen, tells her story of working with The Image Flow while she was creating the images for her show, Renewal.
Sharon had been making flower Mandalas at her home and photographing them as a way of working through the grief of her mother’s death.
After my mother’s passing and many losses in my life, I found myself in an existential crisis. Daily there was a sense of bewilderment, grief and pain. What emerged was a year long journey making three dimensional mandalas and photographing them. Mysteriously, they started illuminating my soul, when the outward world appeared dry and confusing. The photographs came to represent a journey of loss and resurrection.

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Gary Yost: West Peak, The Project, Part 4

yost_heli_shoot
Time-lapse images of West Peak that show the contrasts between the beauty of the natural setting and the detritus of the old Air Force Station are just one aspect of the film I’m making. As I wrote in my first blog post, the overall point of this piece is to spearhead a fundraising campaign to restore the peak to its natural state. That means there will be historical material, interviews, reconstructions, and all of the things you’d expect from a storyteller such as Ken Burns.
One of the most important things I need to do is establish the location of the site so that everyone can clearly see where it is. The time-lapse material doesn’t do that very well, so I need to augment it with aerial images. I’m doing this with two kinds of aerial footage: images from a helicopter starting at the Golden Gate Bridge and working up to an orbit of the Peak, and images from a drone shot low and in the ruins themselves. I’ll be combining these with additional footage to establish the setting and emotional pace very early on in the film.

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Art Reactor Teams Up with The Image Flow

Digital Art class, youth sumemr art classes
Art Reactor is a digital art school for middle and high school students, created by Jennifer Fry and Josh Cardenas. They teach students how to be artists, not just computer users. By learning the basic principles of art and how to create with digital tools, students can produce amazing, original work! Incredible things like virtual 3D sculpture, vector art, interactive virtual worlds, projection mapping, VJing, and more. Jennifer and Josh strive to have their students become independent artists, developing the technical skill they need to express their creative vision.

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Black and white photography

Martin Lesinski on Hendrik Paul’s Show, Light From Within

Black and white photography
I’ve been to a banquet­—Hendrik Paul’s new show at The Image Flow, Light From Within. It’s a show with crescendos of excitement and photographs that grant the viewer entry into the personal vision of an emerging voice. There are some many faceted gems here. As with any emerging photographer, about one third of the show consists of classic image making. Though masterful, as classic uses of composition, light, tonal value, subject matter, etc., they are images that don’t add anything new to the vocabulary of photography and don’t clear his unique voice. However, these are silenced by the majority of the show, which consists of images that not only add words and phrases to photography’s vocabulary, but also employ these additions to convey stories of genuine seeing.

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My Experience at PhotoAlliance’s Portfolio Review

photo
Barbara Hazen is a passionate photographer who recently turned her hobby into a career. She has been working with Stuart one-on-one for the past few years, and had a solo exhibit at The Image Flow in 2012. As part of an ongoing goal to challenge herself photographically, she entered her work into a highly competitive, national juried portfolio review… and was accepted! Read her story of the review experience.

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First 50 Years of Photography with Jeff Martz: Part 2

Part 2: The Pioneers of Photography April 25, 2013, at 7PM You are invited to join photographer and art historian Jeffrey Martz for a tour through the astonishing first 50 years of photography. In this series, we will explore the origins, the pioneers, the journeys, the expansion, and the art of a medium that revolutionized human communication. Using the best possible reproductions we will see the technologies, practitioners, and key works that made photography central to the story of the world. The series is intended for both the newcomer to this history and the curious expert looking to contribute to

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Margot Hartford, kids photography

Margot Hartford: Photographing Kids

Magnolia Lane. margot Hartford
Born in Canada, Margot Hartford’s love of photography was encouraged while attended a photography poly-technical university in Toronto. After school, she worked as a full-time assistant for an advertising photographer learning more about the practicalities and business of being a commercial shooter.

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Gary Yost: West Peak, The Project, Part 3

Gary Yost, Full moon, Mt Tam Radome
Landscape time-lapse video requires movement to be interesting. That’s usually accomplished by motion control and (more importantly) dramatic moving light in the form of clouds and shadows. In the Bay Area that means winter is our window to shoot time-lapse of any weather besides fog. (As I demonstrated in my Day in the Life of a Fire Lookout video<, fog can be a great subject but when you’re on top of a mountain and pointing the camera upwards it doesn’t help much.) I began shooting for the West Peak project in late December and by early January I had learned a lot about what I need to do to get the shots I want. The West Peak area I’m working in is between 2450 and 2530 feet in elevation and when the cloud ceiling is just around that height the scene becomes very dramatic. The sight of the clouds rolling across the landscape and breaking to reveal the Marin headlands provides strong visual cues that we are on the top of a mountain.

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SFJAZZ Center, Henrik Kam

Henrik Kam shoots the SF Jazz Center

SFJAZZ Center, Henrik Kam
Henrik Kam has been documenting the creation of the stunning new SF landmark, the SF Jazz Center!
SF Jazz hired him to document the construction and progress of the SF Jazz Center over a period of 18 months. Among other things, Henrik mounted a web-cam to create time lapse sequences. Currently, he is in the process of making the final photos of the project. You can see his work HERE.
Henrik will be working with another impressive SF landmark, the new SFMOMA addition, later this year.
We are happy to have Henrik teaching The Flow’s Architectural Photography and Urban Landscape class again this year. His knowledge of the San Francisco landscape, on the ground technical and artistic experience and thorough understanding of architectural photography will make for an amazing class!

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Gary Yost: West Peak: The Project, Part 2

Gary Yost, West Peak Project
Photographer and filmmaker Gary Yost writes about his project to document the history of the lost West Peak of Mt. Tamalpais.
Over the past two months I’ve been busy conducting initial tests of new motion-control equipment I’ve acquired for creating the time-lapse portion of the project. One of my frustrations with the two-foot slider I used in the Fire Lookout piece is that it wasn’t long enough to provide enough visual parallax cues to make larger scenes look three-dimensional. These parallax cues are essential to providing an immersive sense of the scene because when the camera is moving, closer objects will move across your visual field much more quickly than objects farther away. When shooting basic time-lapse sequences you can easily lock the camera down on a tripod and shoot a frame every few seconds. That’s easy to do, but to get parallax effects you need to mount the camera on a motorized slider that will move it a fraction of an inch after every shot. This technique was invented by Ron Fricke in the late 1970s for the groundbreaking film Koyannisqatsi, and then refined for his later masterpieces, Chronos, Baraka, and 2012’s Samsara.

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Giovanni Cocco, PhotoPhilanthrophy

Alexa Dilworth on judging the Activist’s Awards

Alexa Dilworth, Publishing Director and Senior Editor at the Center for Documentary Studies at Duke University (CDS), was one of the judges at PhotoPhilanthrophy’s Activist’s Awards live judging here at The Image Flow in January.
She has written an honest and thought provoking blog for PhotoPhilanthropy about her experience as a judge and some of the challenges she encountered.

How does a photographer create a body of work that viewers can really see, take in with an awakened sensibility, and be engaged enough with to act, to answer a call to action?

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Jeff Zaruba: Black and White Exploration Teacher

Golden gate park, Jeff Zaruba

 
This will be Jeff Zaruba’s second year teaching a class at The Flow. He likes to get into the “why” behind his students interest in photography, and help them understand their vision and curiosity. He finds working with the students incredibly rewarding as he helps them gain confidence and reach the next level of their artistic potential.

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West Peak: The Project by Gary Yost

Gary Yost
Photographer and filmmaker Gary Yost writes about his project to document the history of the lost West Peak of Mt. Tamalpais.
I am a Mill Valley-based photographer and filmmaker who likes to tell stories, big and small. Over the years I’ve been fortunate to be a part of some very interesting local community activities.
One of my 2012 projects was to document what a day in the life of a fire lookout on the East Peak of Mt. Tamalpais is like. I created it primarily as a recruitment piece for the Marin County Fire Department, but it saw much wider distribution as a testimony to the beauty of our mountain. There are a number of reasons for its popularity but I think the two biggest are that it shows an aspect of the mountain that nobody has seen before and it uses time-lapse techniques to illustrate how time passes in a way that we can’t see with our naked eyes.

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Photojournalism

Activists Awards and a Brief History of Photojournalism

The live judging of PhotoPhilanthopy’s Activists Awards (at The Image Flow January 26) has turned our attention to the history of photojournalism. PhotoPhilanthropy’s Activists Awards PhotoPhilanthropy, now CatchLight, is a Private Family Foundation whose mission is to “…address critical social and environmental issues by providing nonprofits and photographers with the resources to work together to create images that drive social change around the world.” PhotoPhilanthrophy extends an open invitation every year for its ‘Activists Awards”. The submissions don’t have to be connected to projects funded by or connected to Photophilanthropy. They do however need to be a documented collaboration with

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Natural Stories by Naoya Hatakeyama

Naoya Hatakeyama , Lime Hills #23514, 1988
Japanese photographer Naoya Hatakeyama’s hometown of Rikuzentakata, Japan, was destroyed by the March 11, 2011 Tohoku earthquake and tsunami. A few days later, he returned to what was left of his town to document the aftermath.

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The World Is Not My Home


The World Is Not My Home: Photographs by Danny Lyon is at the de Young though January 27. This exhibit sparingly covers his work from the early ’60 civil rights movement with the SNCC (Students Nonviolent Coordinating Committee) the Occupy Movement protests of 2011.

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Discussion with Gary Yost: Photographing Bowling Ball Beach

The Image Flow sat down with Gary Yost to discuss his experience trekking up to Pt. Arena in Mendocino County to photograph the unusual shaped rocks that reveal themselves only at certain tides. What inspired you to photograph Bowling Ball Beach in Mendocino’s Pt. Arena? I was at the Mill Valley Fall Arts Festival in Sept 2010 and met an exhibitor Fred Mertz, a landscape photographer who mainly works in Northern California. We tried to make a plan to shoot together and he mentioned several locations in California, mostly in central and southern California, including Bowling Ball Beach. It turns

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alice cooper by rock photographer Bill Green

Q&A with Bill Green

How did a 14 year old become a rock and roll photographer? In those days concerts weren’t events featuring a single key artist with a minor opening act. Every concert was an event featuring 3 or 4 bands on each bill – and often an early and a late show. So the bands would play from 8-11 and they’d clear the hall and start again, with ‘late shows’ often going to dawn, (after all, bars stay open until 4 a.m. in New York to this day!)  There were multiple shows each week so we could see 8, 10, 12 bands

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Photo © Trishb Carney

A Conversation with Trish Carney

Following is an excerpt from a conversation between independent curator Anne Veh and Trish Carney, a visual artist living in Marin County, California.  On a warm July afternoon, Trish Carney and I met in Mill Valley to talk about her new body of work from her time in Yellowstone National Park this May when she journeyed there for a two-week pilgrimage to observe wildlife. Before we sat down to talk, we ventured off on a nature walk to Stolte Grove, a hidden gem in Mill Valley I refer to as the “secret garden.” As we approached the trailhead, I noticed

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