All images copyright by the individual photographers

Peter Marr's Picks
	Homage to Alexander Calder #1 by Dan Neuberger   I have a habit of choosing the image used illustratively on the cards used to advertise the exhibitions as one of my “picks”, and this is no exception. All of Dan’s Alexander Calder prints are exhilarating and very meaningful, but I can only choose one, so I selected #1, which by the way, is one of my all-time favorite images created by Dan. The large print is electrifyingly dynamic and inspiring; I just wish that Calder could have seen it in person, for I am sure that he would have been justly proud to be honored in this way for his brilliant art. For creative impact, this authoritative graphic design is imaginatively inspiring. I cannot imagine anyone who would not be impressed by this print, even though they may not all understand why they like and admire it so much. For myself, the sheer boldness and starkness of the B/W design is both imposing and uplifting, and the inspired addition of the red element is both aesthetic and visionary. Unlike attempting to understand what an artist like Mark Rothko intended in many of his bold, graphic pieces, here, the author has given us a strong, daring motif, uniquely selected from a large sign that was stamped on a container, resulting in an abstract graphic work of art. Definitely, the black arrow powerfully curving across the center of the print is the dominant feature that the eye is attracted to, and this is mirrored in part by the red element, which strikingly suggests a smaller red arrow, curtailed by the confines of the print. Many people will visualize a giant white T against a jet black background, whilst puzzling about the significance of the mysterious scratches, etchings and vertical lines of bolts that are clearly evident. I do not think that one is meant to intently analyze this, or any of the other images Dan has artfully constructed in homage to Calder. I admire this print, and the four others for their dramatic, awesome impact and design, for their inspired use of red, black and white, and for the genius of the author who has carefully and artistically selected these inspiring segments.  Peter A. Marr
	Santorini Planes by Dan Neuberger   Visiting the magical islands of Greece, one is captivated by the blaze of saturated hues, set against the pure white buildings and an ever-present brilliant blue sky, and where the sun impressively details breathtaking scenic splendors. Many of Dan’s outstanding prints in this exhibition are in full color, but many are in black and white, a media he has used artistically, to fully reveal the architectural beauty of Santorini to its fullest. Confucius so eloquently stated that “Everything has its beauty, but not everyone sees it,” but in his wonderful achromatic print, SANTORINI PLANES, Dan has given us a creative, stellar image, that every viewer cannot fail to be entranced and captivated by. The elimination of color gives a stronger sense of light and shadow, and the tonal contrasts emphasize the shapes dramatically. The gray scale gradations are superb, wonderfully illustrating the architectural beauty of shape and form, taking Ansel Adam’s zone system to the ultimate stage of perfection. The bold, dynamic design elements from the purest white to the darkest black, all contribute to an electrifying, almost abstract image that is very powerful and endearingly beautiful. I say almost abstract, because it is not too difficult to imagine that the white element in the left center could easily represent some animal form. Tantalizingly, there is also a step, albeit stairless, and a vertical rise that leads up to this figure. The presence of a non-linear design, especially as it has the highest luminance level may trouble some viewers, especially those with digital removal expertise. I am glad that the author did not attempt to follow this path. The end result is a dramatic, compelling print, where the fusion of eye catching gray scales has been exquisitely captured, to reveal a architectural masterpiece of incomparable majesty and power.  Peter A. Marr
	Angles and Planes in Santorini by Dan Neuberger   Bigger is certainly by no means better in a vast number of works of art, but here, in this extraction of intimate detail from a much larger “canvas”, the large print certainly adds heightened drama, and increases the impact of the graphic abstraction immensely. This building complex is an architectural gem in its own right, but by compressing the shapes, lines and angles, we end up with a superb, distinctive and incisive design, which owes its resplendence to the author’s creative, artistic vision, and the astute use of soft and not harsh lighting, the latter being very prevalent throughout the Greek islands. The exquisite lighting dramatically highlights every salient feature, including the white stucco detail of the walls. The eye easily makes a joyful tracery in and out of each imposing structure, effortlessly traversing hidden stairs and ramps. The subtle tonal gradations, essential for the delineation of each wall and facade have been masterfully captured and recorded. The negative space of black sky, artfully carved from the distinctive lines and angles at the top of the structures, is mirrored almost exactly in content, not form, by the open doorway at the extreme left. The surface composition of the stucco in the foreground is fascinating in its relief detail, definition which diminishes as we move up the structures, but it is still evident enough to clearly delineate every architectural feature. Although we have no definite sense of scale, we know that we are admiring an exciting and beautiful segment from one of the most picturesque scenic areas of the enchanting Santorini. Dan has captured, printed and presented us with an outstanding, unforgettable image, one that could be proudly displayed in anyone’s home for all to admire. Peter A. Marr
	Shapes, Light, & Color #4 by Dan Neuberger   This scintillating exhibition is an awesome tribute to the artistic vision, versatility and breathtaking talents of Dan. I am proud to say with absolute sincerity, that he is the most gifted and creative photographer that I have ever known. Dan has the tenacity and strength to let go of certainties and explore new concepts with amazing success.  The 7 pieces that are expressively titled Shapes, Light, and Color form a dazzling display of futuristic designs and electrifying colors that have uplifting impact and radiance, both individually, and as a combined group. I chose #4 to comment further on, because not only is it my favorite image, it is the one that I wanted to explore in greater depth beyond the initial impact. The range of vibrant, saturated hues are extraordinary, with seemingly every color of the rainbow represented, and together with the authoritative linear design features, the end result is a truly stellar image. The techniques used to create the latter, are a great tribute to the author’s masterly expertise and creativeness. Dan wants to pull us into a more intimate relationship with our thoughts and feelings, so it is pertinent to ask the viewer what the photograph emotionally says or offers. For myself, I am very much aware that I am in a Tanning Booth, completely relaxed and at one with the world and my surroundings, allowing my subconscious to dictate all of my thoughts and feelings. Under the warmth of the UV radiation, and in the confined space of vertical and linear elements, there is an overwhelming impression of brilliant, joyously varied colors, devoid of blacks and whites. One experiences an almost psychedelic enthusiasm, with no human intrusion or encounter. The overall intense awareness is of trying to savor every precious moment, whilst being aware that there is a finite time limit, controlled by someone turning the lights off, and a voice telling me that my time was up. An out of this world experience that I will never forget   Peter A. Marr
Peter Marr	We are very grateful to Peter for his thorough review and selection for Peter's Picks. Peter was born in England in 1935 and came to live in the United States in 1968. He worked for the Eastman Kodak Company for 34 years, retiring in 1998. During his employment and continuing into retirement, he has been an enthusiastic photographer. His photography has won him numerous awards throughout Kodak and in International Salons, including 5 George Eastman Medals, which is the top honor awarded to the most outstanding picture in the Annual Kodak International Salon. He has served as a judge in both local and international photographic competitions for the past 20 years, and is a Past president of the Kodak Camera Club and past chairman of many of the Kodak Camera Club organizations. In the past five years or so, he has devoted his photographic skills and interest into nature photography, notably bird photography. His bird photography has been the subject of several one-person exhibits, the most recent being at Ding Darling NWR, in Sanibel, Florida, The Roger Tory Peterson Institute in Jamestown, New York, and at the Webster Public Library in Webster, NY.
Gallery Partners' Picks
	Dahlia Two by Mary Ellen Hill Welcoming spring, and its long anticipated arrival, this exhibit of work by Mary Ellen displays the beauty of flowers. Her photographs are not merely straight representations of flowers, the kind we might see in a seed catalog, but creations which resonate with the viewer. Composition is a strong part of Dahlia Two, as well as her other photographs. The flower dominates the top left-hand part of the photograph leaving much room for a mystical surround. The pastel feel of the photograph is strongly reinforced by her choice of printing on a canvas stock rather than a conventional paper. Several people have commented that her photographs are the perfect kind to be mated with a canvas display. The flower almost cascades downward like a heavy drape, but with a very delicate flow.  One could almost say that the photograph of this flower is somewhat analogous to a soft focus beautifully composed boudoir photograph of a woman draped in a transparent robe. The combination of a strong graphic composition, a novel view of a flower, the muted colors and canvas presentation make this photograph a reminder how a skilled photographer can start with a beautiful flower and add their creativity to produce art which anyone would love to display in their home.
	Man by  Jim O’Neill Jim has captured a powerful portrait of a distressed man. The intense look on the subject's face expresses everything from distrust to anger, perhaps even hatred. The forehead furrows and scarred face provide evidence of a very tough life.  This excellent portrait contains all the ingredients of an excellent B&W print. The darkest tones are pitch black and strong contrast enhances the man’s aggressive appearance. The highlights have good definition without blow-out and the shadow areas frame the detailed features of the man. His scruffy beard adds to his rugged appearance and his braided hair against a white background adds mystery to his character. The haunting intense look in his eyes is focused directly on the viewer of the image.   Based on his appearance, many different scenarios could be speculated about this man’s life.  All of the most logical possibilities would involve the man’s toughness, competitiveness, ability to survive, and pride. Jim’s superb photograph titled Man truly captures the character of its subject.
	Till Death Do Us Part by Betsy Phillips We all frequently pass by trees, however most of the time we really don’t see them. Trees, as with other parts of our environment, are often taken for granted. One of the marks of the creative photographer is seeing beauty and art in everyday things. Betsy Phillips frequently uses these kinds of subjects to create her strong abstract photographs. This exhibit is both a departure from the typical subjects she has shown at this gallery over the years and at the same time is totally consistent with these previously exhibited images. Till Death Do Us Part presents a photograph which allows the viewer to ponder relationships, be they between people, animals or in this case two trees growing intertwined almost producing a single entity. Betsy uses the interplay of shadows and forms as well as the medium of black-and-white photography to present this metaphorical image. All of the photographs in this exhibit have an even stronger impact as they have been printed in a much larger size. This entire exhibit by Betsy reinforces the concept that when you go out to photograph, you don’t simply label things and walk by them but look at them as structures and elements. [observing them in a novel way to make a photograph or series of photographs which illustrate this discovery to those who view them.] Betsy creates a novel way to demonstrate to the observer her discovery.