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Gallery Picks of the Show

Through the Student Lens 2014

 Peter Marr and Gallery Partners have chosen their "Picks of the Show".

click here to return to the details of the exhibit


All images copyright by the individual photographers

Peter Marr's Picks of the Exhibit
Java's Alley by Don Menges 

Java’s Alley
by Don Menges

Over the years Don has made countless memorable images of both interior and exterior scenes, perfecting his photographic and digital expertise by hard work and dedication to succeed. Today he is justly renowned for his superlative technique and his amazing command of the digital media, all of which are richly displayed in his inspiring exhibition at the Image City.

In Java’s Alley, Don has used a fisheye lens to imaginatively capture the subject matter in a definitive and creative manner, resulting in a curvilinear vista of the alley, which is framed elegantly by the 2 powerful curved support pillars in the immediate foreground. What is so magical, and is definitely the result of his digital software virtuosity, the graceful curved features artistically taper down until one gets to about one-third of the way into the image, where the alley becomes remapped to a rectilinear perspective. Every element in the first-third of this print, from the brick and concrete sides of adjoining buildings, the brickwork on the pathway and the shadow designs, they are in unison as they eventually lose their curved features. Where the linear perspective begins, Java’s Alley continues on into the distance, ending with an open metal structure, against which a person can be clearly seen. The strong directional lighting results in exceptional detail and incredible sharpness throughout the print, and the tonal scale and wide range of values all contribute greatly in making this spectacular print. It is interesting that the strong sunlight passing through the triangular end of the open-meshed roof of the alley, casts a shadow in the form of an arrow, the tip of which points directly at the viewer. Although one is aware of this, there is only one way to visit Java’s Alley, and that is directly through the curved portal that Don has so astutely engineered, so that one can journey through the brick walkway and enjoy every feature of this delightful thoroughfare.  -- Peter Marr
Reclining Woman by Don Menges 

Reclining Woman
by Don Menges

Don’s enthusiastic support of the art and community intervention project is both laudable and inspiring. He has skillfully captured the very essence and poignancy of some of the wall murals, which will hopefully influence Image Gallery visitors to learn more about this project, and encourage them to visit their location to see for themselves how these murals have enhanced our urban landscape.I was particularly captivated by Reclining Woman, in which Don has creatively utilized a fisheye lens to dramatically make a building structure come alive, to draw attention to an impressive mural of the reclining woman. Using his consummate knowledge of digital software, Don has ingeniously kept the vertical elements in place, whilst masterfully shaping and curving the foreground and the building’s roofline to complement many of the features in the mural. There is exceptional visual continuity and the light throughout the scene blends beautifully. The foreground has amazing textural differences that helps distinguish areas of similar tonal values. These textures help highlight every minute detail of the concrete pavement and the myriads of cracks and intricate patterns in the sidewalk. The entire foreground curves effortlessly around the building, and for further emphasis, the lines that separate the concrete slabs all angle and point toward the mural. Of particular significance, the central mural is accentuated in size, whilst the surrounding artwork is tapered down, and it is given the added attention that in all of the exceptional tonal gradations in this image, the highest value is given to the reclining woman. I would be remiss if I did not mention the spectacular sky above the roofline of the building, in which expressive patterns of diffuse clouds all project downwards arrowed towards the mural itself. What is so especial in this uplifting print, is that the mural artist has strikingly painted a real work of art, and that Don has used his great talents to fashion a remarkable image, where all of the elements support the reclining woman, especially all of the curved features which personify and emulate all of the exquisite features of the woman. A real tour de force for Don, and a great tribute to the mural artist.  -- Peter Marr
Madrid by Laurence Fischer 

by Laurence Fischer

This is an exceptional example of visual art where the manner that the imageis portrayed, rather than the image itself triggers the brain’s reward circuit, although as one is looking at hard lines and angles, the end result may be that the brain is tense and on edge. The color palette has an extrordinary range of hues and vibrancy, and the architectural forms are seen as endless arrays with powerful geometric relationships. The rhythmic interplay of surfaces, lines, color and values blend effortlessly into an organic coordination of visual elements, which is a true reflection of Laurence’s unequaled way of seeing, one that is consistent with her superb body of work in this exhibition. If the author had recorded this imposing structure as the eye would normally see it, the end result would be an excellent record shot of what is probably an apartment complex, one in which the architect and the builder wanted to make a statement of desirability for prospective buyers with the use of modern design and bold colors as attractive features. Although this seems like an exciting concept, in some peoples’s eyes, these apartments resemble a series of identical rectangulaar boxes, arranged in orderly fashion, the only distinguishing feature for each of them being the exterior color. Laurence cleverly recorded this housing complex on a steep diagonal plane instead of horizontally. In doing this the apartments lose their identity, and each housing unit becomes part of a graphic connected pattern, rows of identical shapes distinguished only from each other by the color of the box. The ensuing diagonal lines create a powerful compositional effect because of their inherent instability. There is a tension between the image and what one wants the image to do. When captured here as diagonal elements, to the viewer, the impression is that they are in the process of falling.This is a dynamic and creative image, exquisitely seen and photographed.  Peter 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.

Partners' Picks of the Exhibit
Sunset by Dick Beery 

by Dick Beery

There’s something mysterious in this wonderful image. The strong band of sunset light crosses he center of the image, illuminating the stand of trees, some of which extend upward to the canopy, and many others are only poles reaching into the sky. There is a depth, too, pulling the viewer’s eye to the most distant and the least distinct tree forms. The trunks become vertical bars, some dark, some shrouded behind the band of light, each contributing to the nearly monochromatic forest. The image is filled with verticality; each trunk could be a note in a musical piece flowing across the image, lending lateral movement to this so-vertical structure.

Below the musical light, the shadow carries these straight vertical trunks and their reflections into the waters below, where the horizontal makes its appearance. Here the sky reappears in reflection and presents a pattern of light that again sends the viewer’s eye to the distant. Returning to the top of the image, there is a shroud of light that sifts downward into the image, adding to the mystery.

The three dimensions – the vertical, the horizontal and depth, each take their place in the image, and their integration has produced a beautiful and mysterious image.

Ardor by Cynthia Fay

by Cynthia Fay

Cynthia has a series of abstracts that appears to be out of this world. The vivid colors, viscous fluids and disproportionate lines contribute to this affect. Ardor is one of her photos that is particularly striking with depth, vibrant color and movement. One could almost view this as a microscopic photo of the inside of the body with blood vessels and caplets floating in the space. I have an image in my mind of the movie “The Fantastic Voyage” of a miniature capsule on a journey inside a scientist’s body trying to save him. However, Cynthia reminds us that photos may be of anything and has taken the saying to heart, that images are where you see them. While sitting in her car going through a car wash Cynthia wisely grabbed her camera and got to work.

Closed 1 by Roslyn Rose 

Closed 1
by Roslyn Rose

Can a simple image cause a feeling of dread in the viewer? This is the question that Closed 1 by Roslyn Rose asks us. A storefront that has been closed for some time, a winter’s day. Technically the image is complete:  The lighting is good, colors are authentic, and the subject is crisp and sharp.

The feeling of dread though comes from the subject. What of the dolls? Are they left over from a doll store?  Where they part of child mannequins that once modeled children’s clothes? Or could it be a metaphor of something more sinister? Is it possible the heads are what is left of a group of children that could not escape some past horror? 

This is the power of a strong image. A strong image forces the viewer to linger. A strong image provokes strong emotional feeling. The image opens the viewer to imagine many different interpretations.  Ms. Rose has created an image that at first looks simple, but as one studies it, the strength of her image demands us to ponder its significance.

Image City Photography Gallery  ♦   722 University Avenue  ♦    Rochester, NY 14607 ♦ 585.271.2540
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