Inside this issue
Kathleen Donohoe, Priamo Melo, Linda Bembridge & David Cundy.
I was born in 1967 in Queens, NYC, and grew up in the woods of New Jersey. I attended College of the Atlantic, and graduated from Tufts University and the School of the Museum of Fine Arts, Boston with a BFA in 1995. After 28 years in Maine, I recently moved to New York City.
Príamo Melo is a chemical engineer, landscape photographer and an educator in both fields in Rio de Janeiro, Brazil. He frequently writes articles on photography for Brazilian magazines, is an active member of the Brazilian Nature Photographers Association (AFNATURA) and leads landscape photography expeditions both in Brazil and abroad.
Linda Bembridge is an amateur photographer based in Buckinghamshire. She is passionate about photographing the landscape in all its forms. She strives to capture the emotion of the wide vista’s whilst at the same time discovering and exploring the beauty in the detail of the ‘intimate landscape’ all around us.
I studied a degree in photography in the early nineties which helped loose all enthusiasm for it. The iphone rekindled my passion many years later and now I shoot film and digital and print with gum, salt, carbon, silver based paper and inkjet.
Our 4x4 feature is a set of four mini portfolios from our subscribers, each consisting of four images related in some way. If you would like to submit your own 4x4 portfolio please visit this page for submission information.
This series is examines a childhood fantasy about living in the New Jersey Meadowlands of the 70's and early 80's. For decades I have recalled these vast, open spaces and the feelings that go with them- my memories blending with my desires and childhood imagination- merging the landscape I witnessed with the beautiful escape that I imagined for myself.
The fluctuation of tides attempting to clean this vast and complicated space feels like an appropriate metaphor for my examination of this strange childhood desire- repeatedly zooming in and pulling back. This work is about paying homage to a sorely neglected and unappreciated space that lent my imagination the comfort and creativity to escape my present at a time that I really needed it.
I am using 35 mm and 4x5 and 8x10 pinhole cameras, traditional film, and paper negatives, and contemplating the point at which landscape becomes memory; when it changes from the documentation of a space to the representation of a memory or fantasy.
Fernando de Noronha Island - Brazil
The island of Fernando de Noronha is located at Brazilian Northeast, and is a natural sanctuary. Traveling to this place has some restrictions and its wilderness is absolutely beautiful. There is a national park in Fernando de Noronha and is beautiful, volcanic mountains can be seen from most of its beaches.
These images are part of an on-going project focusing on the combination of three images, not be particularly interesting on their own, into a small image collection which I believe is stronger than the sum of its parts.
All of the source images originate from unspectacular places. In this series the sources range from weather-worn ceramic tiles on the outside of a building, a roughly painted hoarding around a building site, black paint thrown at a shipping container (not by me) and coloured spray paint on the door of an abandoned farm vehicle (not me either!).
I love taking detailed images which are unrecognisable in and of themselves and I enjoy trying to see if I can tell a story with them through these small combinations. I also enjoy the fact that I can find these images all around me, it’s just a case of looking. I hope you enjoy them.
Whereof one cannot speak, thereof one must be silent
I remember, way back, before I was old enough for school, on a hot day at my parents allotment, lying for what seemed many hours looking at the sky. My view was framed by the long grass in which I lay and the redcurrant bushes it surrounded - full of insect activity and the vital fresh breath of summer.
That moment, as it appears in my mind, is like a pinhole photograph. Nothing is crisp sharp but the depth of field is infinite, a sense of space that vanishes with the addition of a lens. Although most of my work is lens based, digital and film, there is something enlivening about the unique method of translation from three dimensions to two which sets the pinhole apart.
It's not so much like being there as remembering being there. After years of striving to perfect technical processes and produce clean flawless images I found that my head was spinning. Like a kid locked in a sweet shop feeling sick from too much of what he desired. This project charts my rediscovery of the analogue and tactile world of film, basic cameras and the art of the accidental.
Looking at these images is, for me, like hearing a needle touch down on a vinyl record, crackle, settle in the groove and play the warmest and most alive of recordings.