Inside this issue
Stu Levy lives in Portland and has led a photography workshop on the Oregon Coast for over 30 years. He studied with Ansel Adams and was an assistant instructor for Ansel’s worksops in Yosemite and Carmel, he also taught at the Ansel Adams Gallery Workshops. His photographs are in many public and private collections including The Center for Creative Photography, the George Eastman House, the Portland Art Museum, the Santa Barbara Museum of Art, the High Museum of Art and the Wilson Centre for Photography. He was one of the founders of the Photography Council of the Portland Art Museum and was the Council President from 2003 to 2006. He is also on the Board of Directors of Photolucida and the Pacific Northwest Photographers Archive.
Amateur Photographer who plays with big cameras and film when in between digital photographs.
Last autumn Stephen Gledhill, who is one of our subscribers and contributors, suggested we got in touch with Stu Levy. He had just got back from a trip to The Lake District with six photography friends. Most of them have known each other since a large format monochrome landscape photography workshop in Bluff in Utah in 2001. One of the newcomers Stu is well known and highly accomplished, respected and published photographer based in Oregon in the US. We got in touch with Stu to find out more about his photography and his time as an assistant instructor with Ansel Adams.
Tell me about why you love landscape photography? A little background on what your first passions were, what you studied and what job you ended up doing.
Photography and rock music were my twin passions during my teenage years in the mid-1960’s. I was doing documentary photography in high school and college, but also photographed musicians, both for publicity use and in performance.
There was no art in my home, and my only exposure to art was through school trips to the Art Museum, where I was attracted to surrealism – my favourites being Miro, Magritte and Escher.
I was given the book Family f Man as a high school graduation present, and learned about Karsh and Cartier-Bresson while in college, but knew nothing of the West-Coast Landscape tradition in photography.
I started Medical School and had almost no time for photography for the next 6 or 7 years.