"I began this series as a place to ponder the relevance of personal choice, and to document beauty and intimacy as legitimate components of power. I experimented with liberty and humor in the corners of my home and studio.  With fruit, flowers, cast off things, and ordinary objects I enacted secret stories in still-life arrangements. I pieced reality together in front of the camera, watching my mind work, and titled each piece as a part of the process.  From the silver-print portfolio I chose several pieces to enlarge and paint with oil and pigment, mounting some on hand-sanded aluminum panels finished with archival wax. The large vignette, subtle color and soft luster of metal have brought me past the photograph to a broader understanding in my exploration of power and vulnerability." – Jan Camp

“With a passion beginning early on in high school, I discovered my love for photography. While my formal education ended there, my desire for knowledge did not; I found a way to learn on my own. A hasselblad and a light meter, these are my tools, my subject people. People that can look into the lens and show just a piece of there being. Photography serves as my expression. With travel always being an important dream, I decided to sell everything I own and go see the world. First stop, South Africa, one-way and figure out, where next, as I go. The results were over eight months of travel, to much of Africa, India, Nepal and Thailand.” – Jayson Carpenter

Photographic prints by self-taught, Arnold J. Dubnick, were first made available to the public in 1981. With the use of the 4-by-5 view camera, Dubnick's works cover nature, nostalgia and dramatic western panoramas. The artist perfects various techniques in the development of his works. For black and white negative developing he uses Gordon Hutching’s PMK Pyroformula and Ilford Multigrade paper to achieve sharp and exacting fine prints.  Dubnick’s interest in color print longevity and vibrant color saturation motivates him to print from transparencies with the use of deluxe polyester-based Ilfochrome and Fujichrome material. The result produces a vibrant and silky effect with a brightness range that is closer to what the eye sees.

“Photographs are found art; photographers discover images. They find a scene and with their vision, make it their own. Even studio images contain unexpected discoveries for the artist. A scene viewed through the lens is different from that viewed with the eye. Distances are compressed or expanded, colors blur and overlap, forms interact and light, paramount to making an effective photograph, reflects or refracts off surfaces, totally altering a subject. My goal is to create photographs that involve the viewer in the photograph, to engage or surprise them, to stir a memory. The ongoing struggle to find a photograph, to discover a new way of seeing a subject or place, to avoid a redundant approach, or the conceptually predictable outcome is what keeps me photographing.” 
– Sharmon Goff

"Photography has always seemed cold to me, almost more a philosophy than an art. It shows what has been created, rather than being a creation itself. In the same way, the photographer has acted more as a witness than a creator. And photography has always been the bulletproof window through which one sees the testimony. This has always been the source of the power of photography-its ability to transmit the impact of reality WITHOUT the editorial warmth of an artist’s hand. However, if one wants to express more than a cool kind of “testimony”, photographs can be a very frustrating medium. I feel the brushy, spattery messing with the surface” which I do to the photographs, gives me a way exaggerating a quality I had originally seen in the photograph when I shot it which might be invisible to anyone else. And when I look at the finished photos, I feel like I have gotten the best of both worlds - the world outside and the world inside." 
– Kent Lacin

"In our landscapes we are surrounded by words, in the text of books and newspapers, in the imperatives of television advertising, in billboard proclamations, in fluttering banners commending new products and services, in the slashing graffiti of our cultural guerrillas. Sometimes these words and phrases so boldly grab our attention that the world around us momentarily disappears. At other times, however, the words interact with elements of the landscape at some harmonic frequency to create reverberations in our consciousness of the world around us. It is as if hidden meanings are revealed, as if the knots of the complex entanglement of the natural and man-made environments are suddenly untangled." –  Richard J. Meisinger, Jr.

"A pinhole camera is lensless--it is a light tight container with a hole in it. One cannot set shutter speed or aperture.  There is no viewfinder.  Images made with this camera have nearly infinite depth of field.  In my imagery, I explore the convergence of the inner and outer world. The pinhole camera is a good tool for me, as it requires intuitive seeing; its simplicity allows me to experiment with scale and perspective, the long exposures reveal movement and the passage of time."  – Linda Pearson  

Merely looking at Howard Rubenstein’s large-scale unmanipulated Antelope Canyon geletin silver prints is impossible; instead one looks into them, and is swept away by their lushly operatic power, by their eddies and pools and flows of light and stone. Like earlier recorders of the sublimities of nature, Rubenstein’s abstracted images of interior rock formations also suggest the transcendent forces of nature and man’s inherent limitations in controlling them.

"For over two years, I have been photographing rap artists at a makeshift studio at the Bayside Entertainment Distribution facility in West Sacramento, California. An unlikely juxtaposition of people and places? Yes and no. Rap artists need photos for their album covers and posters and I need subjects to expand my skills as a studio photographer. Bayside’s Urban Label brings it all together.

Over the last two years, I have improved my studio skills immensely. Each shoot provides me with an opportunity to experiment with the art of photography, including lighting, camera angles, lenses and props. As I work, I experiment, finding the right techniques for the subject before me. At some shoots, I use standard photographic formulas. At others, I let loose with ad hoc techniques. The result? Exciting photos 
that show the art of the artist." – David Solomon

“I’ve had a passion for photography, (legitimately inherited from my wonderful parents) for as long as I can remember. Through countless hours spent in the dark room, reveling in the delight of seeing portraits materialize before my very eyes, I have developed a special interest in portrait photography. Aside from pleasing compositions, great portraits should include an interesting and on occasion well-known character, or simply reflect a slice of life with some quirky humor. This photo essay, shot on the streets and in the environs of Memphis last year, exemplifies my attempt to capture that slice of life.”  – Michael T. Solomon

Roger Vail describes his most recent series with the poem "Operator" by Quinton Duval:     

"Sometimes you have to balance  the folks, sometimes it's full.  When people are farther apart  they get the truest feeling  of the ride. Yo Yo, SkyDiver,  Chaos, they're all the same.  They are designed to lift  the people out of this world  and give them a small helping  of difference, a quick life

they've never felt before.  From here, I see it all.  Sometimes money falls  like rain from heaven  stained the color of whatever  light is burning at the time.   Sometimes skirts fly up  and the girls don't have a chance  to worry what I get to see.

I take them forward  into the new world.  I wait as they change  into circles of color, then  reassemble as we slow down.  They're always amazed, always  embarrassed by what's been revealed,  what they've become." – Quinton Duval