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photo-eye Gallery Bryant Austin: Solar Transit
New Portfolio & Interview
Anne Kelly Included in our current exhibition, Cosmos, are six photographs by Bryant Austin, and today we are pleased to share a new portfolio with a larger selection of Solar Transit, Austin’s current work.

Cathedral Spires Solar Entrance I - Yosemite, 2016, Archival Pigment Print, 22x15" Image, 
Edition of 10, $3400 – Bryant Austin
Included in our current exhibition, Cosmos, are six photographs by Bryant Austin, and today we are pleased to share a new portfolio with a larger selection of Solar Transit, Austin’s current work.

I met Bryant Austin at photoAlliance’s Our World Portfolio review and was immediately taken with the work. Bryant's images are silent poems, revealing the natural environment as peaceful, contemplative, and transformative. The silhouetted image of a lone tree along a cliffside against the setting sun evokes something primal in us — a profound and deep connection with nature. Perhaps paradoxically, the process of making the images is incredibly technical involving three telescopes equipped with both infrared and monochrome video cameras with specialized scientific filters.  Prior to Austin’s current body of work he spent 12 years making high definition life-size photographs of whales, and amazing mammal that has been on earth for over 5 million years, with a 50 megapixel underwater camera, to now photographing the sun as seen on this earth, a subject that has been in existence for 4.603 billion years.

I recently had the opportunity to speak with Bryant about his artistic philosophy, his unique introduction to the medium, his technical process, and the transition from underwater to solar photography.

Impermanence II - Dual Canopy Oak - Carmel CA, Archival Pigment Print, 15x22" Image, 
Edition of 10, $3400 – Bryant Austin

Anne Kelly:     How long have you been making photographs, and how were you introduced to the medium? 

Bryant Austin:     I first learned photography and darkroom techniques in the early 90s and have been working full-time with this medium for the past twelve years. My interest in photography began when I was introduced to the sport of BASE jumping. BASE is an acronym for Building Antennae, Span (bridges), and Earth (cliffs), and involves leaping from these objects and going into free fall for a period of time before deploying a parachute.

When jumping, all fear goes away when your feet leave the edge. In free fall, I was completely in the moment, feeling a profound peace as I looked at the world in wonder. This feeling was most evident on big walls such as El Capitan and Half Dome. This state of mind was new to me, yet I was drawn to it subconsciously my whole life. Ever since I was young, I had unsuccessfully tried to explore and convey subject matter that would evoke this state of mind through the medium of painting. After my first year of jumping, I felt that photography would be a better medium to explore. I eventually purchased my first camera, a Nikon N2000 with a custom helmet mount and tongue switch.

Sadly, during this time I witnessed my dear friend and mentor die on a BASE jump. After his death, much of the magic of the sport was gone. Over the following years, I slowly turned my attention to free diving and photographing whales.

AK:     Who are your influences?

BA:     Alberto Giacometti is most influential. His paintings, in particular, reflect a state of mind that I strive to hold on to. He was able to see beyond the realities that we collectively construct. He effectively conveyed a reality of existence that lives slightly beyond our awareness. Bob Talbot, a photographer of cetaceans from the 1980s and 90s, revealed what is possible with a whale or dolphin if you are truly willing to invest the time and care with them. No other photographer has ever since come close to the compelling nature of his work with these creatures.

The BASE jumping photographs of freefall photographers Carl Boenish and Tom Sanders were a big influence for me when I first started photography.

Nick Brandt is a photographer who inspires and keeps me going to this day. He’s the only photographer I know to have taken the medium this far with wildlife. His work challenges the divisions we create between nature and the art world. The fact that he was able to leverage his work to create a foundation to protect the wildlife he photographs is something that gives me hope for humanity.

From Safety to Where - Cathedral Spires Solar Transit - Yosemite, 2016, Archival Pigment Print, 22x15" Image, 
Edition of 10, $3400 – Bryant Austin
AK:     Prior to making your new work, you spent 12 years photographing whales and making high definition life-size portraits — an extremely ambitious project. What inspired that project, and what were you working on prior to that?

BA:     The inspiration was given to me by two whales in 2004. A young calf approached to within three feet of me where I could see his body in vivid detail. I remember lowering my camera to look
Darkness Follows  
Whale Blow and Sun, 2017
Archival Pigment Print
28x15" Image
Edition of 10, $3400
– Bryant Austin
more closely and seeing his fluke pass inches away from my dive mask. His mom gently grazed by back with her fifteen foot long, two-ton pectoral fin to let me know she was behind me watching. I was completely unprepared for what I would feel when turning to meet her gaze.

I felt the only way I could even attempt to convey the emotions experienced during that moment, was to make life-size portraits. The portraits would be composed when a whale decided to make a very close inspection of me on their terms. In doing so, they would often present a calm, inquisitive, and penetrating gaze into the lens.

The inspiration was powerful and, in the beginning, I tried to ignore it because I knew that it would be nearly impossible to do, and could potentially ruin my life. But deep down, I knew it would be an important contribution to humanity.

During that time, I worked at a sea otter research facility in Santa Cruz, California. I also photographed whales and dolphins from my own six meter Zodiac on a weekly basis, but after two years of effort, I had no photographs that reflected my creative intention.

Over time, I became deeply depressed and was on the brink of suicide. My therapist helped me realize that ignoring the inspiration the two whales gave me, is what was tearing me apart. I was not only resisting this inspiration, I was ignoring my truth. Once I accepted this and began a full-time creative practice, a weight was forever lifted off of me.

Substance and the Void - Dual Canopy Oak and Sun - Carmel CA, 2017, Archival Pigment Print, 15x22" Image, 
Edition of 10, $3400 – Bryant Austin

AK:     Talk about the transition from photographing whales to the sun /photons on our planet.   

BA:     Just prior to my work with the sun, I had spent the previous four years working full-time to promote my whale portraits with shows in the US, Japan, and Australia, as well as the release of my first book with Abrams. All the while working to raise sufficient funds to resume my work with whales after a long absence.

At the end of this four-year phase, I watched my father pass away in his hospital bed from a head injury. A month later, I too was in the emergency room having a close call with an erroneously prescribed medication. After these events, I realized how far away I was from my truth. In trying to get back to the whales, the creative part of my mind had atrophied.

In the beginning,  I would have said that the transition from whale to sun was all about staying empowered as a creative. And to never allow a subject to disempower you as a creative, as had happened with the whales. It is true, I now create every day as opposed to a few moments a year with whales. What I wasn’t prepared for, is how creating every day with the sun would change my state of mind. At times, I feel so much presence from the sun and everything around me, its as though the cosmos is taking a self-portrait through me.

Precession - Jeffrey Pine and Half Dome - Yosemite, 2017, Archival Pigment Print, 15x22", Image,
 Edition of 10, $3400 – Bryant Austin
AK:     When working with whales you experienced some humbling moments; have you experienced this when photographing the sun?

BA:     The humbling moments with whales were episodic events that often left me stunned to silence hours after, as I tried to process everything. But eventually, those sensations would fade into the background.

Practicing almost daily with the sun had a more profound and humbling influence. The solar events themselves are amazing to witness. Both observing the sunrise, as well as its horizontal transit behind features on Earth reminds us of our place, and of a reality that operates on a much larger timescale.

The collective experiences from the past two years came to a head last May while driving to
Austin H-Alpha Imaging at Tenaya Lake Yosemite
Yosemite in the middle of the night to meet the sun. I was on my way to continue a solar illumination study of a six foot Jeffrey pine on Half Dome. As I entered the Valley and neared the trailhead, a song came on that I never heard before. In a strange way, the song had triggered something from within. I remember pulling over and looking up at Glacier Point through the windshield. I could see the shadow cast of Half Dome moving down the rock face of Glacier Point as Earth turned to face the sun. At that moment, with the song still playing, I felt my ego dissolve. For the rest of the day in the Valley, I felt as though I were grieving the loss of my identity, all the while feeling a profound peace and connectedness.

AK:     The process of making your work is highly technical, in terms of process, yet you make work that is quiet and meditative and packed with emotion. Can you please address that difference?   

BA:     The technical side of my current work comes from the need to effectively capture a wide dynamic range. This begins with the surface of the solar disk, to Earth’s varied atmospheric states, and finally to how foreground subjects are either illuminated or cast in shadow. There is an aesthetic to my new body of work that doesn’t feel solely created by my own hand. I feel as though I’m being guided along the way; touching upon something infinite and universal.

Precession Study - Panel II - Cathedral Spires - Yosemite, 2017 Archival Pigment Print 22x15" Image, 
Edition of 10, $3400 – Bryant Austin

AK:     Tell us about your Mantra … "I don’t know” ... and how this is tied to your work.  

BA:     “I don’t know” creates a space for something undiscovered to enter our awareness. This often means leaving the camera behind. It is a way to be humbled and recognize that the world is far beyond any of our individual imaginations and experiences. In practicing “I don’t know,” I’ve been able to occasionally access what feels like the infinite, where I tap into endless creative possibilities. It’s a feeling that is both calming and yet overwhelming.

AK:     Your new work employs the use of multiple solar telescopes, can you describe this process for me?

Austin's telescopes on location capturing a winter solstice. 
BA:     The technical aspects are a way to convey a reality that is here with us. However, the human eye is unable to witness this reality and would go blind in the process of trying. I’ve adopted methods and techniques widely used to image the surface of the sun. But I had to create a new set of techniques for simultaneously capturing the illuminated atmosphere and conveying a much wider dynamic range than a single camera can achieve.

If the sky is clear and blue, I generally use one telescope and camera. If the sky has high thin but defined clouds, I will use a second telescope and camera to capture them as well. This is especially key to capture thin and wispy clouds that pass in front of the solar disk. The sun moves quickly through the telescope’s field of view, so bracketing isn’t an ideal option. Traditional DLSR cameras are not an option either as the shutter will shake the telescope.

I normally use white light photographic solar filters, but if I want to feature the sun’s surface in rich detail, I will use a third telescope to image the solar surface with a Hydrogen-Alpha filter along with a monochrome video camera. This process alone takes up to an hour to capture and then another two hours to post process.

Most of the solar imaging sessions in Hydrogen-Alpha occur at Tenaya Lake, Yosemite. Imaging
Telescope Setup for Cathedral Spires 
over an alpine-like at an 8,000-foot elevation offers incredible viewing conditions of the sun. When the roads are closed to Tenaya Lake in the winter, all of my solar imaging is done at my studio in Carmel, California. At the same time, I also study the fall of photons on Earth. Photographs of the sun itself only represent ten percent of my new work.

AK:     Had you worked with solar telescopes in the past?

BA:     I never worked with solar telescopes prior to this new body of work. It was a steep learning curve. I had to master the basics before I was able to use it as a tool to create art. There was also the physical challenges of backpacking this equipment in Yosemite as well as long carries in Carmel and Big Sur. Over time, I learned how to make the telescope setup as light and compact as possible (but still heavy, unfortunately).

AK:     How did you go about getting your book published with Abrams?

Beautiful Whale by Bryant Austin, 
Abrams Books, New York, 2013. 
124 pp., 80 color illustrations, 15x12"
$55.00 Hardcover 
BA:     I had a wonderful opportunity to connect with a literary agent based in San Francisco. She presented my work to ten publishers in New York, and we received numerous offers. I ultimately decided to go with Abrams because of their amazing work with Nick Brandt. Nick is also one of my heroes and a constant source of inspiration into what is possible with this medium.

AK:     What is next?

BA:     My current body of work is comprised of nearly a hundred photographs. Many of them will be featured in my next book to be released in 2020. For now, the most exciting prospect of what’s next is “I don’t know.”

Select works from Bryant Austin's Solar Transit series can be seen in Cosmos, on view at photo-eye Gallery through July 20th, 2018. For additional information on Solar Transit, and to purchase prints, please contact Gallery Staff at 505-988-5152 x202 or

All prices listed were current at the time this post was published; prices are subject to change.

photo-eye Gallery
541 South Guadalupe Street 
Santa Fe, NM 87501
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Book of the Week Book of the Week: A Pick by Laura M. André Laura M. André selects Mind the Gap, by Joshua Lutz, as Book of the Week.
Mind the Gapby Joshua Lutz. Schilt Publishing, 2018.

Laura M. André selects Mind the Gap by Joshua Lutz, from Schilt Publishing, as Book of the Week.

The cover image for Joshua Lutz's new book, Mind the Gap, is a fitting summary of the series, which doesn't so much chronicle as echo his descent into schizophrenia, as well as contemporary social, political, and economic madness.

The collapsing house of cards is not only the inevitable outcome of such a feeble construction; it also symbolizes the fragile balance between the rational and irrational. And the fact that the image hangs in the balance between the two ends of that spectrum makes it all the more exemplary of the work.

Each section of the book consists of a series of engaging -- but not always reliable -- texts, followed by enigmatic images organized around the concept of the gap: a fire fighter hangs suspended above a cryptic setting; a load of dirt just begins to cascade from a dump truck; a colorful butterfly visits a flower while an upturned vehicle sits in the blurry background; self-injury scars mark a young woman's forearm; a bloody razor sits near a pulp fiction book; an undertaker leaves the mortuary at the end of the day.

Mind the Gap is a deeply personal and timely book that also has great universality: "a reference to the gap between thoughts as well as the gap between coherence and confusion." Indeed, these days, it's getting much harder to tell the difference.

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Mind the Gapby Joshua Lutz. Schilt Publishing, 2018.
Mind the Gapby Joshua Lutz. Schilt Publishing, 2018.

Laura M. André received her PhD in art history from the University of North Carolina at Chapel Hill and taught photo history at the University of New Mexico before leaving academia to work with photobooks. She is the manager of photo-eye's book division.

Book Review Ballenesque Photographs by Roger Ballen Reviewed by Collier Brown Like a Eugene O’Neill play, Roger Ballen’s career has been one long journey to the end of night. Now fifty years into that journey, Ballen reflects on “the shadow” that runs through his work, a shadow he can no longer distinguish “from the person they call Roger.”
Ballenesque. Photographs by Roger Ballen. Thames & Hudson, 2017.
Reviewed by Collier Brown

Roger Ballen: A Retrospective.
Photographs by Roger Ballen. Introduction by Max Kozloff.
Thames & Hudson, London, United Kingdom, 2017. In English. 336 pp., 330 color and duotone illustrations, 11¾x12½".

Like a Eugene O’Neill play, Roger Ballen’s career has been one long journey to the end of night. Now fifty years into that journey, Ballen reflects on “the shadow” that runs through his work, a shadow he can no longer distinguish “from the person they call Roger.”

Nor is that shadow distinct from the cages, carcasses, birds and rats, dilapidated mattresses, and haggard faces that encrust Ballen’s photographs with dark, tectonic symbolism. Edmund Wilson, an early twentieth-century literary critic, once wrote that it is “the aim and the triumph of the Symbolist . . . to make the stabilities of the external world answer to the individual’s varying apprehension of them.” Ballen has, over the course of a few decades, perfected a style in keeping with Wilson’s insight.

Ballenesque. Photographs by Roger Ballen. Thames & Hudson, 2017.

Ballensque is an autobiography of style, a style that begs more questions than it does definitions. Why, for instance, do wires appear so often in the photographs? What’s with the animals and animal parts? What do the walls mean? Why Africa? Why the grotesque? Why the monster and the mystery? I could go on. For a style so instantly recognizable, these are questions that, as Flannery O’Connor said of Christ in the Christ-haunted South, cling like a stinger in the brain.

Ballenesque. Photographs by Roger Ballen. Thames & Hudson, 2017.

Ballen’s own questions about photography began in childhood. Adrienne, Roger’s mother, worked for Magnum in the 1960s. The family home in Rye, New York, exhibited street photography room to room—a source of intrigue and inspiration only enhanced by André Kertész, a friend of Adrienne’s. At Kertész’s apartment, Ballen discovered the power of the surreal. “I owe to Kertész,” he explains, “the understanding of enigma, the quixotic, and the formal complexity that underlies much of my work.”

Ballenesque. Photographs by Roger Ballen. Thames & Hudson, 2017.

From those early, influential years, document and dream, the common and the strange, become thematic antagonists. Ballen stands in the middle, balancing precariously on what he calls the “line.”

The Ballenesque line features for the first time in a photograph called Dead Cat, New York. It’s a street scene. On the left side of the image, a car speeds toward the horizon, a blur of metal and indifference. The painted line at the road’s edge recedes toward nowhere. And in the foreground, with one black, abysmal eye eyeing the viewer, a dead cat (which could easily be mistaken for a dog if it weren’t for the title) stiffens into rigor mortis.

Ballenesque. Photographs by Roger Ballen. Thames & Hudson, 2017.

But rotate the photograph counterclockwise, and the image becomes almost cartoonish. The cat, resurrected, lopes like a goat away from the automobile atop the tightrope of white line. Ballen’s visual vocabulary is born. “I found my line,” he writes, “my shadow, the path to my core—a central theme for the remainder of my career.”

Ballenesque. Photographs by Roger Ballen. Thames & Hudson, 2017.

The shadow and line gave Ballen the symbolic mutability that Kertész had mastered. But how to capture something so fleeting? How to lock it into place? How to make it durable? A geologist by training, Ballen gravitated toward the mines of the places he visited. Like the concrete road reaching beyond the horizon of the cat photograph, stone signified for Ballen longevity beyond mortality. Rocks surround life like a wall. Shadow, line, wall — the third symbol and most resilient feature of the Ballenesque. “The wall was paramount; it was not background, but articulated surface, identified with the picture plane. On the smudged surfaces could be found wires, photographs hung in an uneven, incoherent way, children’s drawings, grease and dirt stains. Like a painter [which Ballen had been, for a time], the ‘living wall’ became my canvas.”

Ballenesque. Photographs by Roger Ballen. Thames & Hudson, 2017.

For all the life this wall adds to Ballen’s style, death is a constant menace, not to mention a source of controversy. It parades itself alongside racial disparity, poverty, illness, violence, deformity, and taboo, all of which take center stage at various times, in various images. Some see in the work a voyeuristic sideshow of despair. But as the voyeur gazes ever inwards, the rats, pigeons, human bodies (without faces), stone slabs, and entangled wires strengthen symbolically. Make of those symbols what you will, but the popular fascination for Ballen’s photography — as seen in the Ballenesque music video for I Fink U Freeky by the South African hip-hop trio, Die Antwoord — suggests a deeper, collective familiarity with these images than many of us would care to admit.

Ballenesque. Photographs by Roger Ballen. Thames & Hudson, 2017.

Universality aside, Ballenesque tells the story of one man, one imagination, one journey. And to that end, I’d be remiss not to recommend this book for its story-telling as much as its photography. Ballen writes with precision, clarity, drama, purpose, and intuition. This retrospective will be the go-to for students bent on decoding Ballen’s symbols: “I have come from nothing, know nothing, and will become nothing,” says the photographer at the close of the book. But don’t expect the last word to be that simple. “You cannot beat life,” he adds, wryly turning his fatalistic creed counterclockwise. — Collier Brown

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Collier Brown is a photography critic and poet. Founder and editor of Od Review, Brown also works as an editor for 21st Editions (Massachusetts) and Edition Galerie Vevais (Germany).

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photo-eye Gallery Cosmos:
Linda Connor's prints from the
Lick Observatory
Anne Kelly Connor's images prominently feature glass plates made at the Lick Observatory in the late nineteenth-century through the early twentieth-century and fit Cosmos' core themes of transformation and wonder.

Linda Connor – August 31, 1896, Contact Print, Printing Out Paper, Gold Toned,10x8" Image, SOLD
Please Inquire about Availability 

Linda Connor's gorgeous gold-toned prints form the Lick Observatory in California are a long-time staple at photo-eye Gallery and we are thrilled to have a number installed in our current exhibition, Cosmos. Connor's images prominently feature glass plates made at the Lick Observatory in the late nineteenth-century through the early twentieth-century and fit Cosmos' core themes of transformation and wonder. Gallery Director Anne Kelly spoke with Connor about the Lick Observatory project back in 2012 during our Solar exhibition and detailed the heart of how and why the series came to be. We would love to share an excerpt from that work with you here.

Book Review Forever By Anthony Hernandez Reviewed by Karen Jenkins “Forever comprises color photographs from 2007-2012, made during so many walks through downtown L.A., Compton, Watts and South Central, in which Hernandez assumed the borrowed vantage point of fellow Angelinos who are homeless. These images continue his work, which began over twenty years ago with Landscapes for the Homeless, while taking a somewhat different tack."
Forever. By Anthony Hernandez. Mack, 2017.
Reviewed by Karen Jenkins

Photographs by Anthony Hernandez.
Mack, London, England, 2017. 108 pp., 68 color illustrations, 9¾x9¾".

Los Angeles may be a city of drivers, but Anthony Hernandez’s vision doesn’t take shape from a moving car. During fifty years of photographing, he has determinedly pulled over, parked and struck out as a native observer on foot. Forever comprises color photographs from 2007-2012, made during so many walks through downtown L.A., Compton, Watts and South Central, in which Hernandez assumed the borrowed vantage point of fellow Angelinos who are homeless. These images continue his work, which began over twenty years ago with Landscapes for the Homeless, while taking a somewhat different tack. While the earlier images created a sense of fragility of experience through precarious shelters and scant possessions, Forever is more about the grinding permanence of circumstance; homelessness and the systematic failures behind it, seemingly here to stay – forever.

Forever. By Anthony Hernandez. Mack, 2017.
Forever. By Anthony Hernandez. Mack, 2017.

The photographer’s movements, as he walks in another’s shoes – in alternative paths and inevitable obstacles, workarounds and dead ends – are felt in Hernandez’s images. His wife Judith Freeman wrote the companion essay to Forever, in which she weaves his own words into a precise description of his various Los Angeles routes – identifying street names and businesses, named sets of railroad tracks and freeway entrances. Yet for all his insider knowledge, gleaned from a lifetime of traveling the city, Hernandez’s photographs include few tangible markers of the city itself. Instead, he selects for view the kind of cinder block walls, chain link fences, and spray-painted imagery that could be in any urban environment. By depicting a certain “Unland” as Freeman’s essay title suggests, Hernandez’s message reaches beyond his home city. The issue is not only forever, it is everywhere. His creation of meaning in nondescript, not to mention empty, abandoned and unpeopled spaces can also be seen in Discarded (2012-2015). In this series, Hernandez explored the fallout from the 2008 recession for Californians, in so many abandoned house projects, held up by little more than their absent owners’ left-behind dreams and looming debt. His roving approach may well recall his start in a conventional street photography vein, but his photographs now belie a practice so fundamentally dependent on the overt depiction of people.

Forever. By Anthony Hernandez. Mack, 2017.
Forever. By Anthony Hernandez. Mack, 2017.

The photographs of Forever also echo a central aspect of Hernandez’s earlier series, Waiting, Sitting, Fishing, and Some Automobiles: Los Angeles. These photographs of Angelinos waiting for the bus or on a break from work summon those liminal spaces that are not this, but also not that. Similarly, the images in Forever suggest that the homeless must forever negotiate the more portentous thresholds of in/out; sheltered/exposed; seen/unseen. The fringe areas (literally and metaphorically) of liquor stores, tobacco shops and strip clubs described in Freeman’s text are themselves understood as potential thresholds of no return. Certain photographs in Forever further occupy the cusp between living and the dead, in a dangling crucifix, a dead girl’s photograph and a defunct funeral tag. Page after page of fences and walls, and objects strung up and weighed down, conjures the explosive politics of the U.S. southern border and the practical impotency and indecency of these markers of other, of lesser. Hernandez’s work has been seen more widely in the last several years; may it continue to serve as a visible refutation of the landscape of homelessness as a zero-sum game and purgatory with no end. — Karen Jenkins

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KAREN JENKINS earned a Master's degree in Art History, specializing in the History of Photography from the University of Arizona. She has held curatorial positions at the Center for Creative Photography in Tucson, AZ and the Demuth Museum in Lancaster, PA. Most recently she helped to debut a new arts project, Art in the Open Philadelphia, that challenges contemporary artists to reimagine the tradition of creating works of art en plein air for the 21st century.

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photo-eye Gallery Gallery Favorites:
Cosmos – Part 1
For the first part of our two-part Favorites Series for June, Gallery Staff is focusing on Beth Moon's African Tree Portraits, Bryant Austin's minimal and atmospheric landscapes, and Chris McCaw's unique sunburnt images from Cosmos

In Cosmos, our current exhibition, six diverse artists celebrate humanity’s fascination with the vast expanse beyond Earth’s boundaries focusing on heavenly bodies as a means to convey notions of time, scale, and splendor. For the first part of our two-part Favorites Series this month, Gallery Staff is focusing on Beth Moon's African tree portraits, Bryant Austin's minimal and atmospheric landscapes, and Chris McCaw's unique sunburnt images.

If you are in Santa Fe, Cosmos will be on view during the Santa Fe Institue's Interplanetary Festival taking place Thursday, June 7th, and Friday, June 8th in the Railyard. photo-eye Gallery will remain open until 7pm both nights to participate in the festival and Cosmos will be on view through the 20th of July. Please join us for a look at this incredible group exhibition. If you're unable to visit the gallery, all works from Cosmos can be viewed on our website.

Yoana Medrano – Gallery Associate

Aquila, Archival Pigment Ink Print, 30” x 20” Image, Edition of 15, $2500, ©Beth Moon
Yoana Medrano
Gallery Associate
505-988-5152 x 116
I know that I am supposed to say that it was really difficult to pick a favorite, that I stewed and thought about it for days, but I didn’t with this set. Beth Moon’s Aquila really pulled me from the moment that I saw it. It could be because orange is my favorite color or that I haven’t really seen anyone capture the stars in this way before. I love the connection of the earth and all of space! The tree is sprouting up and makes your eyes follow the galaxy until you run out of photograph. It’s a really lovely dance between the here and now and the unreachable. I may not be able to reach the stars but this insanely old tree with its wise limbs seems to be so close.
– Yoana Medrano

Anne Kelly – Gallery Director
I'm Here: The Sun Leaving Cathedral Spires, Yosemite, 2016, Archival Ink Print, 22x15" Image, Edition of 10,  $3400, ©Bryant Austin 
Anne Kelly
Gallery Director
505-988-5152 x121
I met Bryant Austin at PhotoAlliance’s Our World portfolio review in San Francisco. During the review, I met with dozens of talented photographers, but in the end, it was Austin’s work that I had a particularly strong connection with —  one particular image I'm Here: The Sun Leaving Cathedral Spires, Yosemite, 2016 was and is still burned into my mind. This image is now featured on the card for our current exhibition Cosmos.  In my experience Bryant Austin's images are transformative.  Though they are made in a specific place (Yosemite) at a specific time (when the sun is at specific parts of the sky) and are recorded utilizing a highly controlled and highly technical process, the images transport me somewhere that is quiet and full of magic. Something about the sun and silhouette of the lone tree and cliffside evokes something primal — a profound and deep connection with nature.
– Anne Kelly

Lucas Maclaine Shaffer – Special Projects & Client Relations

Chris McCaw – Sunburned GSP#408 (Great Salt Lake), 2009, Unique Gelatin-Silver Print, 11x14" Image
Price Upon Request
Chris McCaw's work is sublime. Using a handmade 8x10 camera and loaded with vintage photographic paper, McCaw transforms Utah's Great Salt Lake into a primordial scene in his image Sunburned GSP#408. Here, a dense murky void is broken only the shimmer of water in the central foreground and a piercing black object seemingly streaking skyward from a shadowy horizon below – it's faint radiating halo lending the phenomenon a tantalizing power. The void is ominous, dangerous in its utter lack of detail, and yet I feel compelled to move forward, to investigate the inexplicable event. I love this paradox.

Lucas Maclaine Shaffer
Special Projects & Client Relations
505-988-5152 x114
Of course, with context, in the safety of the gallery we know the mysterious object is the sun on its routine midday approach, and the void a serene Western American landscape, yet neither of these aspects are apparent in the image. Not only has McCaw devised a way to make landscape photography feel unfamiliar, here-to-for unseen, but is able to simultaneously reveal how spectacular something as benign as the mid-morning sun really is. In the past, we've recommended collecting work you love, something that enriches your life on a daily basis, and for me, Sunburned GSP#408 is certainly an image I could ponder, admire, and enjoy every day.
– Lucas Maclaine Shaffer

All prices listed were current at the time this post was published. For more information on Cosmos, and to purchase prints, please contact Gallery Staff at 505-988-5152 x202 or

Book of the Week Book of the Week: A Pick by Forrest Soper Forrest Soper selects Duelos y Quebrantos by Sebastián Bruno as Book of the Week.
Duelos y Quebrantos 
 By Sebastián Bruno. Ediciones Anómalas, 2018.
Forrest Soper selects Duelos y Quebrantos by Sebastián Bruno from Ediciones Anómalas as Book of the Week.

"I have been waiting for Duelos y Quebrantos by Sebastián Bruno to be made into a book for many years. Now, thanks to the Spanish publisher Ediciones Anómalas, I finally have the book in my hands.

Over the course of four years, Bruno retraced the journey of the fictitious Don Quixote as he walked across Castilla La Mancha in central Spain. Naming the book after a regional dish first mentioned by Miguel de Cervantes in the early seventeenth century, Bruno imbues his work with subtle and often contradictory symbolism. The dish, an omelet of chorizo, bacon, and sometimes lamb’s brains, is believed to have originated when regional farmers would create a meal from the unexpected loss of a farm animal. The term ‘Duelos y Quebrantos’ does not translate directly to English. Some say it means ‘Duels and Losses’, some say it means ‘Mourning, and Carrying Forward’, and others say it means’ Bereavement and Breaking’ — the last translation referring to Jewish and Muslim individuals breaking with their former faith as they were offered this dish after converting to Christianity.

As you read the book, you quickly realize that the images are as multi-faceted as the title. Haunting black-and-white photographs seem timeless as they paint a picture that speaks equally to the reality of the present and the fiction of the past. Religious iconography is seamlessly paired with raw scenes from the street. Day and night blends into one, as allusions of matadors flood the pages among woven tapestries and plates of food. The work is distant and detached, yet engaging and direct. In Bruno’s world, everything is both exactly as it appears, and nothing like it appears.

At the end of the day, I suppose that’s why I’m drawn to Sebastián Bruno’s imagery. It is a rare occurrence when you have a book that is both so intellectually challenging and so straightforward and accessible at the same time. Duelos y Quebrantos is a book with many different interpretations that are all equally relevant and captivating.

It doesn't matter whether you see windmills or giants when you read this book, you will still be left awestruck by this criminally under-rated work." — Forrest Soper

Purchase Book

Duelos y Quebrantos By Sebastián Bruno. Ediciones Anómalas, 2018.
Duelos y Quebrantos By Sebastián Bruno. Ediciones Anómalas, 2018.

Forrest Soper is an artist and photographer based out of Santa Fe, New Mexico. Forrest is the editor of photo-eye Blog, a former photochemical lab technician at Bostick & Sullivan, and a graduate of the Santa Fe University of Art and Design.

photo-eye Gallery NEW WORK
Michael Lange – BERG
Photographed exclusively in the French Alps, Michael Lange's new series, BERG, is an atmospheric meditation on our relationship with the landscape.

Berg – #F043, Archival Pigment Print, 24x32" Image, 1/7, $2250
Michael Lange's ongoing series, BERG, meaning mountain in German, is a study of the Fench Alps focused on examining the juxtaposition of fixed and transitory elements in the environment. Often photographed in wide panoramic diptychs, the atmospheric images in BERG elicit notions of transformation as the mountain-scapes solid presence merges with surrounding elemental forces. Overall, Lange views BERG as a meditative exploration of our relationship with the landscape.

Berg – #F038, Archival Pigment Print 32x24" Image, 1/7, $2250
photo-eye spoke with Lange to provide additional context for the project.

"The latest series BERG mountain, is a continuation of my recent landscape studies FLUSS( river, 2015) and WALD (forest, 2012). 
The series is a meditative exploration of our relationship with the landscape. It follows the idea of transformation, of merging solid presence with elemental forces. An encounter of the ephemeral and solid. The raw massiveness of cliffs, ravines and peaks versus wind, clouds, snow, and rain - always unique and unpredictable. Changes come within an instant and are brief. Stillness is broken by furious storms, visibility by the sudden opacity of fog. 
Since 2013 until today I ranged the French Alpes on countless visits. The inherent power and beauty of rock formed an instant bond and affection which hasn’t stopped. A longing to connect with nature and stillness is a strong stimulus for my work, besides the joy of spending days in solitude surrounded by rock. Being exposed and waiting for countless days for the unexpected to happen has formed a deep relationship and love.  
Photographed in the French Alpes, the project will be completed by end of 2018. "
–  Micheal Lange 
Prints from BERG are available in three limited editions:

24 x 32 Inches Total – 2) 24 x 16 inch prints (diptych)
Archival Pigment Print
Edition of 7 

1 $ 2,250
2 $ 2,500
3 $ 2,750
4 $ 3,000
5 $ 3,250
6 $ 3,750
7 $ 4,400

40 x 53 Inches Total  – 2) 40 x 26.5 inch prints (diptych)
Archival Pigment Print
Edition of  5

1 $ 5,500
2 $ 6,250
3 $ 6,900
4 $ 7,500
5 $ 8,800

60x80 Inches Total – 2) 60x40 Inch Prints (diptych)
Archival Pigment Print 
Edition of 2 

1 $ 15.000
2 $ 17.500

Most prints are currently still available at their starting price tier. Please contact Gallery Staff for exact pricing on individual works at 505-988-5152 x 202 or

All prices listed are current at the time this post was published.