Call For Art: Top Tips For a Strong Submission

Submitting to calls for art is one of the most effective ways to build your exhibition history, gain visibility, and connect with galleries and curators. Whether you’re an emerging artist or have been exhibiting for years, a strong submission can make a significant difference for your art career.

Since we’re currently reviewing entries for First Look 2026, we wanted to share some helpful tips that apply to any call for art, while also giving you a sense of what we value at Panopticon Gallery.

1. Choose Work That Represents Your Current Artistic Voice

Most juried calls look for work that feels fresh, relevant, and reflective of where you are creatively. Select pieces that show what you’re exploring now, rather than older work that no longer aligns with your direction.

For First Look 2026, we especially appreciate submissions that show clarity of intention—whether the work is finished, experimental, or part of a developing series.

2. Edit Your Selection Thoughtfully

A cohesive submission is almost always stronger than a broad or varied one. Aim to choose works that speak to each other visually or conceptually.

For First Look, a focused submission shows us how your ideas connect, and it helps us understand your voice quickly and clearly.

3. Keep Your Artist Statement Clear and Concise

Jurors and curators appreciate statements that are readable, honest, and to the point. Avoid overly academic language unless it truly fits your practice.

For example, a strong statement for First Look might include:

• Your subject, themes or questions.

• Personal connection, or what drives the work you submitted.

• Your artistic process.

No need for long essays, clarity and a strong personal connection is more impactful than length.

4. Share a Bit About Your Process

Many jurors appreciate knowing how the work was made, especially if your process directly informs the message of your project. Whether you use alternative processes, digital manipulation, or mixed media, a short explanation can often deepen our understanding.

For First Look, process notes are especially helpful because our audience loves both photographic craftsmanship and conceptual experimentation.

Image: Diana Nygren Cheren, Chance of Rain, First Look 2026

5. Follow File Guidelines Carefully (Size, Format, and Color Space Matter)

Most calls for art (especially photography-focused ones like First Look) rely entirely on digital files for the jurying process. Because of that, following the technical guidelines exactly is one of the most important, and most overlooked, parts of a strong submission.

Every gallery has slightly different requirements, but here are the essentials:

• Match the requested file size and dimensions
  Oversized files may not upload correctly, and undersized files can look pixelated or blurry during review. If a call asks for, say, 1500px on the long side or under 5MB, stick to it.

• Use the correct file format
  Most galleries (including Panopticon Gallery) prefer JPEGs because they load quickly. Avoid TIFFs, PSDs, or HEICs unless requested.

• Export in the requested color space
  Calls often specify sRGB, as this is the preferred profile for digital viewing, which ensures consistent color across screens. Submitting files in AdobeRGB or ProPhoto can lead to muted or inaccurate colors when viewed by jurors, preventing your work from being viewed as you intended..

• Name your files clearly
  Use the naming format provided by the call, usually something like:
  LastName_FirstName_Title.jpg
  Clear filenames help keep your submission organized for jurors during the review process.

• Avoid heavy compression
  Over-compressed images show artifacts, banding, and loss of detail. Aim for high-quality JPEGs that meet the size guidelines without sacrificing clarity.

• Check your brightness and contrast on multiple screens
  What looks correct on one device may appear too dark or washed out on another. A quick check on a second screen can make a big difference.

For First Look 2026, clean, properly exported files allow us to evaluate your work fairly and accurately. They help your images stand out for the right reasons.

Left image shows the file exported correctly with sRGB, while the image on the right was incorrectly exported as ProPhoto. Note the differences in saturation, color, and contrast which change the way the image is represented. Image by Alexa Cushing

6. Consider How the Work Lives in Space

Even if the call doesn’t ask for presentation details, think about scale, context, and how the piece might appear in a gallery. This helps you select your strongest work and can guide you in describing it.

Because First Look is a gallery exhibition, we often envision how each piece could function on the wall or in conversation with other works throughout our jurying process.

Photos: Owen McCarter, Three Eyed Fish from First Look 2023

7. Submit Before the Deadline if Possible

While many artists upload at the last minute (no shame!), submitting early has advantages:

• Fewer technical issues

• More time to review your materials

• More time for curators to sit with your work

For First Look 2026, early submissions help us spend more time with each entry, and they tend to stand out. We also like to share current submissions on social media to promote the call for art, so submitting your work early allows for more opportunity for your work to be promoted!

Why Submitting to First Look Matters

If you’re looking for a strong opportunity to share your work, First Look is a great place to start. It’s one of the best ways to:

• Get your work in front of both the team and patrons at Panopticon Gallery. Each year, First Look is one of my anticipated and highly viewed shows, so it is a great way to increase exposure to your work.

• Introduce your practice for future opportunities. We use First Look submissions not only for the exhibition, but also as a way to connect with artists for future exhibitions after.

• Not only be considered for First Look, but also for Second Glance, our annual small-works exhibition that runs in tandem alongside First Look. One entry puts you into the jurying for both shows.

Final Thoughts

Submitting to calls for art can feel intimidating, but with a clear, well-prepared entry, you give your work the best chance to connect with jurors. Whether you apply to First Look 2026 or another opportunity, these practices will help your submission stand out.

Ready to apply? You can submit to First Look 2026 here: https://www.panopticongallery.com/first-look-2026

Submissions are due December 29th 2025 11:59pm EST

Image by Andriana Nativio, First Look 2025

Kat Kiernan: Meet Panopticon Gallery's new Director

A great big welcome to Kat Kiernan! Kat is not only our amazing new gallery director, but she is also to Editor-in-Chief of Don't Take Pictures, a bi-annual publication that discusses modern photography as well as featuring talented artists. In 2015, Kat received the Griffin Museum of Photography's Rising Star award and was named one of Photoboite Agency's 30 women photographers under 30 to watch in 2012. Kat has exhibited across the country and is a widely published writer. She has a BFA in photography from Lesley University College of Art and Design (formerly the Art Institute of Boston).

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You work in many aspects of the art world as the Director of Panopticon Gallery, Editor-in-Chief of Don’t Take Pictures, and as a photographer. How did you become interested in photography, curating, and writing?

Although I haven’t spent a lot of time putting my own work out into the world, everything that I do as a writer and curator stems from my own experiences as a photographer. I published my first article in a national magazine during my senior year of college to accompany my documentary photographs of people who live aboard their boats year-round in Boston. I thought that the magazine would be far more likely to publish my photographs if they were accompanied with an article, so I wrote it myself.

I began curating straight out of art school when I opened The Kiernan Gallery as a venue for photographers who, like me, were just starting to exhibit their work. I later expanded the space to curate solo exhibitions, off-site pop-ups, and other art events.  Don’t Take Pictures evolved from The Kiernan Gallery just before I closed the gallery and moved to New York City. Initially, I wanted to produce an annual that would highlight the best of what we exhibited that year, but I was planning to relocate and wanted to publish something bigger and which was not tied to a specific place.

Now, as the Director of Panopticon, I am incorporating some of what I learned in New York and some of what I learned at The Kiernan Gallery into a more traditional model of representing a small group of photographs while taking a less-traditional approach to engaging with collectors. As a photographer myself, every decision I make in the gallery is based on what I would want and expect from a gallery that represents me.

 

Do you have a favorite non-photographic hobby?

I am not really a hobby kind of person. If I am interested in something, I tend to dive in 100% and turn it into something more. However, for a large portion of my life boating was my hobby and I still jump at the chance to crew a boat whenever I can.

What is one of your favorite exhibitions that you have seen?

I recently saw the Louis Vuitton “Volez, Voguez, Voyagez” exhibition at the American Stock Exchange in New York City. Without question, it is one of the best examples of exhibition design that I have ever seen. Each room felt like stepping onto a film set. This shouldn’t have been a surprise, considering that Louis Vuitton has one of the best visuals teams in the world. I am not as well-versed in fashion as I am in other arts, and the immersiveness of each room taught me a lot about the impact of high fashion on the last hundred years of our culture.

 

Who are your influences in photography, curating, and writing?

Two of the many photographers who have influenced me are Francesca Woodman for her intuitive experimentation with self-portraiture, and Arno Minnkkinen for his dedication to a life-long body of work and for the wonderful mentorship that he has given me. I am also influenced by the photographers that I have the privilege of publishing and exhibiting.

I am also influenced by Alfred Steiglez, a renaissance man who had great vision as a photographer, as the publisher of the first photography journal Camera Work, and a curator of the gallery space 291.

Vicki Goldberg is probably my biggest influence as a writer. Her writing is insightful, original, and covers a range of topics within the photographic medium. It is also very accessible as it is written for everyone, not just the academics.

What is your advice for those who want to start their own publication?

Always hold yourself accountable. A publisher must be accountable to the artists that they publish by making sure that their work is well represented (good quality reproductions, accurate information, correct and well-placed quotes). A publisher must be accountable to their writers by editing with rigor and compassion, and defending them when needed. Most importantly, a publisher must be accountable to the readers to produce the best publication possible.

A lot of magazines start out with ambitious publication schedules and, for various reasons, cannot hold to them. I publish in print twice per year and online about four times per week. As organized as I am, there have been more than a few all-nighters for the next day’s content. Writers and artists will miss deadlines, advertisers won’t pay invoices, and printers will lose proofs. None of your readers should know about any of this, and none should be expected to care. Readers care that their magazine arrives in their mailbox on time with inspiring images and insightful prose. If that doesn’t happen, your reputation as the publisher will suffer. There is no passing the buck, there is only high standards, problem-solving, and accountability.

College Series: What to Spend Your Money On

Its back to school time and we have decided to introduce a college series on the blog. In this series we will discuss issues related to students who are interested in photography and the arts. Welcome to the first of the series: What to Spend Your Money On!

You are in college, You are strapped for cash, but you need some gear and some software in order to make work. Well first off, you are in luck. Most colleges with art/ photo programs, have a "cage" or "lockup". These are places that you can visit to "rent" or check out/ barrow equipment from. You usually need to be enrolled in a related class to have access so check with your school for their particular policy.  That said, these places are great and usually filled with cameras, lenses, tripods and various other gear that you might want to try out. While you can, rent everything and save your money,  don't buy anything you don't absolutely have to. If your college does not have a place to rent items, you can always try to borrow as much as you can from your friends or classmates. Remember you can do a lot with a little!

Freshman year, you shouldn't commit to a camera or equipment that you might grow out of or realize isn't for you. Your first year is a time of learning and exploration. During this time you will be figuring out what you like and what works for you. "Renting" and or borrowing equipment is the best way to try out different things without losing your money.  In most programs there is usually a computer lab staffed by upperclassmen / work study students who are there to help with any questions you might have. These computers labs are usually restricted access like the "lock ups" and are a great resource.  They should have all the software you need so there is no need to pay for a license either.  The message here is just don't spend your money.

Another thing that many students worry about is the cost of printing and framing work. In the beginning, don't bother spending money  printing on fancy papers. Use inexpensive paper to make smaller work prints. Until your work calls for larger sizes, there is no reason to shell out your hard earned money. If you get into a show and need to frame something, simple is usually best. Ask around. The people at the photo "cage" and your instructors will have some recommendations on places that will have what you need, either for do it yourself or full service framing. Don't be afraid to ask if they have  a student discount. We here at Panopticon have a 15% discount with valid current student ID.

So, if you really want to purchase your own gear and software; make sure you will use them. Think of the 80/20 rule. Will you use it 80% of the time or 20% or the time? Do not buy it if you will only use it under special circumstances or just for one project. Most gear, if treated right, will last you a long time, take care of it and it will take care of you. If you feel you must purchase something, make sure you have tried it out for a while before you purchase. If your school doesn't have something there are  brick and mortar and on line rental houses that probably do. They often have a weekend deal on rentals. Usually if you pick up on Friday and return Monday they don't charge for Sunday. Now with these places you are spending some money. This can be a good investment what if that piece of specialty gear just wasn't what you expected? or that camera really didn't make the images you wanted? some money spent but more saved.

What if it was all that and you have to have it? Well the used market is the place to start. Again ask around at your school. Chances are some one has something they bought and no longer need. If not those same instructors and "cage" staff know of the local or on line camera dealer where you can pick up what you need with a warranty at a fraction of the cost for new. Oh and those rental houses, they often are selling off gear they don't need any more some give them a look as well. Remember in a few years you might be the one putting up flyers to sell that piece of gear you needed so badly. It happens, what you thought you would be doing for the rest of your life in freshman year might be very different from what you are doing in your senior year. This is what college is for figuring all this out, finding what it is you want to do and growing as an artist and person.

Our best advice is to save your money for food, rent, and / or experiences that you would like to have in your college years before you graduate and lose access to all the wonderful things in the "lock up/Cage" for ever. Rent before you buy, and buy used from a reputable dealer if you do decide to buy. That and make lots of work!

Digital Paper Options

The world of digital papers is endless but not all papers are created equal! Here at Panopticon we use a variety of papers with Canson and Epson  being our preference for their archival natures. While we have our favorite papers to work with we are always happy to custom order papers for you and create new printing profiles for our printers. Paper choice is a personal preference and we recommend that you come in to review the options and talk to us about what you are looking for. If you are not able to come in to the office we can provide you with test prints on a variety of papers so you can review them at your convenience.

Our price lists offer two qualities of paper: standard and exhibition. Both paper options use archival inks. The only difference is standard papers are a lighter weight than the exhibition papers. If you think about it in old school darkroom terms, standard paper is the equivalent to RC paper and exhibition paper is fiber paper (for a more in depth look at darkroom papers visit our Darkroom Details blog post!)

Here are some of the papers we offer for digital printing:

* - marks "standard" papers"

MATTE PAPERS:

Epson Hot Press Natural

Epson Hot Press Bright

Epson Cold Press Bright

Canson Rag Photographique

Hahnemuhle William Turner

Epson Enhanced Matte *

GLOSSY & LUSTER PAPERS:

Canson Platine Photo Rag

Canson Baryta

Epson Premium Luster *

Breathing Color Vibrance Metallic

Harmen Fiber Based Wamrtone

Ilford Gold Fibre Silk

Hahnemuhle Fine Art Pearl

We are going to FILTER!

What is Filter Photo Festival?

“Filter Photo is a not-for-profit 501(c)(3) organization based in Chicago, Illinois.

Filter Photo’s mission is two-fold: first, to serve and support the photographic communities of Chicago and the Midwest; and second, to highlight Chicago as a vital center of the national photographic community.

Since 2009 Filter Photo has organized the annual Filter Photo Festival, a multi-day celebration of photography that includes workshops, lectures, exhibition receptions, artist talks, and other diverse programming. A primary component of the Festival is the portfolio reviews, through which photographers are able to connect with national and international curators, gallery directors, editors, and other elite professionals.”.

How do I apply to Filter?

You can register here. Sign up for 5 or 8 portfolio reviews and/or workshops. Reviewers included Paul Tagnorelli of the Griffin Museum of Photography and Kat Keirnan of Don’t Take Pictures. Workshops are presented by artists such as Keith Carter, Brandon Thibodeaux, Karen Irvine, April Wilkins, and S. Gayle Stevens. Also, artist talks by Alice Q. Hargrave, Patty Carroll,Leonard Suryajaya, Ross Sawyers, exhibition receptions, and much more. Some of the workshops have already sold out so make sure to get your spot!  Joel-Peter Witkin is this years keynote speaker and he will be giving a lecture on Thursday September 22.

What to expect from us at Filter?

This is our first time at Filter and we are very excited! This means a lot to our small business and we can't wait to meet the artists, speakers and the Filter Team in person. You will get a chance to meet our talented staff members Elizabeth Ellenwood and Nick Schietromo.  They are thrilled to visit Chicago and share Panopticon’s photographic printing practices and knowledge.

We will be including details on how to prep for a portfolio review within the next few weeks so stay tuned!

Day in the Darkroom

Paul and Liz have been busy printing  Stephen Sheffield's beautiful photography. We have 26 negatives and making over 50 silver gelatin fiber prints in total for this artist! We always enjoy working with Stephen and love the range of tones in his black & white negatives. Film is most certainly not dead!

Tech Blog: Colorspace, File Formats and Untagged Files

Have questions about digital printing? How to get images to us? What type of file to send? We have tried to start simply and move onto the more complex questions. If you have questions regarding any of this or just want to review the process with us, please call or email us! First things first… You can upload us files here and you will see this screen from Hightail. You can drag and drop your images for upload to us.

Do I send Jpg, tif or psd? Raw?

You can send us any of the above. We have provided some details below about the difference between each type of file.

Raw are the proprietary file from the camera manufacture. Some examples are: Canon (.crw, cr2), Nikon (.nef, .nrw), Sony (.arw, .srf, .sr2), Pentax (.pef, .ptx).  Raw files hold the most data from your digital camera and are the easiest file to adjust exposure, contrast, white balance and other fine tuning. We can edit your Raw files however this requires an editing charge.

JPG is best for web use, but still can be printed from if it has high enough resolution and was saved at a high enough quality. (80+ in Lightroom, 10+ in Photoshop).

PSD is an Adobe Photoshop proprietary format. It can handle all of Photoshop’s features, but has some compatibility issues with non-Adobe products and Lightroom. PSD has a 2gb files size limitation.  Due to the compatibility and size issues, PSD has been (or should be) replaced by TIF by most photographers.  We prefer TIF.

TIF is one of the most universally accepted formats. It can be opened by most image editing and page layout software. TIF supports all the same things as PSD and has a larger file size limitation (4gb).

Ultimately, just send us what you have and we’ll figure it out. Got layers, send us those too. We can always provide assistance with your files or if you want to sit with one of our Digital Technicians and review files in person.

OK, so a tif  file, 16bit or 8bit?

Either one is fine. Whatever works for you.

What color space should I sent it in? AdobeRGB98, sRGB, ProPhotoRGB

You can send us files in any of these color spaces. You should be working in either AdobeRGB98 or ProPhotoRGB to begin with. sRGB is meant as a web colorspace, anything you upload to your website or facebook should be in sRGB.

As far as AdobeRGB98 or ProPhotoRGB goes, it could go either way. ProPhotoRGB is much bigger than AdobeRGB98 and can produce more colors. However, you must work in 16bit with ProPhotoRGB otherwise you can end up with posterization effects (banding). The other down side to ProPhoto is it includes imaginary colors. Yes, I said imaginary colors. They (Kodak) made the ProPhotoRGB color space so big that 13% of the colors included do not exist in the real world and are not visible colors. This can lead to color issues when printing. Some colors will become over-saturated or will be estimated to its nearest in gamut color and can cause banding. Even the best printers in the world can’t print imaginary colors.

AdobeRGB98 is larger than sRGB, is easily printable by commercially available printers and includes no imaginary numbers. Its not perfect, nothing is, but it is the standard most of the photographic world uses.

If you have a gray scale file, that is fine as well. Gray Gamma 2.2 will do just fine.

What about CMYK?

Leave that to the offset printers. If you send us a file with a CMYK colorspace we will convert it to AdobeRGB98.

What about an untagged file?

If you send us a file with an untagged colorspace you will get a call from an angry elf… just ask Ron Cowie. Again, you can just send us what you have and we’ll figure it out. Following our recommendations makes it easier, but we are happy to help in whatever stage you are in!

Custom Wood Frames

We love these custom wood frames from a local wood worker. The details and precision are amazing! Each molding can be made with Ash, Cherry, Maple, and Walnut woods with the option of staining or painting.

Here is Tony King's photograph we framed with the clear lacquered ash & maple splines:

Assembling the matte, glass & frame

Finished framed photograph

Detail of the maple spline

One hanging option: french cleat

Second hanging option: wire with d-rings

Artist Spotlight: Fern Nesson

Fern Nesson is a fine art photographer living in Cambridge, MA. She practiced as a lawyer for twenty years and taught history at the Cambridge School of Weston and, for the past ten years, she was the College Advisor at the Commonwealth School. Fern is currently in her first year of the MFA program at Maine Media College. Her abstract work is rooted in the elegance of light and line and is currently on display in our gallery until May 14, 2016.

"Light Lines 1"

• You have a background in law, how did you transition into the art world?

FN: I have taken a long journey through many, varied careers – lawyer, American historian, fiction and non-fiction writer, history, math and law teacher, college counselor -- but the spine of photography has run throughout my life. My father gave me my first camera when I was 8 and he taught me to develop my photos in the darkroom not long after. Since then, I have been engaged in looking at the world through a camera.

Until recently, photography was my hobby. I knew several great photographers (my father included) and followed their work with interest. About ten years ago, I interviewed my father and we published a book of his work. I have also collected photographs for many years. I am proud to own photographs by Michael Kenna, Ansel Adams and Bruce Cratsley, among others.

Several years ago, I decided to pursue my own photography more seriously. My initial goal was to learn to take better photos. I began by reviewing my past work and publishing several books of my photographs. Then I took a workshop in photography at the Penland School in North Carolina. Finally, last year, I quit my counseling job to do photography full-time.

It’s taken me a long time to accept the challenge of pursuing life as an artist but I am so thrilled to be doing it! Photography provides, as always, a wonderful way to experience the world and the improvement in the quality of my work as a result of studying and practicing it full-time is immensely rewarding.

"Morning Light 1"

• You are currently attending the low residency masters program at Maine Media, tell us a little bit about the program. How has your work changed since starting your studies there?

FN: For my first semester, I am completing synergistic studio and academic projects, both entitled “An Exploration of Seeing.” Since November, I have taken over 20,000 (!) photographs, read a dozen of the great books about “seeing ” and written three lengthy papers describing the evolution of my own artistic vision. As an intellectual and artistic experience, a Maine Media education can’t be beat!

"Light Lines 3"

• Your abstractions of light and shadow show a playful & insightful side to subjects we see everyday. How do you choose what you point your camera at?

FN: Light is the theme in all of my work. I don’t shoot objects for themselves; I shoot their interaction with light: are they illumined from within? Are they transparent? Are they reflective? Are they suffused with light? Do they glow? Are they in shadow? Do they sparkle? My subjects are quite varied but it’s all about the light.

"Morning Light 5"

• What inspires you as an artist?

FN: I am drawn to elegance. In choosing a subject or a scene, I seek elegance in pattern, line, color and shape. I prefer the intricate, small detail, over the panorama. My photographs are abstract but not in the sense of removing detail; just the opposite. I focus on an element and I abstract it through the use of an unusual perspective or point of view.

"Light Lines 5"

• Your current exhibition in our gallery space is a selection of images from various portfolios. How do you feel the individual pieces interact with one another as a whole?

FN: The photographs in my show, “The Light Dances,” are selected from three different series, which I shot in 2015-6. Although they are of radically different subjects – trees at night, a Calder stabile, and the curtains in my bedroom – they have certain underlying and essential characteristics in common.

First, they are each about light: light as it illumines and ennobles a dark object, light as it enhances a sculpture by throwing off shadows, light as it sparkles and brightens a cold winter landscape.

Second they are multiples. Varying the point of view on a single object takes advantage of all angles of the object and allows maximum concentration upon its interaction with light. The multiplicity of views points up what is so great about our existence: we all see things differently from each other and it is that very diversity that makes art and life so interesting.

Third, they use the power of black. Light as a subject shows up so beautifully when it is contrasted with black. Color can seem sometimes to be cheating; it can make even a dull picture interesting but black is a challenge. If you use it well, you get drama; if you use it badly, you get nothing.

"Stabile 1 - 4"

High-Resolution Scanning

We offer high resolution scanning of all film (color and black & white) sizes, from 35mm and 120mm film, to large format negatives, photographs and other flat surface materials.

Lets chat a bit about our FLEXTIGHT scanner.....

With its high-end optics and 3 line x 8000 pixel Kodak Image Sensor, the Flextight X5 produces images of superb quality and detail. Even though you can find scanners with larger sensors, you will not find better clarity and detail rendition when scanning photographic film. This is due to the electronic image handling of the sensor, the mechanical precision of the device, the quality of the filters, and the resolving power of the Rodenstock lens.

Due to their structure as virtual drum scanners, inside the flexible film adapters, the film is curved in a radius and by this way guided around the sensor.  The film is tightened so that it is in a perfect flat position. The Flextight gives you the beautiful quality of a drum scan without having the mess of using mounting fluid.

It is pretty much the Ferrari of scanners and we love it.

Local Art Scene: South Shore Edition

Looking for some places to view art or take some classes? We collaborate with a lot of local organizations and are happy to share what we know.

South Shore Arts Center, Cohasset, MA

The South Shore Arts Center is a non-profit organization located in the small coastal town of Cohasset. They have several beautiful gallery spaces with rotating exhibitions.  They have regular calls for entries with wonderful Curators and Gallerists as jurors.  Also, they have great classes that change with the seasons. Every spring for the last 60 years they have a Festival on the Commons with art exhibitions, craft vendors, great food and music!

firefly53, Pembroke, MA

Let your inner artist out at firefly53! Tim Waite, Owner & Instructor, hosts a variety of photographic classes which include Beginning Photo, Lightroom, Exploring B&W Photography and Paint with Light.  firefly53 changes their classes regularly and even hosts classes once a month if you can't make a weekly commitment. We can guarantee you will not be bored here!

4th Floor Artists, Rockland, MA

Located just down the street in Rockland are two buildings of artist studios! Rockland was a factory town and these old buildings have been converted to artists space. They house a number of artists working in all different mediums from painting and photography to quilting and sculpture. The 4th Floor Artists host an open studios event once a year and a number of art classes and a gallery in the ET Wright Building called Gallery 4. Stop by and check it out.

Plymouth Center for the Arts, Plymouth, MA

Take a drive, look at some art and then walk thru Historic Downtown Plymouth. This a beautiful gallery space in a historic building filled with light.  There is plenty of parking and just a short walk away great restaurants too. The gallery constantly has calls for entry and beautiful exhibitions. They also offer a diverse range of classes from watercolor to pottery.

Artist Spotlight: Peter Angelo Simon

"Dawn Run" 1974

Peter Angelo Simon is a documentary and fine art photographer living in New York City. His subjects have included the creation of New York’s Big Apple Circus, artists at work, South India, and the legendary Muhammad Ali. Peter’s intimate photographs of Ali at his Pennsylvania training camp have been published worldwide, most recently in Muhammad Ali Fighter’s Heaven 1974 by Reel Art Press (April 2016). A solo exhibition at Serena Morton II Gallery in London runs April 8 to May 28, 2016. We have had the pleasure to work with Peter to digitize his negatives and make traditional silver gelatin prints of the iconic American boxer.

"Welcoming the Champ" 1974

• How did the Muhammad Ali project start? How long did you photograph him for, was it a weekend or a few weeks or even months?

PS: New Times magazine wanted photographs for a story they were planning on Muhammad Ali’s preparation for the upcoming World Heavyweight Boxing Championship fight in Zaire, Africa. It was Ali’s chance to regain the title that had been stripped from him when he refused the draft at the height of the Vietnam war. His opponent was the brutal, undefeated George Foreman. I spent two days in Ali’s “Fighter’s Heaven” training camp

"At Camp Entrance" 1974

• What kind of camera(s) & lenses were you using? If you could go back in time would you use the same equipment or would you bring digital technology along with you?

PS: I used my 35mm Nikon film camera with 35mm and 18mm lenses.  I now work with a Nikon digital camera and occasionally a small digital Sony camera.

"Sitting on Logs" 1974

• How did photographing Muhammad Ali impact you as a photographer?

PS: It was an extraordinary experience. It confirmed the value of approaching a subject with a sense of observation and discovery. I had no preconceived notion of Muhammad Ali, just my desire to capture the feeling of being there and the reality of how he spent his time preparing himself physically and mentally for the fight. It’s best to let a subject be themselves.

"In Ring" 1974

• Can you tell us a little about your time studying with Harold Feinstein? How did he influence your photography?

PS: I was writing documentary films for television when I took a workshop with Harold. Harold’s prints and his passion for photography inflamed my latent visual nature. In time it contributed to a shift in my brain from verbal (left hemisphere) dominance to visual (right hemisphere) dominance.

"Letting the Sweat Out" 1974

• Congratulations on your upcoming exhibition at Serena Morton Gallery in London! How did the show come to be?

PS: The exhibition grew out of the decision by Reel Art Press to publish my photographs of Muhammad Ali’s Fighter’s Heaven in one of their elegant photography books.

"Dancing in the Ring" 1974

• Reel Art Press is a company known for showing rare, unpublished and unusual work. Tell us about your experience working on publishing such an extensive project.

PS: I could not have asked for more responsive people to consider my work than Tony Nourmand, David Hill and Serena Morton. They brought fresh eyes and a passion for real documentary photography to the images and responded in a way that others can experience them.

"Ali with Family" 1974

Darkroom Details: What is a RC Print, Fiber Print & more?

We have three working darkrooms here at Panopticon Imaging. Each room has its own specific purpose. One houses the printing lab, one our film processor and the third is where we create LVT digital negatives. In our printing lab we hand/tray process each print to ensure the consistency throughout the printing process. The film processor darkroom details are listed here. Our LVT darkroom is where we can create new negatives from digital files (more details below). We are happy to share information about these processes that we know and love. Video by: Frank Hegyi

rccombo_ver1.2

What is an RC Print?

RC or Resin Coated Paper is darkroom paper with a base that is sealed between two polyethylene layers, meaning it has a plastic base. Since the base is sealed between the two layers it does not actually absorb the chemicals, greatly reducing the amount of time RC prints need to be washed. This is the most affordable darkroom option, however, the least archival. There is developer in the paper to increase speed of development. Over time this will deteriorate giving your print a lifespan of 20-40 years depending upon storage conditions. This is used for contact prints of negatives and prints. This paper was popular with press & newspapers as they needed images fast for breaking news. The RC paper we print on is Ilford Glossy or Pearl with a weight of 190 gsm (Medium weight) paper.

fiberprint_combo1.2

What is a Silver Gelatin Fiber Print?

Silver print, Fiber prints, Gelatin silver as they are commonly referred to and are one and the same. This is a museum quality, tray printing process (not machine processed). Fiber paper is a paper base that is coated with photographic emulsion. The base of fiber prints are not sealed like the RC paper, this makes for a slower process with washing and drying. These beautiful, archival, exhibition quality, black & white, silver gelatin, fiber prints have superior tonal range, durability, and resistance to fading for over 200 years. All prints are finished with a Selenium bath to assure archival permanence. There is the option of warm tone, glossy or matte Ilford Papers. Fiber paper is 225 gsm which is a double weight paper.

Selenium_combo

What is a Selenium Bath / Toning?

We use a Selenium bath to increase the permanence of our Silver Gelatin Fiber prints. For this process we use a combination of diluted Selenium, Fixer Remover and water for a short bath prior to a final wash. Selenium converts some of the original silver image to silver selenide, a more stable form of silver. The Selenium also increases the tonal range available in the paper, deepening the blacks and brightening the lights just a touch. If it is desired, Selenium can also be used to change the color tone of the print. A diluted solution of only Selenium and water will give you a red-brown tone. While a stronger Selenium solution with result in a purple-brown tone.

lvtneg

What is an LVT Negative?

LVT stands for Light Valve Technology. This process which is also known as a Digital Negative or Digital to Silver process is used to create a new negative from a digital file. We have several machines that can create these beautiful negatives on 8x10 sheet film. We have many clients that have damaged negatives that need to be digitally restored and then new negatives made. Also, if you are shooting digitally this give you the option to have prints made in the darkroom. Film is not dead!

LVT negatives: Stephen Sheffield

Packing Tips: Safe ways to wrap & handle Your Artwork

Here at Panopticon we have seen it all for packing material; Blankets, towels, trash bags or worst of all nothing. Framing is expensive and we have some tips on how to keep your frames and artwork safe!

1. Cardboard Corner Protectors

You can always DIY them yourself using scrap cardboard, buy them from Amazon in small batches or order bulk from Uline. This will prevent any rubbing / scratching of the frames. Corners are helpful if you have multiple frames that are all the same size. However, this will not protect the whole frame or the glass/PlexiGlas.

1. Properly Stack them

Make sure to stack your frames vertically and to place them glass to glass and back to back while storing them. This will prevent the hardware from rubbing against your frame. The metal hardware and wire will ding the wood or scratch metal frame very easily. This goes for when they are wrapped or unwrapped.

1. Bubble Wrap

Keep your towels for the beach! While towels might be helpful at home this is not a good or effective solution for preventing damage, as there is no spring to the towel. Foam wrap or bubble wrap will take the impact and prevent your frame from getting damaged. You can order bubble online, pick it up from Uline or your local office supply store.

1. Use Two Hands

Always pic up your frame using two hands! If it is a large image and you grab it by the top it can pull and your glazing can pop out of the frame. Ten and two just like driving school.

1. Have us wrap it for you!

If all of this material is too much to handle we can ease your burden! Wrapping images properly is fun for us. We take care of your beloved artwork and make sure it is safe for handling and transport. If it is local we can deliver it for you or even ship your images. Let us know!

UV Glass – Small Upgrade that makes a BIG difference

UV Glass is like putting sunglasses on your artwork without any tinting and all the benefits!

The upgrade from premium clear (regular glass) to UV Glass (conservation clear) is not an expensive jump in price.  It is usually only a few dollars difference (depending on size). This way when you hang your artwork you don’t have to worry about the sun fading it!

Artist Spotlight: Lindsey Beal

"Foundations" (Daguerreotype)

Lindsey Beal is a photo-based artist in coastal Rhode Island where she teaches at Rhode Island School of Design, Massachusetts College of Art & Design and the New Hampshire Institute of Art's MFA program. She has an M.F.A. in Photography from the University of Iowa and a Certificate in Book Arts at the University of Iowa’s Center for the Book.  Her work can be found at Boston's Panopticon Gallery, Miami's Dina Mitrani Gallery and Portland's 23 Sandy Gallery. Her work combines historical & contemporary women’s lives with historical photographic processes. She is interested in the photograph as object and often includes sculpture, papermaking and artist books into her work. Her work has been shown at national museums, galleries & universities, including recent solo shows at the Griffin Museum of Photography and Danforth Art Museum.  She has been featured on Lenscratch,  LensCulture, Light Leaked, & Don’t Take Pictures and has been published in Diffusion, The Hand, Square Magazine, View Camera and 500 Handmade Books Volume Two.  She recently earned a travel grant from Duke University and the Juror’s Award for Medium Festival’s “Size Matters” exhibit.

"Figure #19" (Ambrotype)

• When and why did you first start using alternative photographic processes in your work?

LB: I originally worked in silver gelatin and then color film, first printing in the darkroom and then scanning my film. When I was applying to graduate school, I knew that I wanted to learn alternative photography but I didn’t know that I would end up working pretty strictly in those processes! Two things were the catalyst for that. First, I was working all-digitally in my “Reproduction(s)” series and missed the tactile and physical work of the darkroom. This lead me to go back into the darkroom but working with historical photographic processes, as well as with printmaking, artist books and papermaking. Secondly, through studying the history of photography (which I love!), I was frustrated by the lack of explanation of what these processes were and how they were done. While there are some great videos now created by the George Eastman Museum and the like at the time, I wanted to see how these iconic images were made--not a short summary in the margins of a textbook or as a label on a slide. I think if you see how a daguerreotype was made, it makes the history of photography so much more real and you appreciate how hard it was to get those first images.

"Ball Grip" (Ziatype)

• How has your work evolved and changed throughout the past few years?

LB: My work continues to explore combining historical photographic processes with women’s lives past and present and has recently focused on how women use technology for pleasure. I am also exploring clothing such as corsets and stays that changed women’s bodies, as well as historical OB/GYN tools used in delivering babies. However, I recently opened up this idea of how the past is present that runs through my work by looking at how social media is similar to the Victorian practice of keeping commonplace books. So this idea of technology and how the past & present overlap, could be something I continue in future work.

"Diaphragm"  (archival digital)

• You recently attended a workshop on Daguerreotypes taught by Jerry Spagnoli at Penland School of Crafts in North Carolina. Can you give us a look into that week learning this historical process?

LB: Penland is incredible and I would highly recommend it to anyone who wants to learn a new craft or process, or to get inspired by working with instructors who are world-renown in their craft and to be with other like-minded creatives. The daguerreotype (becquerel) class was the shortest session I attended at Penland (one week!) to learn this intensive process. But Jerry is an incredible educator and we all came away with some incredible plates and a firm grounding in the process. Generally, at Penland there are demos all week so you get a comprehensive education in the process and then practice it yourself with guidance by the instructor and studio assistant. In the evenings, there are artist talks, open house & art openings and plenty of time for inspirational conversation. One thing that is a strength for a place like Penland, is that there is a lot of room for collaboration with the other studios and with your classmates. I have attended three times and have seen some beautiful collaborations between photography and the book arts & letterpress studios.

• Tell us a little bit about your current solo exhibition at the Danforth Museum of Art in Framingham – how did the exhibition come to be & how did you work on the installation? In a way this show is a retrospective for you and it includes most of your projects – how do the individual pieces interact with one another as a whole?

LB: I was first introduced to the Danforth with their call for entry for their photo biennial two years ago when Francine Weiss juried the show. That show, artist talks and openings introduced me to so many in the New England photography community, (many who have become close friends). Jessica Roscio is the amazing curator there and we got along so well, bonding over photo history and early women photographers. We stayed in touch, meeting a few times with my new work. As curator, she invited me to be in a show she was curating on the interior and domesticity. This summer I brought all of my work to the museum and we went through it, with Jessica pulling work that worked together and addressed the show’s theme of making the private public. You are right that “Private Lives, Public Spaces” is a retrospective (minus my cyanotype work) and for me it is pretty amazing to see all of my work in one space. Although all of my work addresses past and present women’s lives, usually using historical photographic processes, I compartmentalize my work into separate series. To have them all interacting with each other in one space was overwhelming in a positive way. The dialogue that occurs between the series in the way that Jessica installed and curated it brings out the common themes of the work.

"Venus Figurine" (handmade paper & bell jar)

• Because your work is rooted in alternative photography how does presentation come into play? For example your “Transmission” series are all presented in Petri dishes with gold metal labels fixed to the frame. Do you have the end exhibition in mind when you first begin a project?

LB: Since I began working in photography, I wanted to present prints in a non-traditional format that encourages viewer interaction or creates pieces that act as three-dimensional objects. Early on, I created installations using fabric and scrolls or silver gelatin prints. From there I created wallpaper from my photographs to completely cover a space. Even my wet plates from my “Venus Series” were originally installed unframed on a picture rail that blended in with the gallery wall.   I create the prints first with the idea that they will altered in some form or turned into objects. The work’s content needs to fit with the installation or sculptural process so some time and research is needed with the prints. For example, with the “Transmission” series, I took cyanotypes and created circular prints, embedding them in resin within a glass Petri dish. From there, I took inspiration from Victorian natural history museums and the way they present specimens using glass and wood cases. I mounted the plates with copper wire in shadowboxes and used the Latin names of each STD which were engraved on brass name plates.

"Bacterial Vaginosis" (cyanotype embedded in resin & petri dish)

• How has modern technology played a role in your approach to such historical processes?

LB: I incorporate digital photography, editing software like Photoshop and inkjet printers to print my negatives into the historical processes I use. Although I work in historical photographic processes, traditional bookbinding and papermaking, for me, these processes can still utilize contemporary technology. These processes force me to slow down and focus on the process, yet with digital technology, I can slightly speed up my workflow. Being able to use digitally edited images and printing them as negatives through an inkjet printer onto materials like Pictorico film gives people the option to go back into the darkroom. In this way the historical and the contemporary can be easily combined.

"The Electric Coronet Beauty Patter" (Ziatype in vintage case)

Artist Spotlight: Molly Lamb

"In Their Purse Pockets"

Molly Lamb holds an MFA in Photography from the Massachusetts College of Art and Design and a BA in American Studies from the University of Massachusetts, Boston. Her work has been exhibited nationally, most recently at the Griffin Museum of Photography, the Center for Photography at Woodstock, the Houston Center for Photography, the Annenberg Space for Photography, and the Ogden Museum of Southern Art. In 2015, she was named one of Photo District News’ 30 New and Emerging Photographers to Watch as well as one of LensCulture’s 50 Emerging Talents. She was awarded an Artist Fellowship grant from the Massachusetts Cultural Council, she was a finalist for the New Orleans Photo Alliance’s Clarence John Laughlin Award, and she has been a Critical Mass finalist the past two years. She currently teaches art at the Museum of Fine Arts, Boston, and she teaches photography at Simmons College and the Massachusetts College of Art and Design. She is represented by Rick Wester Fine Art, New York. Her solo exhibition “Ghost Stepping” is currently on display at the Danforth Art Museum in Framingham.

"He Asked Me To Name Him, Red Bear"

• How did the series Ghost Stepping begin? Do you remember the first photograph you took for the project?

ML: There wasn’t a specific point at which this series began. It was a long, gradual process. I started photographing ideas related to it before I realized that’s what I was doing. Because I had been working as a newspaper photographer, I was so used to thinking about photographing the lives of others that it took a while for me to think about photographing aspects of my own life, or to understand that I was doing it without realizing it.

When I started graduate school at MassArt, I knew that I wanted to focus on photographing ideas about my family history. It was at MassArt that I really began to flesh out all of the ideas that went into this series. My first pictures were mostly of my family’s belongings and they looked as if I had just found them and photographed them that way. Over time, I began to experiment with bringing myself more into each image and including my own ideas and emotions about my history in the way that I worked.

"Tissues"

• What artists influence you and how do they influence your thinking, creating and career path?

ML: It’s difficult for me to name specific artists who influence me because there are so many and I wouldn’t want to leave anyone out. Because of social media and online publications, I encounter and am influenced by visual ideas constantly. I love that. I also attend as many artist lectures, exhibitions, and opening receptions as I can.

As I was working on this series, I spent a lot of time looking at the work of photographers who were thinking about family history, memory, and loss as well as photographers who were photographing objects and photographing the landscape as metaphor. I was inspired by Rebecca Norris Webb’s book My Dakota,Susan Worsham’s series “Bittersweet on Bostwick Lane,”Jitka Hanzlova’s series “Forest,” and David Favrod’s series “Gaijin.”Rinko Kawauchi’s work always inspires me as well.

A little more than a year ago, I began teaching art at the Museum of Fine Arts in Boston. It’s been an amazing experience and an incredible influence on me. I’m able to absorb artwork gradually and consistently because of spending so much time in the galleries. I think a lot about how light is portrayed, about how much emotion is held in a gesture, and about how ideas are visualized. I’ve also learned a tremendous amount about the artwork and the history of art.

“In The Wake: Japanese Photographers Respond to 3/11” was a photography exhibition at the MFA that affected me deeply. Seventeen photographers were included and each responded to the earthquake, the tsunami, and the Fukushima disaster in such different ways - so beautifully, so movingly. The wall text with each photographer’s work was also very powerful because it included the artists’ thoughts and experiences. I spent a lot of time in these galleries yet each time felt like an entirely new experience. Lieko Shiga’s photographs in that exhibition really stuck with me and have been on my mind as I’ve been making new work.

I also love words - books, stories, poems, and conversations. And I love how words and photographs harmonize. I read as much as I can and it has become very important to me to include poetry with the photographs that I’m making. The words and photographs exist simultaneously for me but each brings something different to the story. I think of “Ghost Stepping” as a chapter, the first in a larger body of work that explores my family history and the influence that it has on me. Each chapter incorporates poetry and my hope is to compile a larger story about my family history with many chapters, each a vignette of photographs and poems.

"Waiting"

• Your color palette is mostly soft & subtle – what influences you as you photograph to make these choices?

ML: I think the color palette has developed because I photograph intuitively. As I’ve been working on these ideas about my family history, I’ve realized that I think of the light and the colors as characters in the stories that I’m telling. I look for them and recognize them like long lost friends. And I think a lot of that also has to do with my own personal memories and history. I spent a lot of time outside or wishing that I could be outside as I was growing up in the South. I was always watching the light, the plays of the light, the gestures that the light graced, and the colors of it all. And I still do.

"Unraveling"

• You recently attended the portfolio reviews at Photolucida can you share a few of your experiences from that weekend?

ML: I’ve been to two portfolio reviews so far, Review Santa Fe and Photolucida. Both have been incredible experiences that have broadened my world. We’re so lucky as photographers to have gatherings like these - to be able to meet photographers and reviewers whose work we love, to hear their thoughts about our work, and to be able to talk about life with others who think about and express ideas about it visually. My life has changed and grown in so many positive ways because of both of these portfolio reviews. I can’t recommend them enough.

"Their Feathers Seemed Like Omens"

• You currently teach at the Museum of Fine Arts in Boston, Simmons College, and at the Massachusetts College of Art and Design. What do you enjoy most about teaching?

ML: Teaching is another layer of experiences that influences me as a person and an artist. It’s also a way for me to give back. Art has always been a resource for me for thinking about the world and processing my ideas and experiences. My hope is that I’m able to help, even in some small way, those who are looking for ways to visually express the ideas and experiences that are important to them.

"Christening Dress"

• What are some tips/advice you would give to someone just starting out in photography?

ML: One of the reasons that the portfolio reviews and photography festivals that I’ve attended have been such positive forces in my life is the community of creative people around me that they have helped develop and foster. I think that nurturing one’s artistic community is crucial - supporting and encouraging each other as well as exchanging thoughts and ideas that inspire us and help us grow.

I also find it helpful to remember to simply be true to myself. Everything is a process. Life is a process; we’re always learning. Being open minded and curious to learn and grow, even when I am uncertain and wish everything was crystallized in my mind, is incredibly important to me. Otherwise, life would feel stagnant and pale instead of vibrant and lush.

"The Suitcase"

Artist Spotlight: Tytia Habing

"Wild Onions"

Lets start this off right: her name is pronounced Tie-shuh, and she has definitely been making her name known in the photography world. Originally from the Watson, Illinois area, Tytia grew up on a small working farm and then spent the majority of her adult life in the Cayman Islands. She holds degrees in horticulture and landscape architecture and is a self-taught photographer. Tytia’s black and white photographs are full of mystery and child like wonder that keeps the viewer coming back for more. She has been published in Shots Magazine, Fraction Magazine, Lenscratch, and National Geographic (just to name a few!). Her most recent and exciting news is her work is shortlisted for the Black and White Photographer of the Year 2015 sponsored by Leica.

"Anna"

• While your degrees are not in the photography field, it still feels like they play a part in your photography. Can you tell us a little about how they influence you as an artist?

TH: I feel like it’s all very intertwined: my upbringing, my degrees, my photography. I’m not sure how or what I would shoot without the background I have. I love the outdoors, plants, animals, the earth,….pretty much anything nature related. My upbringing on a farm and being surrounded by fields of corn, soybeans and wheat and living on the edge of a large woods, I was always immersed in nature. That led me to seeking out degrees in both horticulture and landscape architecture, which I both dearly love, but neither of those degrees clicked with me the way photography did. As soon as I started photography, I knew, I just knew it’s what I wanted to do for the rest of my life if possible. If you have a look at my portfolio, my images are mostly nature related. Even when I do portraits, I try to incorporate nature into them somehow. Both degrees gave me a deep knowledge of how man relates to nature and the many hurdles we need to overcome concerning that relationship. We try and fight nature, to conquer it. That isn’t our path. We’re on the wrong path. One day we will all come to our senses whether it’s from our own accord or we’re forced into it. I truly believe we take care of what we love, and if we can all love nature again, all of nature, even the unlovable parts of it, we’ll get on the right path. If my photography can help even the tiniest bit to make even one person appreciate nature more, I’ve succeeded. One of my favorite quotes is “Our greatest responsibility is to be good ancestors.” Jonas Salk

"Saved"

• How did you become involved in photography?

TH: It was a happy accident really. I never had any interest in photography previously even though my older brother graduated with a photography degree. I was in my last year at university working towards my landscape architecture degree and I had some electives I needed to fill. I happened to find an intro to photography class that fit into my schedule and it was in a building very near the architecture buildings so it was convenient. I thought it would be a fun, easy class to round out my schedule. Little did I know I would almost immediately become obsessed with it. I spent ever spare minute in the darkroom and my other classes kind of fell by the wayside. My intro to photography class suddenly had first billing! My last semester I took the follow up class as well, and that ended my official training in photography. Everything else has been self taught.

"Rhubarb"

• Your photographs of your son and his friends capture the excitement and discovery we all had as children. When you are photographing them how much of it is instinctual versus planned? Do you set up the scene or do you always have camera handy & ready?

TH: I always have the camera ready. Planning a scene with my son doesn’t work and trust me, I’ve tried. I finally realized my folly and gave that up long ago. Plus, the things he does on his own are so much more interesting than anything I could come up with. That’s not to say I don’t facilitate the photographs. I’ll take him for a walk or we’ll go down to the river, because I know he’ll always do something interesting. I plan a lot of the trips in the late afternoon so I have good light. From time to time, he’ll do something that I’ll miss and I’ll ask him to do it again. He doesn’t do it for my photo though. He does it because it’s fun. I’ll also gently suggest he play where there is beautiful light. Sometimes he’ll oblige, sometimes he won’t, but I don’t push it. When it comes to playing, he does what he wants to in the end, and that’s how it should be.

"Go"

• What motivates and inspires you to create art?

TH: Three simple things: family, nature and hope. I hope I can make some sort of difference in the world through my photography. Grand aspirations, I know, but why not dream big right?

"Wishing Weeds"

• What do you think makes a memorable photograph?

TH: I can only speak for myself, but what makes a photograph memorable to me is if it makes me feel something. It could be happy, sad, perplexed, whatever, but if I feel something, I’ll more than likely remember it.

"Eye Spy"

• You recently attended Filter Photo Fest in Chicago; can you share a few experiences you had while you were there?

TH: Filter was my very first photo fest and I thoroughly enjoyed it. I can’t recommend it enough. It was totally out of my comfort zone since I’m a major homebody, but it was great. I was finally able to meet many photographers I’ve known only through social media and admired from afar. It was very cool to put a real face to a profile picture! I took two amazing workshops, one by Aline Smithson and the second by Elizabeth Avedon. I learned more in those two days than I’ve learned in the entire last year! Great classes and great instructors. I also did the portfolio reviews, which was fairly scary, but nothing horrible happened like my mind had imagined would. All the reviewers were very kind and helpful. I do have to add that everyone absolutely loved my black and white prints and wanted to know who printed them…..I have the BEST printer!

Staff Intro- Elizabeth Ellenwood, animal, cheese and film lover

Elizabeth Ellenwood is our fun loving darkroom printer and resident animal lover. She received her Bachelors of Fine Arts in Photography from the New Hampshire Institute of Art in 2010. Following graduation she assisted Boston architectural photographer Peter Vanderwarker for a number of years. In 2012, she started working with us at Panopticon and became full time as of 2015.

Wet plate portrait by Mercedes Jelinek

Darkroom printing and development is her passion here at Panopticon. Elizabeth known lovingly as Liz is obsessed with all things film. She is an accomplished alternative process printer having studied and assisted at Penland School of Crafts. Over the years she has learned the alternative processes of Wet Plate Collodian Printing, Tin Types, Cyanotypes, Albumen Printing and Emulsion Lifts. Also, she has taken classes with Carl Weese at the Center for Alternative Photography where she added Platinum Printing to her repertoire. Recently, she had a one person exhibition of her work at Danforth Art titled Elizabeth Ellenwood: Of Light and Line. Which received a wonderful review by Mark Feeney in the Boston Globe!

Some fun facts about Liz. She loves cheese...I mean like really loves cheese. She is frequently known to throw a cheese party or two and loves to say "Queso for my Face-o". When not in the office you can find her chilling with her dog Ophelia and her drummer dude Josh who plays in the Boston-based band  Girls, Guns and Glory. She loves to travel and has visited Germany, Ireland, Italy (2x) and Switzerland in the last two years. Her next excursion is to Hawaii next year!

Check out Liz's process video:

Artist Spotlight: Stephen Sheffield

"Descent (ladder series #35)"

Stephen Sheffield, a native of the Boston area, is an alumnus of Cornell University, where he obtained a BFA in painting and photography. He received his MFA in photography from the California College of the Arts, in Oakland/San Francisco. He specializes in photography, mixed media and photo-montage and has exhibited nationally for over 20 years. Stephen creates large-scale commissions for private collectors, institutions, restaurants and hotels, as well as images and photographic illustrations for magazines and advertising agencies across the US.  In addition to being a full-time artist, Stephen runs the black and white photography major at the New England School of Photography in Boston and is adjunct faculty at the New Hampshire Institute of Art MFA Program. Stephen Sheffield is represented by Panopticon Gallery in Boston, MA.

• Your work has a sense of storytelling and a slight twinge of humor to it. Walk us through your process – do you sketch out the scene ahead of time or is more a spur of the moment?

SS: Ideas pop into my head almost at random. I then make sketches and do research as far as location and angle, props and “feeling”. Once things are set up and planned I get to work. Of course that is when things go wrong and I have to wing it. There have been very few shots I have taken that have ended up looking exactly as I imagined them. I think much of the humor comes from the “winging it” aspect of the actual shoot.

"Small Business"

• How has social media played a role in your photography?

SS: I use social media less for personal and more as a way to lead people to my work and to keep my work on their minds. It is also in a small way becoming a reminder to continue to make new work. You cannot show the same work forever.

Mixed media installation at Union Beer Company in Red Hook, NY

• You recently moved from Kenmore Sq area to the suburbs of the south shore. Has this changed or impacted your art making?

SS: The move has made a major impact on my work flow mainly, not the work itself. Good and a little more difficult. Good for space and my kids and my wife. It was tough moving my studio out of the Fort Point Channel after 20 plus years, but now the studio has been replaced by a carriage house and a darkroom in the basement. No more rent payments and no more commuting, but it is tough to find a good cocktail and quick access to galleries and museums. Making the work itself has the potential to be easier as I move forward. Time will tell.

"Smoke 1"

• What artists influence you and how do they influence your thinking, creating and career path? Because you are a mixed media artist do you look at more painters & sculptors than photographers?

SS: I am still mainly influenced by the masters. Minor White, Edward Weston, Imogene Cunningham, Ralph Eugene Meatyard, Duane Michaels, I could keep going. As far as career path? There is no path anymore. These days it is every artist for themselves and ever-changing. I’m old and I need to stay quick on my feet. For my mixed media I am also still influenced by the masters, mainly non-photographic, but the Starn Twins and Gilbert and George are big ones. The biggest go-to influence who has never let me down has got to be Robert Rauchenberg.

"Lust"

• What are some tips/advice you would give to someone just starting out in photography?

SS: It is super tough out there these days, and and like I said before, there is no clear path for success. My advice is to try to be good at all of it! The technical, the creative, the marketing, the social, the hustle. Go to everything, (openings, museums, lectures) meet everyone and talk to anyone. Always be making art, but don’t show everyone everything. Edit! Edit what you show and edit what you say. Also, never forget to be a good and generous person. That last bit will get you through more doors than interesting or clever art.

"Eddie 2"