Camerawork Gallery 110218

Austin Granger, A Beautiful Sadness

September 29th - November 2nd, 2018
Artist Talk: Saturday, September 29th 3 - 4 PM (calendar)
Artist Reception: Saturday, September 29th 4 - 6 PM

Camerawork Gallery
301 N. Graham Street, Portland, OR 97227
Located in Lorenzen Conference Center - Legacy Emanuel Medical Center Campus.
9am - 6pm, Monday-Saturday, Sunday, 10am-4pm
Free off street parking available, Stair and elevator access

A reviewer once described Austin Granger’s photographs as possessing a “beautiful sadness”–a description which makes him happy. “I want my pictures to make people feel,” Granger says, “I want them to express, through the things of the world, universal human conditions. I want to meet my viewer in the middle. What’s it all for, if not that? “The subject matter in this exhibit is wide-ranging, but the pictures are all of one piece,” notes Granger. “They are all about more than what they show. At least, that’s the way I think of it. I’m interested in whether or not a subject can carry the weight of an emotion or an idea, even if on the surface that subject is not explicitly related to that emotion or idea. I want to make pictures that correspond with the viewer’s interior world—pictures that resonate. I want to make mirrors. I want to bridge the gap and make a connection. Is such a thing possible? I’ve thought about it a lot, and my answer is... sometimes. People bring their minds to their looking at things. I expect the best I can do is to follow my inner compass, and photograph the things that make me feel, in as clear a way as I can, and hope that the viewer will feel then too. “I don’t really know what it is I’m looking for when I’m photographing, but I know it when I see it. When I’m photographing well, I have the uncanny sense that the pictures were already there, just waiting for me. They feel pre-destined. I quiet myself and they appear. Photography for me is passive like that. I put up my antennae and wait. I recognize pictures right away. I recognize how they feel. When it’s going well, I don’t have any doubt about either the subject or how it should look. I recognize my pictures. I know them. They’re like the pieces of a puzzle. I may not know quite what the puzzle is of, but I know which pieces belong to it. Good pictures feel charged. They feel significant. They have a certain ache. And yes, admittedly, sometimes they have a certain sadness. “I’d like to say though, even though my pictures might look sad, I am seldom happier than when I’m making them. And I’d like to think they might make someone else happy too—in the way that listening to sad music can lift our spirits.

“See, I’m a blues photographer!”

Austin Granger is the author of the acclaimed book, Elegy from the Edge of a Continent: Photographing Point Reyes. His pictures have been exhibited in a number of West Coast galleries, including LightBox Photographic Gallery in Astoria, the CAC Gallery in Santa Rosa, and the Viewpoint Photographic Art Center in Sacramento, and have been featured in magazines such as B&W, Looking Glass, Manifest, and the West Marin Review. His work has graced album covers, a book cover, and Nike basketball shirts.

Born in San Francisco in 1970, Granger has worked as a baker, house painter, naval radar operator, and camera salesman. He first began to photograph while studying philosophy in college as a way to get out of his head. Preferring to use traditional film cameras, Granger has come to see his photography as a spiritual practice–a way in which to shape his life and enrich his relationship with the world.

workshop in Vancouver 110318

The Photographer's Ephemeris (TPE) on the iPhone and iPad
Taught by Gregg Kerber (Discover the Light Photography)

Saturday, November 3, 6:00 - 8:00 pm (calendar)
Vancouver, WA (address provided upon registration)

For more information and registration, click the link below:

$49 (6-9 students)
$44 (10-12 students)
$39 (13-15 students)

Image was planned with TPE.

What is TPE?
• Helps you plan outdoor photography shoots in natural light
• It's a map-centric sun and moon calculator - see how the light will fall on the land, day or night, for any location on earth
• Night mode - plan astro photography shoots (constellations, Milky Way, etc.)
• Line-of-sight analysis - defines your shooting direction and shows the topography along your shooting direction
• Visual search - tells you the exact dates and times when sun or moon will align with your subject
• Maps - view different map types such as Apple or Google Maps
• Time/direction of sun, moon, and galactic center rise/set
• Moon phase and % illumination
• Civil, nautical and astronomical twilight
• Save all your favorite locations
• Golden hour duration

• Crescent moon visibility

Photography Workshop 102118

Portland Nonprofit Photography Workshop
Wednesday October 17 at noon - Sunday October 21 at 5 pm (calendar)
Takes place during the entire day throughout.

The cost is $1750 for the five day workshop.


Momenta is hosting their popular Project Portland: Photographing with Nonprofits workshop this October 17-21. Join us to use your photography as a force for change, give back to your community, and develop your skills in the process.

The intensive 5-day workshop includes a photo assignment with a local nonprofit, daily editing sessions with the instructor team, professional portfolio presentations each night, and the Momenta core lectures which focus on: marketing your work to paying nonprofit clients, successful strategies for grant writing and crowdfunding, portfolio suggestions to get better paying jobs, networking tips, contracts and negotiations, and much more. Likewise, the professional instructors will share their work and talk about how they work with editors and get the best from their contracts. Plus, attendees can take out a Leica to shoot with for the workshop as well!

Since our first workshop, Momenta’s student and instructor work has been featured in national publications, our alumni have created entirely new career paths in humanitarian photography, and 3 stories from our workshops have been nominated for Pulitzer Prizes! We’ve trained students early in their photojournalist trajectories, mid-career professionals in the midst of career changes, and hobbyist photographers seeking to use their skills as a force for social change.

You can address any questions to

Leslie Peltz 05_2019

Leslie Peltz, Silos of Washington County Photographs

September 27, 2018 – May, 2019
Opening Reception, Thursday September 27, 2018 6-8 pm (calendar)

Washington County Museum
Portland Community College Rock Creek Campus
17677 NW Springville Rd. Portland, OR 97229
Open Wednesday through Saturday 10 am-3 pm

Molly Alloy, Community Engagement Coordinator and Guest Curator

Photographs by Leslie Peltz of silos used for grain, seed and silage storage in Washington County are part of the new exhibit, AgriCulture: Shaping Land and Lives in the Tualatin Valley. Her pensive black and white images invite the viewer into quiet moments she has encountered in her outings across Washington County to document silos with a Holga camera.

Visitors to this dynamic, colorful exhibit will be able to touch, hear, see and learn about agriculture and the many ways it impacts our communities. Since time immemorial people in the Tualatin Valley have used their labor and technology to maximize the amount of nourishing food and valuable plant products that grow in this fertile area. Those efforts have re-formed human habits and social structures as well as the physical landscape. This interactive exhibit centers on eight oral histories drawn from the museum’s archive housed within Pacific University’s digital exhibits. These individuals, some historic and some contemporary, speak to the field of agriculture through their personal experiences and the experiences of their families and ancestors. Together they become a dialogue across time, culture and technology that highlights many facets of agriculture’s impact on us all.

Along with photography, video, illustration, and an interactive drawing station, historic objects from the museum’s collection will be featured throughout the exhibit so that visitors can experience first-hand some of the tools that have helped shape the land around them.

Lagunitas Community Room 092718

Print and Pint at Lagunitas Community Room
Come to our second ASMP PRINT AND PINT meet-up sponsored by:
Camera Bits, Inc, makers of Photo Mechanic, Pro Photo Supply, and Lagunitas Brewing Co.

September 27, 6:00 pm - 9:00 pm (calendar)

Lagunitas Community Room
237 NE Broadway, Suite 300
Portland, OR 97232

All working photographers are invited to come and share their workprints with other pros. The theme for this second meet up is DOCUMENTARY/EVENT, and will feature photographer Jan Sonnemair. She’ll be showing 20 slides x 20 seconds and sharing her thoughts on the idea of DOCUMENTARY photography.

What do we mean by DOCUMENTARY/EVENT? We want you to bring 2 WORKPRINTS of images (old or new) that fall inside of: street photography, news gathering, documentary storytelling and event coverage (including concerts, sports, rallies, etc.).

What do we mean by “WORKPRINTS“? These are not precious, matted, framed, bagged or collectible. These are prints you can spill beer on, or trade with other Photographers at the end of the night. They are work-in-progress quality, not fine art.

This is a FREE event if you bring 2 8×10 work prints on the THEME. If you don’t, it’s $10 (hint: bring 2 prints). The event is limited, so RSVP now.

When you register you’ll get a coupon from our generous print sponsor, Pro Photo Supply, to make 2 discounted 8×10 Kodak C-Prints!

Those prints will get you Free beer (21+, 1 per) and Pizza!

Jan Sonnenmair has been a photojournalist for a heck of a long time. She started right out of college traveling the world as a staff photographer for the Dallas Morning News and then eventually moving to Los Angeles where she shot freelance assignments for National Magazines and worked on long term projects. One long term project on a boy born with AIDS won a special award for photo essay from The World Press Foundation. After moving to Portland in 2004 she began using her reportage skills to tell stories for companies, non-profits and institutions. In 2016, she received the Knight Fellowship for Visual Communications and spent a year studying and teaching at Ohio University. Currently she is directing and co-producing a feature length documentary film.

A trio of classes with Kelli Pennington at PCC 112018

A trio of classes with Kelli Pennington at PCC

ART140 - Digital Photography with K.Pennington
PCC- Cascade Campus
Photography is both an art form and an industry Fulfill your art elective or attend for personal enrichment. You will learn the basic skills needed to start pursuing your dreams of being a photographer.
This class is for credit or available for audit.
T/H 09:00AM-11:50AM (25-Sep-2018 thru 13-Dec-2018) CRN:42407
T/H 02:00 PM-04:50 (25-Sep-2018 thru 13-Dec-2018) PM CRN:42413
F 09:00AM-02:50PM (28-Sep-2018 thru 14-Dec-2018) CRN:45324

Photographic Projects Feedback Group
Portland Community College Cascade Campus Continuing Education
Tuesdays, October 2 - November 20, 06:00 PM-08:50 PM
9FA632C - CRN:47717
Work in a small group setting to present your photographic project and engage others in conversation and questions. Deepen your perspective on your work and improve the work itself.

Fine Art Digital Printing Portland Community College Cascade Campus Continuing Education
9FA632D - CRN:47718
Thursdays, October 4- November 15, 06:30 PM-08:20 PM
Learn all you need to know about color correcting your photographs for output, by working with your own images.
End class with 3 16x20 photographs. Learn about local resources for printing your work.
Cost: $105 + $40 for prints

Kurt Norlin, Matt Reese and Eric French 111518

Kurt Norlin, Matt Reese and Eric French; Bending Light: Mood/Magic/Metaphor
Sept. 24 - Nov. 15, 2018
Reception and Gallery Talk: Wednesday, Oct. 10 from 11am to noon in the gallery (calendar)
South Santiam Hall Gallery
Linn-Benton Community College
6500 Pacific Blvd SW
Albany, OR 97330
Weekdays, 8 am - 5 pm

(from left to right) “Slow Transition” by Kurt Norlin; “Risen Above” by Matt Reese; “Kiska Sea” by Eric French

An exhibit by three Oregon photographers who use their lenses in unusual ways will be on view Sept. 24 through Nov. 15 in the South Santam Hall Gallery at Linn-Benton Community College, 6500 Pacific Blvd. SW, Albany.

“Bending Light: Mood/Magic/Metaphor” features the work of Eric French of Corvallis, Matt Reese of Eugene and Kurt Norlin of Albany.

A reception and gallery talk will be held Wednesday Oct. 10 from 11 a.m. to noon in the gallery.

French creates moody “noir” photographs with his custom-built “camera obscura,” which he says “bends the light in a way different than ordinary lenses, creating gently modified images” that reveal elements of nostalgia and mystery. “With my imagery, I aspire to bring about glimpses of melancholy, serenity, sentiment and memory,” says French.

“Magic” is the word Reese uses to describe the results he gets from repurposing old lenses and adapting them to his otherwise ordinary digital camera. His colorful selective-focus closeups of plants have been exhibited previously in Eugene galleries, but never shown in the mid-valley before. “Any subject is fair game,” he says, “but most of the time I find myself drawn into the hidden natural world, peering with my glass eyes at scenes of beauty and drama usually overlooked.”

Norlin describes his photography as “part science, part art and part ritual.” His abstract color images are created by employing “intentional camera movement” (ICM) with a pinhole lens on a digital camera. “This method allows me to literally draw with light and has led more and more to dealing with things that lay outside the frame,” Norlin explains. “Dreams, visions, memories and metaphors have become the subject matter of my art.”

The South Santiam Hall Gallery is open weekdays from 8 a.m. to 5 p.m.

Wendy Given 092718

Wendy Given, You, Darkness

Tuesday, September 18, 5 - 7pm, 6pm talk (calendar)

1953 NW Kearney Street (Guild Mortgage Building)
Exhibitions are in the gallery inside the Guild Mortgage Bldg.
Thursday 9/6, Tuesday 9/11, Thursday 9/27, 1 - 5pm

Contact MaryAnn Deffenbaugh for an appointment

For this exhibition, Wendy Given presents vivid, uncanny photographs and sculptures resonating in the dark, unstable ground between consciousness and collective memories of the nocturnal, the nonhuman, and the wildness that resides in each of us.

Given's practice stems from a profound interest guided by the natural world, folklore, myth and magic—magic as a term meant to conjure the notion of the interconnectedness of all life forces. Nature is prescribed as a foundation of verity, power, and mystery in her work—both intelligible and arcane. While Given’s subject matter dwells on primeval belief systems, the resulting work is distinctively contemporary—reflective of modern culture’s mode of assimilating and processing myth. Her visual craft conveys an intense yearning to honor and utilize our inherent awareness—to regain the unspoken understanding of the fact that we are all, and always will be (as humans), integral to and dependent on the natural world.

Vernissage Fine Art curates the gallery space inside the Guild Mortgage Building, formerly the Oregon Jewish Museum. Viewings of exhibitions are at monthly evening receptions, special viewing hours and by appointment. September afternoon viewing hours are:

Wendy Given is an artist living and working in Portland, Oregon. She studied fine art and was trained in painting, printmaking, photography, and sculpture during her BFA undergraduate work at Atlanta College of Art in Atlanta, Georgia. She received her MFA from Otis College of Art and Design in Los Angeles, California. Given has exhibited nationally and internationally and is represented by Whitespace Gallery in Atlanta, Georgia, and Vernissage Fine Art in Portland, Oregon. She is also the PDX Art Program Coordinator/Curator for the Port of Portland and a wilderness guide with Portland’s Signal Fire Artist Residency.

LightBox Portfolios 10/10/18

The Portfolios

September 8th - October 10th, 2018
Artists’ Reception: Saturday, September 8th, 5-8pm (calendar)

LightBox Photographic Gallery
1045 Marine Dr.
Astoria, OR 97103
(503) 468-0238

LightBox Photographic Gallery will host the artists’ opening reception for “The Portfolios” on Saturday, September 8th, from 5-8 pm. The Portfolios presents the work of 15 Photographers who were selected for the uniqueness and excellence of their submitted portfolios. The exhibit intends to reward the photographers for their photographic effort and to open the opportunity to share their vision with the public via the gallery walls. Each of the fifteen photographers will present 4 works on the walls of the gallery.

Congratulations to the Photographers of The Portfolios

Kim Adams • Norm Arnold • Rich Bergeman
Jason Biehner • Annette Burke • Rory Earnshaw
Jim Fitzgerald • Ryan Gillespie • Eleanor Gorman
Thea Martin • Ralph Mercer • Conrad Pressma
Robert Potts • Charlotte Watts • Patrick Whitaker

The Portfolios will be on display in the gallery through October 10th. Please visit the gallery during the month to see the collection of work. Complete show info is on the LightBox website at LightBox memberships are a way to become part of the community that helps to further the mission of the gallery. Contact LightBox at 503-468-0238 or LightBox is located at 1045 Marine Drive in Astoria, hours are Tuesday – Saturday, 11 - 5:30.

Carl Weese 092818

Carl Weese, The American Drive-In Theater

September 1st - September 28th, 2018
Artist Talk: Saturday September 8th, 4pm - 5pm (calendar)
Artist Reception: Saturday September 8th, 5pm - 7pm

Camerawork Gallery
301 N. Graham Street, Portland, OR 97227
Located in Lorenzen Conference Center - Legacy Emanuel Medical Center Campus.
9am - 6pm, Monday-Saturday, Sunday, 10am-4pm
Free off street parking available, Stair and elevator access

Connecticut photographer, Carl Weese notes, “My fascination with the American Drive-In Theater began by chance, when I saw something interesting by the side of the road. In 1998 I was working on a series of photographs of parks and forest reserves in northwestern Connecticut when I spotted a partly overgrown screen of a drive-in theater nestled into hills, a couple hundred yards west of the road. The flat field in between was littered with speaker poles lying on the ground. After exploring for a few minutes I decided it would be a good subject, in early morning light. At dawn several days later, making several exposures with my 8x10 inch camera, heavy clouds rolled in, blocking the sunlight turning the whole scene dull, so the moment was over. When I developed the film I liked the negative so much that I printed it in my next darkroom session and immediately added the picture to my “Current Work” portfolio of platinum/palladium prints.

“Over the next couple of years I found that people who looked at the portfolio often had a particularly strong reaction to the theatre picture. Some recognized the subject immediately, but others would give the print a puzzled look for a while until suddenly the screen—or sometimes the fallen speaker poles—would register. More often than not this would lead to stories about past experiences since operating drive-ins had become scarce in the New York metro area.

“In early 2001, working on another photographic project, I encountered a theatre in Ohio, this one closed for the season but still operating, with an impressive fullyenclosed, metal-clad screen tower. In November of that year, working on yet another project, I found The Pike theater in Montgomery, PA. Closed for the season but still operational a few weeks after 9/11/01. While working with 8x10 and 7x17 cameras, something in the back of my mind clicked about, not this theatre, but the idea of drive-in theaters as a subject. I knew that at one time there had been thousands of them.

“Every drive-in theater is unique. Almost all of them have been individual familyowned operations. Often, when I was able to connect with owners or managers, I found myself speaking with someone who’d been with the theater for fifty years, or was the second or third generation of a family to run the operation.

“The concept of an outdoor theater where patrons could watch movies from their cars was created by a single individual, Richard M. Hollingshead, Jr. In 1932 Hollingshead was a manager in the family company Whiz Auto Products. He wanted to start a business, and also wanted to patent an invention he could franchise. Once the idea of watching movies on a giant screen from the family car was born, it spread with amazing speed.

“During the boom years big drive-in theaters in or near urban centers could expect large crowds. Sadly, few of these theaters can still be found. While sixty years ago drive-in theaters were everywhere, today few remain in urban settings, while a surprising number of the ones I’ve visited are in spectacular settings that could serve for a wealthy country estate. At the opposite extreme, several theaters I photographed in 2012 were situated directly adjacent to large tank farms.

“The sudden die-off of drive-in theaters that began in the early 1960’s had multiple causes: Television, and later the VCR evolving into the “home theater”. Theater owners wryly joke that the only way to get rich from owning a drive-in theater is to sell it to Walmart. Drive-ins can’t survive where commercial real estate values are high.

“By 2017, I’d made photographs of drive-in theaters in fourty-four states, always looking for theaters that had a special visual resonance with their particular landscape surroundings.”


From 1972 until the late 2000s I worked as a freelance assignment photographer for commercial and editorial clients, while spending as much time as I could on selfassigned fine art projects. Corporate clients included IBM, Litton, Associated Spring, The Torrington Company, General Electric, and others. Magazine clients included Business Week, House Beautiful, Practical Homeowner, Family Handyman, and others.

For several years in the 80s I wrote a column for ProPhoto magazine. In the 90s I wrote extensively for PhotoTechniques Magazine and held the title Contributing Editor. In 1998 I was co-author and designer/illustrator for the book The New Platinum print—an instruction manual in contemporary approaches to the classic platinum/palladium photographic print. I continue to write technical articles for the web site The Online Photographer.

My personal projects began with a text/pictures study of religious ritual, completed on a college scholarship trip with the International Honors Program, traveling around the world during the 1969-70 academic year.

While completing professional assignments to pay the bills and support personal work, I did projects looking at life in a small rural Pennsylvania town, multiple series of pictures of the characteristic landscape of the U.S. East Coast, two different series following a traveling carnival through New England, and more landscape work ranging from New England down the coast to Alabama and Florida, along with several series looking at vernacular architecture including rural church buildings. The largest project is a study of Drive-in Movie theaters in all of the various regional American landscape settings, a project that now includes more than 200 theaters. Some of the Drive-in work has been featured in a one-person show at the Washington (CT) Art Association and will be in a one-person show this September at Camerawork Gallery in Portland, OR. Several magazine articles have featured the work, along with multiple online venues, including the New York Times “Lens” blog


“The Great American Drive-in Theater Road Trip”, Photo Techniques Magazine, Sept/Oct 2013. Eight page article with six reproductions of photographs.

Artist in Residence, October 14-21, 2012, The Firehouse Cultural Center, Ruskin, Florida.

“From the Road: Off-Topic pictures from the Great Drive-in Theater Road Trip”. Solo exhibit at The Firehouse.

“Working Pictures: The Pennsylvania Series,” at The Camerawork Gallery, Scranton, PA, 2010.

"Coal Country,” The Camerawork Gallery, Scranton, PA, September 2007. “The American Drive-in Movie Theater,” Washington Art Association, Washington, Connecticut, February, 2007.

The Connecticut Vision, 2006, Juried show, The Mattatuck Museum, Waterbury, CT. In Living Color, The Gunn Memorial Library’s Stairwell Gallery.

The Enigmatic Landscape, Curated by Carl Weese, Photographs by: Jens Knigge (Germany), Harald Leban (Austria), Tony McLean (England), Carl Weese (United States), Witho Worms (Netherlands), 2005, Corporate and Museum Frame, Richmond, VA.

Two Views, Photographs of the American Scene by David Peter Arnold and Carl Weese, Minor Memorial Library, Roxbury, CT

The Connecticut Vision 2004, Juried Exhibition, Mattatuck Museum.

Group Show, West Wind Studio, Washington, Connecticut.

Steep Rock and the Shepaug, West Wind Gallery, Washington, Connecticut, Contact prints in platinum/palladium, photographs made at Steep Rock Reservation between 1997 and 2002.

The Fixed & The Fluid, Group Show of Gallery Artists, Alper's Fine Arts, Gleason Public Library, Carlisle, MA.

November 2002, The Connecticut Vision 2002, Mattatuck Museum, Waterbury, Connecticut, Juried Show.

October 14-November 11, 2001, ”Spectra 2001", National Photography Biennial, Silvermine Art Guild.

June 22 to July 22, 2001, ”Illuminations", Alpers Fine Art, Andover, Massachusetts.

"Two Rivers: Photographs from the Shepaug and Farmington Rivers”, April, 2001, Albertus Magnus College, New Haven, Connecticut, Two-Person Show with Andrew Buck.

Three-Person Show, Large Format Platinum/Palladium Prints, April, 2001, Richmond, Virginia, Corporate & Museum Frame.

Annual Juried Photography Exhibition 2000, December 1, 2000 to January 31, 2001 Corporate & Museum Frame, Richmond, Virginia, Ashley Kistler, Juror.

November, 2000 Solo Exhibition, American Landscapes, Atelier pH7, Brussels, Belgium, Roger. Kockaerts, Curator.

The Connecticut Vision 2000, Mattatuck Museum, Waterbury, Connecticut.

The Focused Eye, 2000, Group Exhibit, New Arts Gallery, Bantam, Connecticut.)

Matt Eich 093018

Matt Eich, I Love You, I'm Leaving

September 6–30 2018

First Thursday opening reception: September 6, 6:00–9:00 PM
Artist talk with Matt Eich: Saturday, September 8, 3:00 PM (calendar)

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm

Matt Eich, R.I.P. Jack Jr., Charlottesville, Virginia, 2016 

“This series borrows from personal experience, and the visual language of the everyday in order to create a fictional account that mirrors my reality. Photographs are reductions, distillations, half-truths and complete fabrications. They can only describe the surface of things, while I am interested in the intangible – memory and emotional resonance.”

Matt Eich photographed I Love You, I’m Leaving during a difficult time in his family’s life: his parents separated after 33 years of marriage, while his siblings were experiencing drastic changes in their personal lives and he and his wife and two children moved to a new city. This emotionally-charged black-and-white series is not strictly memoir, but exists somewhere in-between documentary and fiction. For Eich, the title reflects a constant in his life, which he calls “the rhythm of my peripatetic life.” He notes that “it holds true when I leave my family to photograph strangers, and leave strangers to return home.”

Matt Eich (b. 1986) studied photojournalism at Ohio University and holds an MFA in Photography from Hartford Art School’s International Limited-Residency Program. He is a Professional Lecturer of Photography at The George Washington University and lives in Charlottesville, Virginia with his wife and two daughters. Matt’s work has been widely exhibited and received numerous grants and recognitions, including PDN’s 30 Emerging Photographers to Watch, the Joop Swart Masterclass, an Aaron Siskind Fellowship, and two Getty Images Grants for Editorial Photography. Matt’s prints are held in the permanent collections of The Portland Art Museum, the Museum of Fine Arts Houston, The New York Public Library, Chrysler Museum of Art and others. This is Eich’s second solo show at Blue Sky.

Blue Sky Group Show 093018

Touch: a group show curated by Christopher Rauschenberg
September 6–30 2018

First Thursday opening reception: September 6, 6:00–9:00 PM
Curator talk Christopher Raschenberg: Saturday, September 29, 3:00 PM (calendar)

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm

Charles Harbutt, Blind Boy, New York City, 1961, © Estate of Charles Harbutt, courtesy Peter Fetterman Gallery

Touch is an exhibition featuring over 70 prints from the photography collection of Blue Sky co-founder and photographer Christopher Rauschenberg. The show was inspired by a particular image: Charles Harbutt’s 1961 photograph of a blind boy delicately touching a beam of light (above). This led Rauschenberg to bring together the many other works in his collection that visually capture this poignant human sensory experience in its myriad forms.

Touch features photographs by the following artists:

Thomas Alleman, Catherine Angel, Talya C. Arbisser, Eugene Atget, Rich Bergeman, Cecilia Berkovic, Skyra Beveridge, Richard Brown, Tom Champion, Jamila Clarke, Vernoll Coleman, Celeste Cottingham, Paul Dahlquist, Arstide Economopoulos, Sidney Felsen, Michelle Frankfurter, Mary Frey, Patricia Galagan, Dorothy Glenn, Alison Grippo, M Bruce Hall, Anita Hamremoen, Charles Harbutt, Phil Harris, Craig Hickman, Ann Hughes, Birney Imes III, Gwynne Johnson, Sara Kirschenbaum, Les Krims, Justine Kurland, Dorthea Lange, Robert Langham, Zun Lee, Catherine Leuthold, Holly Lynton, Chema Madoz, Heather McClintock, July Mihaly, Jennifer Lynn Morse, Zanele Muholi, David Pace, Gordon Parks, Keri Pickett, Ann Ploeger, Gus Powell, Romualdas Po┼żerskis, Jana Romanova, Irina Rozovsky, Nadia Sablin, Kris Sanford, Dona Schwartz, Joshua Smith, Jan Sonnenmair, Larry Sultan, Chip Thomas, Paul Trevor, and Carol Yarrow.

In addition to the work by the above artists, during the month of September the Blue Sky community is invited to submit their own Touch photographs via Instagram using the hashtag #touchbluesky. Rauschenberg will print his favorite submissions and add them to the exhibition during the run of the show.

Christopher Rauschenberg received his BA from The Evergreen State College in Olympia, Washington. His work has been exhibited at the Griffin Museum of Photography in Winchester, MA, the Chicago Cultural Center, the International Center of Photography in New York, and the George Eastman House in Rochester, NY, among many other major institutions. An exceptionally active leader in the Northwest arts community, he taught at Marylhurst College in Lake Oswego, Oregon for many years and co-founded Nine Gallery here in Blue Sky and photography nonprofit Photolucida, in addition to co-founding Blue Sky Gallery in 1975.

Pushdot Studio 093018

Joni Kabana, The Salt Workers of Afar at Pushdot Studio

August 3-September 30
Artist Reception: September 7th from 6-8pm for First Friday. (calendar)
(**Please note that there will not be a First Friday in August.)

Pushdot Studio
2505 SE 11th Avenue, Suite 104
Portland, OR 97202
Mon-Fri. 8:30am to 5:00pm, free admission

Discover the extraordinary world of Ethiopian salt workers who tirelessly extract salt from the Dankil Depression located in the Afar region of northern Ethiopia, a region sanctioned as being "the hottest place on earth." The series explores their extraction process, the surrounding landscape, their tools and attire, as well as some of the weather-worn faces of these devoted men.

Joni Kabana is a visual artist and communications specialist. She can be found at home or in remote villages across the globe working on magazine, NGO, corporate advertisement and personal projects, trying to stretch her beliefs and imagination as far as they will go.

Redux Gallery 093018

Small Talk Collective, Heartbreak City
August 3rd - September 30th
Opening Reception: First Friday, August 3rd, 2018, 6:00-9:00pm (calendar)

811 E Burnside St. #116
Portland, OR 97214
M-Sa: 11-7, Su: 11-5

Join us for a photography exhibition featuring the work of Small Talk Collective. Heartbreak City evokes the nostalgic feeling of warm summer nights, seedy motels, female desire, and being young and free. The exhibition will feature small editions of posters available to take home right away at affordable prices!
View full exhibition online at

Small Talk Collective:
Briana Cerezo
Leslie Hickey
Kristina Hruska
Marico Fayre
Audra Osborne
Kelli Pennington
Jen Timmer Trail

Small Talk is a photography collective formed in Portland, Oregon in 2015. As a group, we explore the nature of what it means to be a visual storyteller, pool resources, provide support and critique, and facilitate community events and discussions. We engage in the best kind of “small talk,” that which binds us together both as a collective and within a larger community of women and minority artists, fostering stronger work and collaboration. Our first book, We’re Always Touching by Underground Wires, was published in April 2018.

Rich Bergeman 101418

Rich Bergeman, High Desert Dreams: The Lost Homesteads of the Fort Rock Basin

May 12 - Oct. 14, 2018
Panel Discussion: Thursday, May 17, 6-7pm (calendar)

High Desert Museum
59800 S. Hwy 97
Bend, OR 97702
Hours: 9am - 5pm daily

“High Desert Dreams: The Lost Homesteads of the Fort Rock Basin” chronicles a nearly forgotten chapter in Oregon history, when hundreds of pioneers flooded the high desert in the early 1900s, only to abandon their homesteads within a decade, leaving the landscape littered with deserted cabins, idle windmills and hollowed-out towns.

Over the decades since then, nearly all evidence of that era has gradually disappeared. Enough remnants remain into the 21st century, however, to allow the photographer to bring the story back to life through more than 25 black-and-white images of decaying homesteads and vanished town sites.

Rich Bergeman of Corvallis is a retired journalism and photography instructor at Linn-Benton Community College in Albany, Ore., who has also been an exhibiting fine art photographer for the past 30 years. In recent years his focus has been on investigating and interpreting local histories in the Pacific Nortwest through photographs and stories of what's been left behind.

Blue Sky Drawers 2019

2018 Pacific Northwest Photography Viewing Drawers Artists Announced

First Thursday, April 5th (calendar)

Debuting on First Thursday, April 5, and coinciding with Portland Photo Month, each artist will be represented by 10 original photographic prints or objects from a single body of work in a dedicated archival, flat file drawer at Blue Sky through March 2019.

Blue Sky Gallery
122 NW 8th Avenue
Portland, Oregon 97209 USA
Tuesday - Sunday, 12 - 5 pm
First Thursday 6 - 9 pm

PORTLAND, Oregon - Blue Sky, the Oregon Center for the Photographic Arts, is pleased to announce the names of 42 artists selected for inclusion in its 2018 Pacific Northwest Photography Viewing Drawers Program ("Drawers").

Issac Sachs, Portland Meadows, 2015
2018 Drawers artist and Sitka Residency recipient
Danielle Dean, Elegy (Ripples), 2017
2018 Drawers artist and Sitka Residency recipient

Adam Bacher • Doran Bastin • Susan Bein • Ray Bidegain • Jennie Castle
Harley Cowan • Fretta Cravens • Danielle Dean • Lucas DeShazer • Claire Dibble
Gloria Feinstein • Dean Forbes • Hal Gage • Randi Ganulin • Joseph Glasgow
Sarah Graves • Lauryn Hare • Melinda Hurst Frye • Tim Jaskoski • Ryota Kajita • John Kane
Heidi Kirkpatrick • Cheston Knapp • Brian Kosoff • Zachary Krahmer • Laura Kurtenbach
Julie Lopez • Nathan Lucas • Sofia Marcus-Myers • Ryan Mills • Blue Mitchell
Marilyn Montufar • Stan Raucher • Shawn Records • Pat Rose • Isaac Sachs • Skip Smith
Deb Stoner • Nolan Streitberger • J Swofford • Samuel Wilson • Jennifer Zwick

2018 Juror

Hamidah Glasgow is the Executive Director and Curator at The Center for Fine Art Photography in Fort Collins, Colorado. The Center hosts approximately 17 exhibitions annually and features the work of emerging and established artists from around the world. The Center has been recognized as one of the prestigious nonprofit photography centers in the United States. Ms. Glasgow’s contribution to photography has included curatorial projects, portfolio reviews (FotoFest, Photolucida, Medium, Filter, etc.), contributions to publications and online magazines, and the co-hosting of regional conferences. She is also a founding member of Strange Fire Collective, a group of interdisciplinary artists, curators, and writers focused on work that engages with current social and political forces.