Michael Massaia is one of an ever-shrinking group of photographers who still strictly use old-school methods. In our modern, digital, quick-fix world, it’s refreshing to come across a photographer with a honed process and an abundance of patience and skill.
For Afterlife, Michael used 11″x14″, 8″x10″ and 4″x5″ view cameras coupled with traditional black and white film… More
For Chinatown Nights, Michael used 11″x14″, 8″x10″ and 4″x5″ view cameras coupled with traditional black and white film to capture the highest possible resolution and dynamic range. After the image has been captured and the film developed, Michael hand-makes Platinum/Palladium prints utilizing a unique damp processing technique he developed. More
Acrylic on Flesh – Yes, these are living, breathing humans, stunningly painted and composed to look like portraits. More
The first time my eyes fell upon an Alyssa Monks painting, I thought I was looking at a photograph. Monks’ skill with the brush is clearly evident in this series of beautifully rendered flesh, steam, water and glass… More
Nightscapes – Anthony Kurtz examines darkness in nature and displays his skill with this series of long exposures. More
Kinsey’s work captures the universal essence of the human condition mainly through an energetic portrayal of urban figures. Working spontaneously, and utilizing a range of mediums, he constructs multi-layered, textured environments easily likened to the complexities of contemporary life… More
I recently read The Road by Cormac McCarthy and while immersed in the story of post apocalyptic America, I ran across the photography of Anthony Kurtz. When I looked through this series, I couldn’t believe the similarity to the images that McCarthy was conjuring in my head. Serendipitous that while reading the book I would stumble upon such a perfect compliment to it… More