James W. Porth

"Silver Stacks, " Black and White Photograph signed by James W. Porth

1941

In images such as this, the influence of Ansel Adams and the other members of the group f.64 is clearly evident. The group f.64 was intent on truth in the medium of photography, wanting to push the camera to see even more clearly than the human eye. To do this, they used the small aperture, marked by the f-stop 64, which allows the camera to have an expansive depth of field. In this image, the earthy and sensuous textures of the brick and stone walls stand in direct contrast to the clean lines and graphic finish of the Route 66 sign. Ferderbar's mastery of the camera as an instrument brings out these contrasts following the legacies of the earlier American masters. 10 x 8 inches, image 13.75 x 11.5 inches, sheet 16.13 x 13.88 inches, frame Signed lower right Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile silver finish wood moulding. ARTIST STATEMENT: I wanted to become a photographer at the age of 12, when my sister Grace gave me a Kodak Box Brownie camera for Christmas. (I still have that camera.) Since our family was quite poor, I built my first enlarger with an oatmeal box, while that same box camera was used as its lens. In 1947, just after graduation from high school, I had the opportunity to travel to California by car and house trailer with my uncle, aunt and mother, and in the process to shoot my first pictures along Route 66. Then, after graduation from college, a stint in the army followed by photography school, I opened an advertising photography studio in 1954. For over four decades my staff and I earned numerous local, regional and national awards for our achievements in photography, including several "best of show" honors. In 1958 I studied with renowned landscape photographer Ansel Adams at his Yosemite National Park workshop. In 1980, while still operating my advertising photography studio, I began a serious photographic study of the decaying artifacts along our country's former Mother Road, Route 66. The former national highway route from Chicago, Illinois to Santa Monica, California was not a popular subject at the time, and so I filed away my transparencies, not knowing what I might ever do with them. However, as time passed Route 66 did become a topic of national interest, and upon my retirement in 1997, I once again returned to record the Mother Road's artifacts. A number of my Yosemite series photographs are included in the Ansel and Virginia Adams collection at the Center for Creative Photography at the University of Arizona at Tucson, and several of my Route 66 photographs and other subjects have been acquired by the Milwaukee Art Museum. At this time I am preparing a book of my photographic experiences along Route 66, from 1947 to the present. -Tom Ferderbar

"Teton Full Moon" is an original photograph created by Thomas Ferderbar. A vast and sweeping landscape photo encapsulating the moon overlooking the mountains. A magnificent view show...

"Tree & Half Dome (Yosemite National Park, CA" is a black and white photograph signed by Thomas Ferderbar. This photo shows a vista in the Yosemite National Park in California. The center of the piece is a evergreen with asymmetrical limbs. In the distance, one can see the mountains, valley, and clouds...

"Angels at the Music Center Fountain" is an original fine-art photograph by Robert Kawika Sheer. The artist signed this piece in the lower right and editioned it in the lower left. E...

"The Ocean Spirit, Pupukea, Oahu" is a long-exposure limited edition photograph by Robert Kawika Sheer. The artist signed this piece in the lower right and editioned it in the lower ...

"Country Medley II" is a signed series of photographs by Charles Auer. It includes 6 photographs of a rural farm setting in winter. 4" x 6" art (each) 20" x 16" frame

"Fooling Around 03" Photography 23" x 33" inch Edition 1/5 by Patricio Gonzalez Photographs intervened (1/5 ) / 300gr paper museum quality Not framed. Ships in a tube. From "Tell me how to behave" series "The simulacrum is not what hides the truth. It is the truth that conceals that there is no truth. The simulation is true " TELL ME HOW TO BEHAVE Series of photographs digitally intervened and road signs transformed (life-size), who wonder about the infinite possibilities, without losing sight of the fact that in all of them. There is the possibility of death. With this in mind, the work seeks to relate to the viewer, in terms of the experience lived, decisions in time, or personal history, which are common to all. Functioning as a counter-proposal to the expectations that the group expects from the individual. The dislocated-edited reality makes us ask about our reality and to what extent. Sample freedom of choice is influenced by external agents, mass control systems, mass media, etc. Waste, immaturity, successes, time lived. The series plays with the presentation of bad possibilities, absurd and impossible, and their relationship with time. Letting you see the paradox of memories and experience, raising its relationship with the present. Where the image of the road, as an American space of freedom, opens up to the idea of ​​a space large enough to imagine the possibility of reinvention in every second. Curriculum vitae Born on February 14, 1974, Santiago, Chile. Study at the School of Fine Arts of t he University of Chile and the University Complutense Hotels guest, Spain. He also attended workshops in painting, drawing and engraving the Circulo de Bellas Artes in Madrid. Work in the study of Guillermo Muñoz Vera, Madrid. SOLO EXHIBITIONS 2018 Kadoshiro Art Gallery “Looking for Happiness” Eduardo Lira Art Gallery “IT ́s not here” 2017 Off the wall / serie Golden Bitches/Beaches>(march 9) Galeria Artium-Miami,Usa 2016 ”Razones para la venganza” Galeria Artium-Miami,Usa. 2015 "Out Doors", Gallery Latam Santiago-Chile. 2013 "Coming down like flies" Latam Gallery Santiago, Chile. 2012 "Coto de Caza" Artium Gallery, Santiago, Chile. 2010 "Reasons for permanecia" Praxis Gallery, Santiago, Chile. 2009 "Fissure postcard" fifhy one Dot Gallery, Miami USA. 2008 "Connotations Sinister Galeria Trece, Santiago-Chile. 2007 "From the periphery to the center" Gallery 000 ", Santiago-Chile. 2005 "Lost Time" Gallery Forest, Consepcion- Chile. 2006 "Permanent Revolution" Artium Gallery, Santiago-Chile. 2005 Providencia Santiago Chile-Cultural Center, “Carrera” 2004 "personal mythologies", Praxis Gallery, Santiago-Chile GROUP EXHIBITIONS 2019 West palm Beach Art...

Garden of Italy is one of the best photo on canvas realized by Giuseppe Marani in 2010. Always passionate about landscapes and photography, the artist then devoted himself to landsc...

View on a China street is a b/w photograph in gel print taken very likely in 1925. The picture, taken through the streets of Wuchon, immortalizes some bystanders among the houses. Indications in pen in German on the back...

Disappeared Rome - Palazzo Desideri is a vintage photographic print on single-coated paper. On the back "Fotovedo" ink agency stamp and handwritten notes in pencil. Excellent cond...

Baths of Caracalla is a vintage photograph realized by Ludovico Tuminello in the early 20th Century. Titled on the lower. Good conditions except for some foxing.

Unrealized International Project by Vittorio Mariani is a large size photographic albumen print applied on cardboard. Print realized by " Fotografia Lombardi Siena", dry print on lo...