Thursday, September 14, 2017

William Eggleston at the Piano

Honored Southern Photographer William Eggleston (see image above by NY Times photographer Peter Townsend) has, according to the NY Times, taken up the piano and has released an album of standards and original compositions.

Eggleston's album, entitled Musik, will be on the Secretly Canadian label, to be officially released October 20th, 2017.

According to the folks at Secretly Canadian, Eggleston recorded improvisations onto floppy disks and used a four-track sequencer to overlay parts and create fuller symphonic compositions. 

In addition to Eggleston's own music, the album includes standards by Gilbert and Sullivan and Lerner and Loewe. 

Again, according to the folks at Secretly Canadian, Eggleston "often says that he feels that music is his first calling, as much a part of him, at least, as his photography."

Good to know that Eggleston continues to explore his creative spirit. 

You can learn more about the album here. You can preorder the album here. 

This album is sure to wind up on many Southern photographers' holiday gift lists.

Tuesday, September 12, 2017

New Books by Southern Photographers -- Early Fall 2017

A couple of new books of photographs out now from Southern photographers --

Atlanta-based photographer Jerry Siegel (see image above) has published Black Belt Color, from the Georgia Museum of Art, available here, from the usual source.

This book contains photographs from Siegel's 20 years of photographing in and around Selma, Alabama, his home town. 

The Spaulding Nix Gallery in Atlanta has a show of Siegel's work from this portfolio up now through November 4th, 2017.

You can learn more about Siegel's book here, from The Bitter Southerner.

Dallas-based photographer Brandon Thibodeaux (see image above) has published his first monograph, In That Land of Perfect Day, from Red Hook Editions

Thibodeaux' publisher describes the work as presenting "tales of strength against struggle, humility amidst pride, and promise for deliverance in the lives he has come to know" in eight years of roaming "through a forty-square mile area in the Mississippi Delta, learning about the region’s history and the contemporary experience of its residents."

They go on: "His photographs depict the rural African American experience in a universal quest for faith, perseverance, and solace through community."

Congratulations to Siegel and to Thibodeaux for their success with this fine work from deep in the South.

Tuesday, September 5, 2017

Southern Journals in the NY Times

The New York Times is featuring today a story about Southern publications that, each in its own way, seek to engage the issues presented by Southern culture, especially at the present time. 

The story is entitled In Southern Magazines, Easy Pleasures and Hard Questions, go here.

The piece is by Richard Fausset, who is the Times' corespondent in Atlanta. 

He focuses on this question: "How much to sing the song of the South, especially amid genuine evidence of racial progress, and how much to be a skeptical voice in a place where issues of race and class often shadow conversations about even the most innocent pleasures?"
These issues are -- or certainly ought to be -- of concern to Southern photographers, especially now, in this season of Trump and Charlottesville, as we try to make sense or at least meaning out of the unfolding events of our time. 

And also because the publications that Fausset cites use a whole lot of photographs.

Fausset focuses primarily on 3 publications -- Atlanta's The Bitter Southerner, Durham's Scalawag, and Charleston's Garden and Gun

Southern Living does get a mention. Other regional and often university-based publications like UNC-Chapel Hill's Southern Cultures and the University of Mississippi's (though now the University of Central Arkansas's) Oxford American rate only the briefest of mentions.  

The good news is that the editors of these publications -- the ones whom Fausset quotes -- are, on the whole, optimistic.

Fausset quotes Alysia Nicole Harris, 29, an African-American who grew up in Virginia and is an editor in chief of Scalawag to the effect that “The South is not this homogeneous place — it has a deep history, a really full history, and one that’s not just for the upper class. 

"The demographics are changing," Harris says. "And ultimately, we believe that the South is going to be the voice that emerges to lead this conversation about trauma and healing, because here is where the trauma was the thickest.”

But The Bitter Southerner, and its editor Chuck Reece, receive the lion's share of Fausset's attention. And richly deserved attention it is, as I suspect anyone who spends time on The Bitter Southerner's website will agree. 

Fausset tells the story of The Bitter Southerner, describing Reece as "a white voice, simultaneously proud and conscience-stricken, screaming to be heard over the stock-car roar but always cognizant that there are other voices, in other flavors, that may deserve a hearing even more."

In their interview, Reece remembers his founding vision for the publication:

"If you are a person who buys the states’ rights argument … or you fly the rebel flag in your front yard … or you still think women look really nice in hoop skirts, we politely suggest you find other amusements on the web. The Bitter Southerner is not for you.

The Bitter Southerner is for the rest of us. It is about the South that the rest of us know: the one we live in today and the one we hope to create in the future.”

Fair enough -- although as I read these remarks, I am reminded of bygone days, and bygone hopes that have not panned out as we expected. 

I am a child of the Jim Crow South, the South of the 1950's and '60's, the segregated South, when young Southerners lived in two different worlds. 

Whatever we shared, we shared it across the barriers that divided our worlds. 

One vehicle for sharing was WLAC, the radio station out of Nashville that, at night, you could hear across the South, even in my room in North Carolina, bringing us the music of Big Mama Thornton, Hank Ballard, Ruth Brown, and Billy Ward and the Dominos, so that for me and my friends rhythm and blues became the music of our youth.

So we were ready for Motown, and the music out of Muscle Shoals, and out of Memphis (and by Memphis, I don't mean Elvis, that Mississippi cracker who got rich making crossover recordings of music by black artists like Big Mama Thornton). 

Writing today, I am aware that, as Reece says of okra and gumbo, and by extension so much of Southern culture, "you can't [as a white person] write a story about how wonderful a thing [these gifts are] without acknowledging that [they are] undeserved gifts." 

This was a gift some of us tried to pay back by supporting, as best we could, the Civil Rights Movement of the 1960's. 

And, if you had told me in 1966, as my fraternity at UNC welcomed people of color into our merry band, or if you had told me, in 1972, when the public schools in my home county dismantled the segregated school system that I attended -- and did it peacefully, when the city of Boston was tearing itself apart trying to do the same thing -- that in 2017 we would have white supremacists helping to elect the president of the United States, and have a mob of Confederate flag-waving demonstrators desecrating the grounds of the University of Virginia, I would have told you that you were crazy, that a new day was dawning, that black folks and white folks were standing up together to redeem Southern history and make a new day.

In some ways, that happened. But in other ways, it didn't. In painful ways, it didn't. As the events in Charlottesville demonstrate so clearly. 

But heartbreak and disappointment are as much a part of the Southern experience as anything else. And so we persevere, even though Southern fear, and suspicion, and bigotry also persist. 

And we keep hoping tor a better day, although far too many of our white relatives persist in following the darkest impulses of our racist past.

Friday, September 1, 2017

More News of Southern Photographers -- Late Summer 2017

Kat Kiernan, formerly owner of a photography gallery in Lexington, VA, and still editor of the magazine Don’t Take Pictures, has now become Director of Panopticon Gallery, on Commonwealth Avenue, in Boston, MA.

Her first show as Director of the Gallery is a group show entitled At Sea, go here.

Among the work included in this show is a set of tricolor gum prints by Raleigh-based photographer Diana Bloomfield (see image above). 

Chapel Hill-based photographer Susan Harbage Page (see image above) is opening a show of her photographs taken in the Italian town of Spello, go here. 

The show is part of Spello FotoFest 2017.  

It occurs to me that Page and Betty Press, who also summers in Italy, should get together. Seems to me, they have a lot to talk about, as Southern photographers as well as photographers of Italy.  

Earlier this year, TIME magazine assembled a distinguished panel of folks who then chose 12 African American Photographers You Should Follow Right Now, go here.

Among the 12 are the following Southern photographers:
Winston-Salem-based photographer Endia Beal (see image above).

Also Atlanta-based photographer Joshua Rashaad McFadden (see image above).

Also, Atlanta-born but NYC-based photographer Shamayim (see image above).

Also, Baltimore-based photographer Michael McCoy (see image above). 

Also, New Orleans-based photographer Chandra McCormick (see image above). 

McCormick works in New Orleans with her husband Keith Calhoun (see image above), another fine Southern photographer. 

Congratulations to all these fine photographers! 

More later, from the Southern Photographer.   

Tuesday, August 29, 2017

More Southern Photographers on the FENCE

Several other Southern photographers have had their work selected for use in the FENCE project, in various places across the country.

Among them are the following, including Charlottesville-based photographer Matt Eich (see image above).

Also, Chapel Hill-based photographer Leah Sobsey (see image above). 

I am honored to say that most of what I know about photography I learned from Sobsey, at the Center for Documentary Studies, in Durham.

Also, Durham-based photographer Shawn Rocco (see image above).

Also, Durham-based photographer Bryce Lankard (see image above).

Also, Chapel Hill-based photographer Gesche Wurfel (see image above). 

Also, Durham-based photographer Marthanna Yater (see image above).

Also, Chapel Hill-based photographer Warren Hicks (see image above). 

Also, Atlanta-based photographer Joshua Rashaad McFadden (see image above). 

Also, Durham-based photographer Chris Ogden (see image above). 

Congratulations to all these folks! Watch for their work on a fence near you. 

Monday, August 28, 2017

News of Southern Photographers, UPDATED -- Late Summer, 2017

We will update this blog entry as more news comes in. But for no, we have the following items:

Durham-based photographer Chris Sims (see image above) has been working for some time on his portfolio Theater of War, documenting the pretend villages of Iraq and Afghanistan that one finds on some military bases in the American South.

Sims' work is now  featured on the Atlas Obscura website, go here

Charleston's Rebekah Jacob Gallery has recently been the subject of a feature story in Charleston's City Paper, go here.

There is an update on this story, from the City Paper, go here.

Savannah-based photographer Emily Earl (see image above) has been chosen by the Atlanta Photography Group to receive the annual $2500 APG/High Museum of Art Purchase Award. 

As a result, seven pieces from Earl’s portfolio Late Night Polaroids will be added to the permanent collection of photography at the High Museum. 

Thursday, August 24, 2017

More on Charlottesville -- Matt Eich, The Bitter Southerner, the NY Times

Charlottesville-based photographer Matt Eich (See image above, also images below) photographed the late unpleasantness in Charlottesville for the New York Times. 

Thanks to Joel Brouwer for pointing Eich's work out to me!

You can find more of Eich's work in the NY Times, go here.

Speaking of Charlottesville, The Bitter Southerner has continued its coverage of Charlottesville, go here. 

Especially, check out Alex Johnson's article Separating Hate from Heritage in the Lies They  Told Us, go here. 

Johnson considers the situation many of us who are white Southerners find ourselves in after Charlottesville, descendants of slaveowners or of men who fought in the Civil War on the side of the Confederacy.

He thinks about all the stories we heard growing up, that the Civil War (or, perhaps the War of Northern Aggression) was not about slavery but states' rights, that Reconstruction was really bad, that Jim Crow laws and Southern apartheid were best for everyone.

He concludes:

"We’re all victims of those narratives, but the hypothesis was false. 

"As Confederate Vice President Alexander Stephens said three weeks before firing on Fort Sumter, “African slavery” was the “cornerstone” of the new country. 

"Slavery was real, and the power of that evil institution lingers in the lies we’ve been told for too long. 

" First, it was the slave owners. Now, it’s the skinheads. Don’t fall prey to their perversions of reality."

The Bitter Southerner's coverage of Charlottesville has itself received some appropriate laudatory attention, by Daniel Funke, go here. 

My friend Catherine Bishir brings us this essay on the history behind the monuments, go here.

All worth viewing and reading, and pondering deeply in our hearts, in the days and weeks and years ahead.

Tuesday, August 15, 2017

Charlottesville -- August 2017

The Bitter Southerner has published a portfolio of photographs made by Virginia-based photographer Pat Jarrett (see all images in this blog entry) in Charlottesville over the weekend. 

Jarrett also describes his experience covering this event in The Bitter Southerner, go here, in an article called As Loud as a Bomb. 

Chuck Reese, an editor of The Bitter Southerner, says of Jarrett:

"To show us the South at its worst, Jarrett will take his camera and, quite literally, look hate straight in the eye. 

"He has made it his business to understand the individual idiosyncrasies of dozens of hate groups. 

"But on Saturday in Charlottesville, he saw them act in a way he’d never witnessed before: He saw them attack a group of protesters, killing a young paralegal, Heather Heyer, and injuring many others."

Reese gets things about right when he writes, "We cannot ignore the fact that these people — wherever they are from — chose our region, and its symbols of the Confederacy, as the place to take their stand. 

"Therefore, it’s up to us to root them out. As for me, I find myself inextricably drawn to a simple idea: that the time for the benevolent but silent white Southerner is over."

Reese quotes John Pavlovitz, a minister at the North Raleigh Community Church, writing after the events in Charlottesville. 

Pavlovitz says, "White people especially need to name racism in this hour, because somewhere in that crowd of sweaty, dead-eyed, raw throated white men are our brothers and cousins and husbands and fathers and children — those we go to church with and see at Little League and in our neighborhoods. 

"They need to be made accountable by those they deem their “own kind.” They need to know that this is not who we are, that we don’t bless or support or respect this. They need white faces speaking directly into their white faces, loudly on behalf of love."

I'm with Pavlovitz, and with Reese, when he writes, "We know these people. We see them. They are in our communities. 

"For far too long, we have shrugged and tried to ignore words from acquaintances that might suggest sympathy for the neo-Nazis, the Lost Cause apologists, the alt-right, or the so-called “American nationalists.”

"Our silence is no longer acceptable. 

"White people in the South who know better must call out our neighbors and family members who apologize for or justify the actions of murderers, the actions of the deluded, the actions of the cowards, the actions of the dangerous.

"When we hear the code words, the dog whistles, or even completely overt expressions of racism, people like us no longer have a choice.
"We must respond. White faces have to look straight into the eyes of other white faces and say: I will not abide your hatred." 

Reese says that the folks at The Bitter Southerner will be following the aftershocks of the events in Charlottesville, so its well worth our time to keep checking back to their website. 

They say that they "can’t make up [their] minds whether . . . to talk about the cowardice of the racists who brought their hate to Charlottesville or the danger they pose to the future of our region and nation. 

"They are cowards, but they are dangerous, and both facts are worthy of discussion."

And I certainly agree with the "entire BS crew" that "the job of standing up for what’s good about the American South just got harder."

Amen to that.

Wednesday, August 9, 2017

Lori Vrba on the FENCE

Chapel Hill-based photographer Lori Vrba (see image above) has successfully negotiated the submission process for the recent nationwide FENCE 2017 competition.

As a result, she has a portfolio of work from her Drunken Poets Dream portfolio on display (see below) on, of course, a fence, and in Brooklyn, in New York City, up now through September 10th, 2017.

Congratulations to Vrba! 

Shows of FENCE images will also take place in Atlanta and Durham, with an additional special show of images up in connection with the CLICK! Triangle Photography Festival in October.

Other Southern photographers got chosen to be on the FENCE, for whom notice will follow.

As the people on the FENCE say, 

"The FENCE is a large-scale traveling photography exhibition reaching over 4 million visitors annually through open-air exhibitions in 7 cities across the United States: Brooklyn (NY), Boston (MA), Atlanta (GA), Houston (TX), Santa Fe (NM), Durham (NC), and Denver (CO)."

Monday, July 24, 2017

Frank Simmons and John Stewart -- Honorary Southern Photographers

The New York Times LENS Blog has recently brought us work by Frank Stewart (see image above, made in Memphis) and John Simmons (see image below, made in Nashville), two major African-American photographers from Chicago who, beginning in the 1960's, made important work all over the world, and in the American South as well.

The NY Times profile gives us the background of these photographers' early beginnings in Chicago, their development as photographers, and their current joint show of work at the Wilmer Jennings Gallery and the Kenkeleba Gallery, both on New York’s Lower East Side. 

Really interesting to see these folks' work, especially to see together their work made in the American South alongside their work made in Chicago, in Los Angeles, in NYC, and across Africa.

This show opened on June 4th (sorry for being slow to get it on the blog!) but you can still see it if you are in NYC, because it's up through July 29th, 2017.  

To make up for my tardiness in bringing attention to this important show, I'll give you a bit more of the NY Times' profile:

“You didn’t get a whole lot of history lessons about African-American culture in school,” Mr. Stewart said. “My work is culturally motivated. I wanted to know where these polyrhythms, the roots of the foods and this rich cultural history came from.” 

"Over the last five decades, Mr. Stewart’s photographs — whether made in New Orleans, New York or the Ivory Coast — have explored the culture and traditions that were “carried by the slaves, and kept intact in some places and morphed into something else, like jazz, in others,” he explained.

"Many of the images in the show were taken in the late 1960s and early ’70s, a time, Mr. Simmons said, of “hippies, artists, poets and antiwar protests.” He remembers “wearing a beret, listening to jazz” and wanting to be “a creative spirit” and express himself through photography. 

 (Archie Shepp in Nashville, photo by John Simmons)

"The pair both trace their careers to the influence of Robert Sengstacke, a photographer whose family owned The Chicago Defender, one of the country’s most prominent black weekly newspapers. Mr. Sengstacke taught them how to be photographers and even arranged for Mr. Simmons to work with him at the paper. 

"When Mr. Sengstacke became an artist-in-residence at Fisk University in Nashville, he arranged for Mr. Simmons to get a scholarship and to be his assistant there. Mr. Stewart received a track scholarship to Middle Tennessee State, a few miles down the road from Fisk, and the three Chicago natives spent time together. 

"Mr. Simmons studied painting and filmmaking in school, received an M.F.A. in cinematography at U.S.C. and works on documentary films and television shows. He is based in Los Angeles and is a vice president of the American Society of Cinematographers as well as an adjunct professor at U.C.L.A. 

"Mr. Stewart devoted his life to photography and moved to New York to learn from Roy DeCarava, who arranged for his protégé to study at Cooper Union. Granted, Mr. Stewart said that a life in photography has not always been financially easy. 

“When I first started, all I had in my apartment was a table, a chair, an enlarger, a mattress and a Leica camera with a 50 mm lens,” Mr. Stewart recalled.
"With a shoestring budget, partially provided by two National Endowment for the Arts grants, Mr. Stewart bought monthly bus tickets, which he used to travel throughout the country documenting African-American communities. 

"He also photographed multiple times in Cuba and in Africa. He worked for the Studio Museum of Harlem as well as for the artist Romare Bearden before becoming a photographer for Jazz at Lincoln Center. 

"Mr. Simmons worked steadily as a cinematographer on films and television shows and continued taking still images. But he did not publicly share his photographs much until last year. They did, however, play a very important part of his life, he said. Photographs are “reflective of the culture that we live,” he said.

“Every time the shutter is released I feel like we bring our entire life to that,” he said. 

“The interesting thing is to be able to take the most common seemingly insignificant moment and preserve it. Then it takes on a life of its own.”

"Just as photography changed their lives, both men have been deeply involved in mentoring and paying forward what Mr. Sengstacke and others did for them. 

“The camera gave a direction to our lives,” Mr. Stewart said. “It took us off the streets, took us to college and gave both of us a responsibility to ourselves and our community.”

Much to learn in the work of both Mr. Steward and Mr. Simmons. 

I'm happy to include them both on my list of Honorary Southern Photographers.

Southern Photography Festivals -- October 2017

October, in central North Carolina, brings us CLICK! the Triangle Photography Festival, running from October 1st through 30th in Raleigh, Durham, Chapel Hill, and the surrounding communities.

The folks behind Click! started small, but full of ambition. And they keep growing!

This year, they bring us a new logo (see image above), photo exhibits across the region, a portfolio review, lectures by Anne Wilkes-Tucker, Louie Palu, and Matthew Brandt, and workshops with Louie Palu and Mary Virginia Swanson.

A special feature of this years Click! fest is Click! 120, running from October 4th - 8th, 2017, an intensive 5 day period of activities that focus, as the Click! folks say, "on exceptional photo-based works and artists that celebrate the medium of photography and its cultural influence."

They go on: "These 120 hours will feature Keynote addresses, Portfolio Reviews, Workshops, Art Bus Tours, Panel Discussions, Artist Talks, Gallery and Museum openings and so much more"

Plans for this year's activities are still unfolding, so keep checking back to their website, here, for all the details.

October, in Georgia, of course brings us what my father would call the Daddy Rabbit of Southern Photography festivals -- Atlanta Celebrates Photography --which started out being about the month of October but now starts in September and continues long past the end of the month.

In fact, programming by ACP has really become a year-round activity in Atlanta.

ACP also has a new logo this year (see image above), as well as a blog, here.

The major focus of ACP is still the month of October, clustering in that month all the lectures, workshops, portfolio review,  and gallery and museum shows that anyone could ask for.

So, in October, between the Research Triangle region of North Carolina and the booming city of Atlanta, we have so much good photography to see, so many learned speakers to hear, so many events to take part in! 

But there is of course more to come. Check back for news of more on festivals later in the fall.

The life of the Southern Photographer is full, and good.

Friday, July 21, 2017

SlowExposures -- September 2017

Given today's hot weather -- a predicted high of 97 degrees here in Raleigh -- it's hard to believe that cooler nights and the splendor of autumn color are all just around the corner.

But so it is, and thoughts of autumn remind us that the fall photography festival season is also about to begin.

Leading off, of course, will be the most Southern of festivals, SlowExposures, this year open from September the 14th through the 17th in Pike County, Georgia.

I had the good fortune to have work in SlowExposures a few years ago, and went to Pike County for the opening. 

There was a great party, I met lots of folks, and the show itself was so strong that I felt truly honored to have work there.

That experience helped me realize that there was a renaissance of photography going on in the South, and that realization had a lot to do with the creation of this blog.

SlowExposures continues to grow and mature, having expanded beyond its original format to include pop-up shows, shows by participants in the SlowAIR program, and by young photographers, and much, much more. 

This year's schedule includes the following:

♦  The Main Exhibition, at Stricklands in Concord

And the following Satellite Shows:

♦  2016 Paul Conlan Prize winner:  d. b. Waltrip, with her show Of Mud and Men, at Stricklands in Concord

♦  “Inspired Georgia” at the Whiskey Bonding Barn in Molena

♦  Photography by Ryan Steed at A Novel Experience in Zebulon

♦  Photography by Doug Eng at the beautiful barn at Split Oak Farm in Zebulon

♦  PopUp Show by our SlowAIR photographers, David McCarty and Claudia Smigrod, at the Eliot Helms’ Tenant House

♦  Tour of other Popup Shows in various locations around Pike County

Arnika Dawkins and I had the challenge -- and the pleasure -- of jurying this year's SlowExposures Unplugged show. 

We had over 800 photographs to review, and could have chosen far more than our allotted 75 images without any diminution in the quality of the images. Making our final choices was really tough!

The practice of Southern photography always risks producing work that we've seen before, or that privileges one facet of Southern culture over another, or that accepts unquestioningly the pastoral surface rather than evoke the tangled web of history that lies beneath.

Nancy McCrary, the editor of SxSE Photomagazineonce wrote that she had "seen more photos of kudzu and magnolias, angry dogs on chains, plantation homes, rusted-out trucks, cotton still in fields, broken-down houses, poor white trash, and elderly black people on rickety front porches than one person should have to view in a lifetime." 
I'm sure she's right, and I hate to tell her, but we chose some of those for this show. 

But, as she also admits, "the American South is reflected in all of these."  

While freshness and originality in choice of subject matter are important, the issue is, with those "moonlight and magnolias" subjects, how the photographer shows the familiar, and what kind of conversations the image provokes, and what position the image puts us in as its viewers.

We did try to avoid the two big bugaboos of Southern photography -- clichéd subject matter and sentimental treatment.

And, I sincerely believe, the work we have chosen, even when the subject is among the ones on Nancy's list, engages, and helps us make meaning of, the paradoxes of  history and the complex culture and the physical conditions of living in the American South, in our day. 

But Arnika and I will be in Pike County this September, and you can tell us then what you make of the choices we made. 

The full schedule of events for ths year's SlowEX is here. The list of exhibitors in the juried show is here

So much to look forward to in Pike County, Georgia, in mid-September!

Wednesday, July 19, 2017

South Carolina Week on Lenscratch

This is South Carolina Week on Lenscratch, a series of portfolios by photographers working in South Carolina, part of Lenscratch's ongoing States Project.

Lenscratch is releasing one portfolio a day, and we will try to keep up. So check back often!

The first featured photographer is Lexington, VA-based photographer Meg Griffiths (see image above). You will find her work on Lenscratch here

Griffiths is also the organizer and editor of all the portfolios featured this week from South Carolina. 

Also representing South Carolina this week is Conway, SC-based (but soon moving to Reno, Nevada) photographer Tracy Fish (see image above), profiled here, on Lenscratch

Charleston, SC-based photographer John Lusk Hathaway (see image above) is also representing South Carolina this week, profiled here, on Lenscratch

Columbia, SC-based photographer Ashley Kauschinger (see image above) is also part of South Carolina week, with her portfolio here, on Lenscratch

Bringing South Carolina Week on Lenscratch to a close is Charleston-based photographer Michelle Van Parys (see image above), with her portfolio, here.

Congratulations to the featured photographers, and to Meg Griffiths, who pulled all this together and provided helpful profiles of the photographers she invited to be part of this celebration of South Carolina photography.

Friday, July 7, 2017

Updated -- Southern Photographers in AINT-BAD Magazine

AINT BAD Magazine has come a long way from the days of its origins in Savannah, Georgia, where it was based in the SCAD community. 

Nowadays, we are more likely to find the work of photographers from all over the world than we are work by Southern photographers. 

But our colleagues in the American South do show up from time to time, and its worth noticing when they do. 

Recently, for example, AINT BAD has featured work by the Dallas-based photographer Marissa Chavez (see image above).

 Rural Georgia-based based photographer Michael Wriston (see image above), 

Also, Greenville, SC-based Katie Fenske (see image above), with her portfolio, here

Also, North Carolina based photographer Jefferson Lankford (see image above), with three appearances, here, here, and here,

New Orleans-based photographer Akasha Rabut (see image above), 

 Atlanta-based photographer Ben B. Lee (see image above),

NYC-based but South Carolina born photographer Courtney Garvin (see image above),

Douglasville, GA-based photographer Jack Deese (see image above),

Baton Rouge, LA-based photographer Lily Brooks (see image above),

New Orleans-based photographer Richard McCabe (see image above),

Dallas-based photographer Rachel Cox (see image above),

Myrtle Beach, SC-based photographer Tracy Fish (see image above),

and Eastern Shore of Maryland-based photographer Harrison Albert (see image above).

You can also see Kelia Albert's photographs of St Patrick's Day in Savannah, go here,

and read a profile of Savannah-based AINT BAD editor Anna Brody (see image above), go here.

Much to keep up with, from the good folks at AINT BAD Magazine.