Holiday Print Sale 2015

Update: This year's sale is now over. Many thanks to all of you who supported and purchased prints this year. It is a true blessing to have fans like you.

 

Photographs are best experienced on a piece of paper. Something we tend to lose sight of in this digital age. It’s not the most convenient way to look at an image, nor the least expensive, just the best. When done right by the artist, the printed image is presented as the photographer intended. Photographic prints are artifacts, objects d’ art, that enrich a person’s life. That’s how I see them. I like to touch them, hold them, frame them and hang them on a wall. Live with them.

 

For this year’s holiday print sale I’ve searched my archives and paired photographs which I feel work well together as a diptych. Ideally, this means the viewers eye enjoys each print separately, while the viewers mind unlocks a deeper understanding of what the two images are saying together.

 

That’s the idea anyway.

 

Once again this year the prints are half price. I’m also offering a choice in size.

 

The small pigment prints are made on 8.5 x 11 inch archival matte paper with an image size of 6 x 9 inches.

 

The big pigment prints are made on 17 x 22 inch archival matte paper with an image size of 12 x 18 inches.

 

Each diptych consists of two separate photographic prints made on two separate pieces of paper.

 

All prints are made personally by me.

 

All prints are signed on the front and signed and dated on the back. Each diptych will come with a certificate of authenticity as well.

 

The sale ends on November 18, 2015. Prints will be shipped in the US (sorry, no international orders this year) via priority mail by December 2, 2015.

 

 

Diptych #1 - Hidden Eyes, Casablanca, Morocco 2005

 

While making selections for this year’s sale, I kept finding images from my work in Morocco where the subject’s eyes were hidden or obscured. I’m not quite sure what that means and I think that’s okay. Photographs should be a bit of a mystery, even to the person who made them. I feel these are two of the strongest images and they work well together. 

 

 

Diptych #2 - Noria Leap, Hama, Syria 2006 and Camel Man, Cairo, Egypt 2006

 

The people of both Egypt and Syria are dear to my heart. I’ve experienced nothing but kindness and generosity in both of these places. Like most of my work, this is simple street photography, which I define as walking around, perhaps getting lost, and trying to capture images which are pleasing to the eye, while also attempting to distill some order out of life’s chaos. Some much has changed since these images were made. The images now have a metaphoric meaning which transcends the everyday life they depict.

  

 

 Diptych #3 - Egyptian Artifacts, Egypt 2006

 

I’m fascinated with the pyramids (I suppose like everyone else). I never tire of making pictures of them. I’m also fascinated by the fact that they’re just kind of there, standing fast, more or less unchanged, as human life goes on around them. Many photographers try to photograph them as if they just stumbled across them, Indiana Jones style. I like the idea of showing them surrounded by modern day (future) artifacts. Like these things will come and go, maybe be unearthed themselves one day, while the pyramids just sit there, err Sphinx like, passing the time.

 

 

 Diptych #4 - American Icons, New Jersey 2001 and Nevada 1996

 

I thought I was being clever, shooting a picture of Lady Liberty from the New Jersey side. I swear I hadn’t seen the opening title sequence from The Sopranos when I made this. Oh well… great minds. The Golden Arches rising out of the Nevada High Country, I’m pretty sure I got to this one first. Both of these images were made on film and drum scanned, which is my way of saying the prints are amazing.

Many thanks and have a wonderful holiday.

 

- Kenneth Jarecke

 

Talking with David Burnett from Sochi

Kenneth Jarecke - My good friend David Burnett, how are things in Sochi

David Burnett - Well, I never would have thought I could say, here I am in Sochi, but here I am in Sochi.

KJ - How many Olympics is this for you?

DB - This is my tenth Olympics. My second Winter Games and even though it’s been a mild winter, I’m reminded of why I have a four to one edge of summer games over winter. Sooner or later, sloshing around in that gooey snow, you’re feet get cold. But, I’m having a great time working with a great bunch of folks.

In our business we have a way of talking about things that are fun that most other people wouldn’t have a clue of what we’re talking about. Working twenty hour days with all kinds of uncomfortable things, figuring out how to get from one place to another, but it’s fun. It’s what we do. You kind of learn how to redefine what is fun and I have to say it’s been a pretty good ten days so far. Please follow this link to read the rest of the interview.

Please follow this link to read the rest of the interview (plus photographs).

Talking with Vincent Laforet

The first time I met Vincent Laforet was at a spontaneous, late-night photographer’s dinner after a full day of shooting during the Salt Lake Olympics. Vincent entertained the table with stories and spot on impersonations of other photographers.

It was a wonderful evening.

We crossed paths four years later about half way up the stairs which run up the large ski hill in Torino. It was a good evening for making pictures, though there was nothing wonderful about that climb.

Laforet is the type of photographer that other photographers watch closely. He’s a ground breaker who seems to have already made a move when others don’t yet know there’s a move to make. He was kind enough to talk a bit about his latest project, a stunning piece he did for Nike.

Serious photographers rarely talk about equipment. Conversations usually focus on the why and not so much on the how, so it was a treat to have Vincent explain the thinking behind what he was working to accomplish during this shoot.

Please follow this link to read the rest of the interview.