Opening night at Image City was filled with color not only on the walls, but in the room itself. One of the most delightful moments of the evening came courtesy of photographer Fred Stoss, who quite literally embodied the exhibition. Dressed in a classic black suit accented by a brilliant red bow tie and unforgettable red shoes, Fred became a living extension of the show itself. He didn’t just exhibit in RED––he wore it. His presence captured the spirit of the evening perfectly: creative, bold, joyful and just a bit daring. It was a reminder that this exhibition is not only about photographs––it’s about community, personality, and shared celebration.
Red Eyed Loon by Randy Fredlund
One of the most rewarding aspects of the RED show is seeing the incredible range of artists who participate. Familiar photographers hang beside first-time exhibitors. Wildlife photographers, abstract artists, portrait specialists and landscape storytellers all find common ground in a single color. This shared focus creates something special. RED becomes the thread that connects dozens of individual visions into one cohesive experience.
Spring Red by Tom Gallagher
Perhaps it’s the time of the year–––February’s chill giving way to hints of spring. Perhaps it’s the emotional intensity the color carries. Or perhaps it’s simply that red demands attention. Whatever the reason, this 3rd annual RED show confirms what we have come to know: when artists embrace a theme wholeheartedly, magic happens. As visitors move through the gallery, surrounded by glowing walls and vibrant imagery, one thing becomes clear: RED doesn’t just hang on the walls at Image City; it radiates. We invite you to experience it for yourself and visit Image City through March 22.
The 2026 Black and White Invitational at Image City Photography Gallery brings together seven photographers whose work demonstrates that monochrome is not a limitation, but a language—one capable of nuance, emotion, and deep structural clarity. Featuring Lisa Enterline, Olena Kondrashova, Tom Kredo, Pat Luke, Regina Muscarella, Ron Shapiro, and John Solberg, the exhibition demonstrates how black and white photography continues to evolve as a powerful, expressive language—one rooted in light, structure and emotional clarity.
Across this invitational, black and white becomes a means of distillation. By removing color, each artist reveals what remains essential: light and shadow, balance and texture, gesture and mood. The result is a show that feels both cohesive and richly varied.
Soar by Lisa Enterline
Just Because, It’s Fun
For Lisa Enterline photography begins with curiosity and joy. When asked “Why Photography”, Lisa says “I guess the answer is just because, it’s fun.” She describes her time with the camera as both playful and purposeful. A day alone in the woods becomes “a treasure hunt,” where she is compelled to record “tiny, beautiful, unseen places,” while also embracing expansive scenes. Lisa’s background in commercial printing and a BFA in photography inform her thoughtful approach, but her work remains grounded in experience and exploration. Living in areas “mostly void of bright light,” she welcomes the challenge, allowing subtle illumination to shape images that feel quiet, personal and discovered.
Revealed Structure by Tom Kredo
Familiar Places, Seen Differently
Tom Kredo quite literally asks viewers to see landscapes in a new way. His series In A Different Light is created using a modified Fujifilm camera that records infrared light at 720 nm—“just beyond what the human eye can see.” By changing the wavelength of light rather than subject itself, “familiar landscapes are quietly altered.” Trees and grass appear bright, skies grow darker, and everyday parks take on “a calm, slightly unfamiliar look.” Presented in a square format, Tom explains that his choice “removes the strong horizontal pull common in landscape photography.”
Your Move by Pat Luke
Precision, Contrast and Control
With thirty-eight years of professional experience, Pat Luke brings both technical rigor and emotional impact to his portraits. Although originally captured in color, Pat carefully evaluates which images belong in black and white. “If the image is mostly monochromatic already, then it will likely look good as black-and-white,” he notes. Conversely, “if the color is distracting, converting it to a black and white image can save it.” Contrast is essential—“having both white whites and black blacks, and a range of grey tones,” Pat evaluates his work using a methodology similar to Ansel Adams’ Zone System. The resulting portraits are deliberate, dramatic, and finely tuned, balancing precision with presence.
Where the Body Ends by Olena Kondrashova
Stillness, Structure and Fragility
For Olena Kondrashova black and white is not an afterthought—it is the starting point. “Monochrome is simply the first language I meet the photograph in,” she explains. Without color, “the photograph becomes less about what it looked like, and more about what it felt like to be there.” Her work pays close attention to light first, allowing form, gesture and mood to follow. Across the series, the body becomes “a threshold” hovering between concealment and exposure, intimacy and distance. Stillness plays a central role—“deliberate rather than passive”—creating images that locate vulnerability “not as a spectacle, but as a precise, lived condition.”
Fallingwater by John Solberg
Architecture and Design
One of John Solberg’s dreams as a young boy was to become an architect; the other was to become a scientist. The second dream became reality, but the love of architecture has remained. So it’s no wonder that architecture is one of John’s favorite photographic themes. John’s images focus on Frank Lloyd Wright architecture, where geometry, repetition and thoughtful design take center stage. Stripped of color, Wright’s architectural forms are revealed through line, shadow, and rhythm, emphasizing the balance between structure and space that defines the buildings and John’s photographic approach. His work highlights how black and white photography is particularly suited to architecture—allowing viewers to engage with proportion, material and intention without distraction.
Up at Dawn by Regina Muscarella
Diverse Voices, Shared Intent
Complementing these approaches are the works of Regina Muscarella and Ron Shapiro each contributing a distinct visual sensibility while reinforcing the exhibition’s central theme: black and white as a tool for clarity and meaning. Whether wildlife, landscape or street photography, their images emphasize form, contrast and emotional resonance, underscoring how monochrome photography continues to evolve in contemporary practice.
Fall Cut by Ron Shapiro
As you move through the gallery, consider how black and white reshapes not only what you see, but how you see. In this exhibition, familiar subjects become newly compelling, everyday spaces that take on deeper meaning, and photography reveals its enduring power to communicate through light alone. Seen together, these seven photographers remind us that black and white remains one of photography’s most enduring and expressive forms, capable of quiet power, emotional depth, and lasting impact.
Last fall, I was honored when the editor of the Photographic Society of America-Worldwide Journal asked me to write an article about one of my photography experiences, and I was delighted to be featured on the cover of the April, 2025 issue with my photos and writing within. That recognition deepened my desire to share not only the images from that journey, which are on display in The Colors of Aruba, at Image City from September 30-October 26, 2025, but also the process and tools that helped shape them. For this blog I am sharing segments of my article with the purpose of sharing with readers information about the camera equipment I chose to bring, and how I chose to use my kit.
Aruba is a place of striking contrasts—turquoise waters, golden beaches, dramatic desert terrain and a lively cultural scene. To cover this range without carrying too much, I had decided to travel with the Nikon Z8 and two lenses.
My walk-around lens was the Nikkor Z24-120 mm f/4. We were staying on Palm Beach, so that was where I began my photographic journey using this lens. Taking a walk on the beach in the early evening allowed for well-lit scenes of the coast and for finding beautiful shells illuminated by the sun, as well as low flying pelicans and curious crabs digging in the sand. The 24 mm focal length was ideal for the beach scenes, and the ability to zoom to various other focal lengths worked well for capturing the textures of the items lying along the beach. The fiery hues of the Aruban sunset painted the sky in a symphony of colors. The lens was just right for capturing the play of light and shadow as the sun dipped below the horizon, while cloud formations added interest as they surrounded the celestial sphere. Silhouettes of palm trees against the vivid sky, as well as various boats passing by, created additional variety. It was also pleasurable to take photos of other people along the beach enjoying the magnificent sunsets, which varied each evening.
The next day I was glad that I chose to bring the Nikor Z100-400mm f4.5-5.6, which was essential for wildlife. I had made the decision to leave my 180-650 at home and discovered it was a wise choice. It’s a heavy, large lens and would have been cumbersome on the plane. With the 100-400, from a distance, I could capture pelicans skimming the surf, iguanas sunning on the rocks and expressive faces of Aruba’s beloved burrowing owls—all without intrusion. The lens’s reach also let me isolate patterns in the coastline, windmills and weathered shacks.
While exploring the native birds along the coast, I was delighted to stumble upon Rincon Beach. Sitting along this infrequently visited beach on a distant corner of the island is a collection of shacks built from scavenged and salvaged materials creating a colorful ghost town beside the cerulean waters. Many of the shacks were built haphazardly as weekend cabins. Rincon Beach sits along a mostly undeveloped stretch of landscape, sharing the picturesque southeastern portion of the island with an energy-generating wind farm. I was glad that I found this area while using my telephoto lens because it enabled me to photograph the intimate colorful details of these shacks. If I had only brought my 24-120 lens to Aruba, I would have missed some intriguing photographic opportunities!
On another day while on a tour of Arikok National Park, knowing that a visit to two caves was on the agenda, I realized it was important to switch back to the 24-120 lens. The consistent F4 aperture provided effective low-light performance, which enabled me to capture the clarity and detail in the dark caves within the park. The Fontein Cave was brimming with stalagmites and stalactites covered by algae, which made the limestone walls go from yellow to green, like gradient wallpaper. The cave’s dark snaky road and unrelentless humidity make it the perfect dwelling for bats, which I saw; however, I was unable to take photos of them because it was simply too dark where they were hanging out. Another limestone cave that was fascinating to photograph was the Quadirikiri. Of particular interest were the natural skylights in the ceiling, which was enchanting to see as the sunrays peeked through the ceiling and illuminated the dirt floor.
Leaving the coast and walking through the streets of Oranjestad, the island’s capital, I continued using the 24-120 lens, which allowed for quick adjustments between wide angle shots of the colorful Dutch Caribbean-architecture and tighter frames of interesting details like Aruba’s fascinating street art.
Each day my photography journey through Aruba was a visual feast for my senses, where every colorful corner revealed a new story waiting to be told. From the fascinating and humorous behavior of the local birds, to the tranquil shores of the beaches and the vibrant streets of Oranjestad, Aruba offers a tapestry of photographic opportunities for enthusiasts of all levels. It was delightful to unpack my camera and capture the magic of this enchanting island paradise one frame at a time.
For Dixon Handshaw, photography is more than an art form—it has been part of his life since he was a teenager. A professional photographer and educator from North Carolina, Dixon started his enjoyment of photography when he was in high school. He pursued a BFA in fine art and photography, became a freelance photographer in Atlanta, but eventually left that career and became part of an e-learning company. At that point, when he wasn’t a freelance photographer any more, he continued his love of photography. As he neared retirement, he went to Cuba for a photography journey. After that experience he decided to quit his job and pursue photography for the rest of his life. He continues to enjoy street photography and nature photography and teaches for a local community college in Hickory, North Carolina.
Dixon’s Swamp series on display at Image City is based on his willingness to see beauty in places that some people might overlook. “Most folks don’t think of a swamp as a pretty place,” he notes, yet he finds these environments calm, mysterious, and full of life. His photographs invite us to recognize the richness of landscapes often dismissed as ordinary. Whether capturing dramatic wildlife interactions or the subtler rhythms of nature, his images reveal a world filled with peace and wonder.
Dixon’s connection to Rochester and Image City Photography Gallery carries an even deeper, personal significance. Born in Buffalo in 1949, Dixon was adopted at the age of three months and raised as an only child. He had a happy childhood and says his parents were always open about his adoption, yet, he always longed for siblings and always wanted to find any relatives he might have. When New York State unsealed birth certificates, he made a life-changing discovery: he had six siblings and more than 70 relatives he had never known in Rochester. His journey to Rochester to meet this extended family led him serendipitously to Image City, where he discovered an opportunity to be able to display his photographs.
Throughout October Dixon is showing Swamp series in the Neuberger Gallery at Image City. Originally photographed in color, he later converted the series into black and white—and was delighted by the transformation. “The beautiful light from that day became more prominent,” he explains. “Black and white makes light just shine.” That discovery not only deepened the visual drama of the series but also reinforced his lifelong fascination with the interplay of light and form in nature.
His perspective on Swamp was featured in a Substack podcast interview, where he discussed both the inspiration and the process behind the series. For Dixon, the swamp is not just trees and water—it is a place of quiet calm, mystery, and abundant wildlife, and his photography invites us see it with new eyes.
Dixon’s hope is simple yet profound: that when viewers look at his images, they “open their eyes and maybe their heart a little, too.” At Image City, his work does exactly that—reminding us that beauty, wonder, and meaning are always waiting, even in the most unexpected places.
To learn more about Dixon, listen to his podcast, or watch an interview conducted when he traveled to Rochester to meet his family, click on the links below.
Celebrating 20 Years of Photography by Sheridan Vincent
At Image City Photography Gallery, we believe photography has the power to reveal the extraordinary in the everyday. This fall, we are proud to present Rochester Out and About, a new exhibit by longtime gallery partner Sheridan Vincent. Through the lens of Sheridan, the city of Rochester becomes a canvas of light, texture, and story—inviting viewers to pause, look closer, and appreciate the beauty in both familiar landmarks and hidden corners. The show is more than a display of images—it’s a reflection on two decades of artistry, experimentation, and a deep connection to the city we call home.
For this exhibit, Sheridan looked back over his 20 years as a partner at Image City and carefully selected a blend of personal favorites and images that have been most popular with visitors. Sheridanhas lived in Rochester for years and has been constantly struck by the variety found in such a compact city—historic neighborhoods, the Genesee River and Lake Ontario. He says, “Rochester has so much to offer, and I often return to familiar places to capture new conditions and situations. Often as I am traveling around Rochester, I see something that catches my eye, and I register it for a future camera visit. A stroll in the city center at dusk is always an attraction during Rochester’s seasons.”
Sheridan sees how the light at sunrise and sunset transforms the city in ways that are both dramatic and fleeting. He finds himself drawn back to those moments again and again. Rochester’s geographical location influences the quality of natural light, which is often considered ideal for photography. The city’s proximity to Lake Ontario creates moisture in the air, which scatters and diffuses sunlight. The lake’s position can contribute to dramatic and vibrant sunsets and sunrises. Capturing those transitions has become a signature for Sheridan. He says, “One consistent series I have had is to plan a day for the Summer Solstice. I started that series a couple of weeks after I retired and visited Honeoye Falls and patiently waited for the sun high in the sky to illuminate the falls and surroundings; solar sunrises and sunsets have become a common theme. I have done winter solstices also, but they are not as much fun.”
Known for his willingness to experiment with print media and framing, Sheridan continues to evolve his presentation style. For Rochester Out and About, he says that he looked back over the past 20 years of exhibiting at each of the shows every four weeks. He says, “In early years, Plak-It, a photo laminated to Masonite, was in vogue. In addition to conventional paper print, mat and frame, I have used dye-sublimation prints on aluminum and prints laminated to acrylic. Most recently, I have begun using a “direct print” onto an aluminum DiBond substrate with UV-curable inks. This method showcases a vivid, durable, high-resolution imagery with a subtle satin finish. When framed without glass over the photo, it gives a sleek, no-glare presentation. All of the photographs taken over the last 20 years that I selected for Rochester Out and About, have been printed in this way.”
When reflecting on this, Sheridan points out that his approach when he is out with a camera goes beyond capturing an image. He also is thinking about producing the print to show. He says, “Having the outlet to produce, rather than simply taking the photograph, adds significantly to the goal when out shooting.”
Sheridan is also well versed in editing skills. He says that he has always attempted to have the highest resolution photographs with state-of-the art cameras, lenses and processing software. This enables him to be able to handle a request to have the image printed bigger. Additionally, he has specialized in producing panoramic photos, where he can use software to stitch multiple exposures together for increased resolution.
As both a personal and professional milestone, this exhibit underscores Sherdan’s enduring passion. Even after two decades, Sheridan’s sense of discovery is far from over. There are neighborhoods still out there for him to explore, and stories he might want to tell. And of course, he will always be chasing the next sunrise and sunset.
Rochester Out and About will be on display at Image City Photography Gallery from September 2-28 with an opening reception on September 5, 2025. The gallery is handicap accessible and there is no admission fee. We invite you to join us in celebrating this vibrant showcase of Rochester life.
When Olivia Kim and Andrea Zuchegno came to Image City before the opening reception of Photographer’s Journey 2025, they were greeted by 64 images spanning moments of human emotion, intimate scenes, and thought-provoking concepts that were divided into eight categories: Portrait/Event/Sports, Architectural Cityscape, Wildlife, Landscape/Seascape, Digital/Conceptual/Abstract, Botanical/Still Life, Documentary/Journalism/Street and Travel.
Both Olivia and Andrea brought complementary perspectives shaped by their artistic professional background. Olivia, who draws, paints and primarily sculpts, approached each image with an emphasis on uniqueness and technical skill. She says, “I look for the synthesis of technique, creative inspiration and the art object as a whole.” As she viewed each image, she asked herself questions pertaining to this synthesis:
What are the proportions of value, scale, composition and chroma that exist within the photo?
How does the photo reflect the inner perception of the photographer?
Is the photo a complete object including the image, material, frame and mat?
Andrea, whose background is in macro photography at RIT, reflects a deep appreciation for design, detail and the emotional impact conveyed. “Wow! That’s really unique,” she often found herself saying. “I try to step back and think about the message the photographer is trying to convey, then I look closely at the technical approach.”
The judging process began with silent individual reviews, allowing each judge to absorb the images without influence. For example, they looked for fresh approaches in familiar genres—wildlife shots that revealed a creature’s character, architectural images that played with geometry and shadow, travel photographs that transported the viewer beyond the frame. In the conceptual/abstract category, they looked for balance between clarity of message and originality.
From the remarkable images, one image rose to the top: the Grand Prize winner, Scrum Struggle, by Tom Kredo. The photograph depicts a tangle of athlete’s arms locked in intense competition, their faces hidden from view. Olivia remarks, “The image intrigued me enough to question what it was and yet still read as a photograph, as opposed to digitalized abstraction. Because this image is mainly rooted in physical realty, as opposed to a digital one, it intrigued me more to ask how it could possibly exist, largely in part to the photographer’s choice of cropping and scale.”
Andrea, also drawn to this image, notes “Because it was only showing arms and not the athlete’s heads, I found myself looking at it more closely.” The absence of faces invited viewers to focus on movement, form and raw energy—turning the ordinary into something visually and emotionally compelling.
Another unexpected entry that stood out was One Step by Jack Taylor. Olivia was particularly drawn to it because of its unusual focal point—a single toenail on a big toe.
She says, “That absolute focus ties the entire image together, as it anchors the eye so the movement surrounding it is counter balanced. Without that focus, the many forms of movement in the image would have simply stressed out my brain, to the point of rejecting it.” That tiny detail, rendered with precision, transformed the image into something both intimate and curious, proof that a photograph’s power can rest on the smallest of choices.
After initial scoring, Olivia and Andrea came together for spirited discussions, sometimes debating the merits of two equally strong contenders. Their final decisions reflected a shared philosophy: a winning photograph must marry technical excellence with emotional impact. Whether a botanical that turned everyday flowers into visual poetry, a landscape that stirred a sense of wonder, or a sports portrait that challenged expectations, each chosen winner stood a testament to the power of the photographic image.In the end, both judges’ collaboration ensured that the contest celebrated not only the photographers’ skill, but also the diverse ways an image can move, challenge, and inspire. Their thoughtful, balanced approach made this year’s judging as much an art form as the photographs themselves.
If you would like to comment or ask a question, please do so in the space below. You can visit Image City Photography Gallery to see this exhibition until August 31, 2025.
The Photographers’ Journey 2025 Exhibit showcases skill, vision and the storytelling power of photographers from near and far. Out of the 400 images submitted 64 photographs were selected in the following categories: Portait/Event/Sports, Architectural Cityscape, Wildlife, Digital/Conceptual/Abstract, Landscape/Seascape, Botanical/Still Life, Documentary/Street/Journalism, and Travel Places.
Judges Olivia Kim and Andrea Zuchegno selected a winning image within each category and then from those images, they selected two Runners-Up and a Grand Prize honoring those works that stood out not only for their technical excellence but also for their ability to linger in the mind and spark curiosity.
Scrum Struggle by Tom Kredo
Representing the Portrait/Event/Sports category, Tom Kredo’sScrum Struggle received the Grand Prize Award, which captivated the judges with its visceral energy and unconventional perspective. The black-and white composition focuses entirely on the tangle of athlete’s arms, locked in a fierce rugby scrum. By omitting faces entirely, Kredo transforms a sporting moment into an abstract study of strength, teamwork, and human connection. The image demands a second look, rewarding the viewer with layered textures, muscular tension and the grit of competition. Judge Oliva Kim noted that “a common strength among the images was a sense of surprise that made me wonder about the world—Scrum Struggle captured that perfectly.” Fellow judge Andrea Zuchegno added, “Because it was only showing arms and not the heads of the athletes, I found myself looking at it more closely. That unique framing made it unforgettable.”
One Step by Jack Taylor
From the Digital/Conceptual/Abstract category, a Runner-Up Award was given to One Step, by Jack Taylor. The image delivered an unexpected visual punch. The focal point—a single toenail on a big toe—was both curious and mesmerizing, drawing the eye with its unusual intimacy. Oliva Kim remarked, “I was particularly drawn to that image because of the focus point. It’s rare to see something so small and specific become so compelling.” The minimalist composition invited contemplation, proving that less can indeed be more.
Climbing the Dunes, by Anne Dunford
The other Runner-Up Award was given to Anne Dunford for Climbing the Dunes, from the Travel Places category. Anne’s image transports viewers to the sweeping sands of Morocco. The golden light of early morning skims the crest of the dunes, casting long shadows of camels and their guide against a backdrop of flowing, wind-sculpted ridges. The scene is both grand and intimate—a timeless moment of human endurance and harmony with nature. The balance between vast spaces and small human figures creates a sense of awe, inviting the viewer to imagine a journey ahead.
While the Grand Prize and Runners-Up each earned a spotlight, the remaining category winners each brings delight to the visitors who view them.
Armstrong Museum/Space Museum No. 3 by Lawrence Steinwach
In the Architectural Cityscape category, Lawrence Steinwachs’Armstrong Museum/Space MuseumNo.3 is an image that uses the curvature of its dome and the sweep of concrete walls to create a striking geometric composition. The interplay between solid structure and soft sky conveys both the grounded engineering of space exploration and the limitless dreams it represents.
Mother and Newborn by Beverly Goldschmidt
Beverly Goldschmidt’s tender portrait of a zebra mare and her newborn foal, called Mother and Newborn,was awarded the prize for the Wildlife category. Each curve and line of the mother and baby’s stripes harmonize beautifully with each other. The black and white presentation highlights texture and pattern, while preserving the warmth of maternal connection. The gentle nuzzle between mother and child speaks to both the vulnerability and resilience of life in the wild.
Crowded Morning by Mike Haugh
The winning photo in the Landscape/Seascape category is called Crowded Morning by Mike Haugh. In this sweeping panoramic of the Mesquite Dunes, Haugh captures the interplay of light and shadow at sunrise. The title hints at the “crowded” peaks of wind-sculpted sand, each casting a long morning shadow like a gathering of silent guards. The cool blue of the distant mountains contrasts with the golden warmth of the dunes, creating a balance between stillness and energy that draws the viewer in.
Flos Post Vitam by Elena Dilai
Elena Dilai’s photo, Flos Post Vitam, was the winner in the Botanical/Still Life category. Translating to “Flower after Death,” Dilai’s haunting study of a dried blossom is a meditation on beauty, impermanence and resilience. The withered petals, rendered in black and white detail, curl like fragile parchment against a dark background. Far from lifeless, the flower seems to hold the echoes of its prime, reminding viewers that grace endures even in decay.
Jennifer Stephens’ winning Documentary/Street /Journalism category image, 7,8,2,6 captures a whimsical, surreal corner of the urban landscape—a bold red and white squid mural, whose tentacles curl into the real world, seemingly wrapping around an old bicycle parked below. The blending of painted fantasy and tangible reality invites a double-take, blurring the line between street art and street life. Adding a personal hand-crafted touch, Stephens stitched thread directly around the image, creating a textured frame that subtly draws the viewer’s eye inward and makes the photograph feel as tactile as the scene it depicts.
The 2025 Photographers’ Journey Exhibit reminds us that the best photographs do more than record a single moment—they invite us to linger, question, and feel. Whether through a tangle of arms in a high-stakes match, the curve of a toenail, the sweep of a desert landscape, the arc of a museum dome, the stripes of a zebra, or the unexpected pairing of a squid and bicycle, these winning images expand our understanding of the world and the beauty it holds.
If you have a question or comment, please enter it in the box below.
In the compelling new exhibit Unseen Mysteries, Image City Photography Gallery invites viewers to explore what lies beneath the surface—those subtle revelations and quiet forces that often go unnoticed. The show brings together the distinctive visions of Luann Pero, John Solberg, Don Menges and photographers from the Meaningful Image Workshop, creating a rich tapestry of interpretation and introspection.
Twisted by Luann Pero
Luann Pero’s connection to the natural world is shown in her displayed images that reflect a quiet dialogue with her surroundings—branches, blossoms and an abandoned boatyard. Luann says, “My muse is nature and its unseen mysteries. I welcome you to a world of literal and impressionistic photography.” She hopes that the literal images and manipulated images, with their vibrant colors and textures, inspire an emotional response. Through her images we are reminded of how much beauty is waiting to be noticed when we pause long enough to look.
Horizon #4 by John Solberg
John Solberg’s work leans into abstraction and visual metaphor, with a consistent focus on the horizons of Lake Ontario. His photographs are composed with a soft, meditative palette of blues, oranges and pinks, creating dreamlike images that feel both grounded and transcendent. These images are at once serene and stirring—suggesting mystery not through complexity, but through stillness, subtle color and the shifting moods of nature itself.
Urban Planning by Don Menges
Don Menges and the photographers from the Meaningful Image Workshop round out the show with a spirit of experimentation and personal exploration. The group includes six photographers from across the country who have been studying together in an online course led by educator and photographer Daniel Gregory, whose photos are also included in the exhibit.
Tiny Bubbles by Daniel Gregory
Gregory emphasizes that a photograph isn’t truly complete until it is shared or published. Inspired by that philosophy, and encouraged by Don Menges, the group chose the shared theme, Unseen Mysteries, for this joint exhibition, which is their first public presentation as a collective. Their work spans a variety of subjects and techniques, but each image is unified by a thoughtful approach and a desire to connect emotionally with the viewer.
Dark Dahlia by Heather Mack
Together, these artists remind us that mystery is not something to be solved, but something to be experienced. Unseen Mysteries is a visual journey and an invitation to look closer, think deeper, and enjoy the beautifully unknown.
Image City Photography Gallery is thrilled to welcome Gerry Iuppa as our newest partner. Gerry’s photography is guided by compassion, curiosity and a life-long dedication to the well-being of others.
Before joining our gallery community, Gerry dedicated his career to education, serving as a middle school principal and school psychologist. His belief that every child deserves to feel seen, valued and safe continues to inspire his work behind the camera. For Gerry, photography is more than art, it’s a gentle form of outreach, a way to foster calm, connection and contemplation in a busy world. Gerry says, “I had a wonderful career partly by design and partly by luck; I would do it over in a heartbeat.” He says that he has “always wanted children to feel loved and appreciated, and to lower their anxiety about school and family issues. To that end, much of my artistic endeavor has been meant to create a sense of peace and distraction.”
Many of Gerry’s images reflect this spirit. With a portfolio rich in nature scenes, birds and animals, Gerry’s photography invites viewers to pause and breathe. Whether it’s a quiet moment in the woods, the watchful gaze of an owl, or the play of light on water, his work offers a sense of stillness and solace. Gerry says, “My artwork adorned my office and was typically disarming to the children and parents who came to see me.”
Gerry says that he enjoys most genres of photography. He has done a lot of portrait photography, capturing the humanity and subtle emotions in the faces of his subjects—often with the same warmth and attentiveness that defined his years working with students. He says “Capturing an expression or featuring individuals in a manner that gives them pride and pleasure, is very satisfying. When you make your subject comfortable, you can get some wonderful images.”
The natural world is one of Gerry’s favorite subjects. “What presses my buttons most is nature photography because at this time in my life I can travel, and I have photographed some absolutely beautiful places.” He says that he and his wife try to travel at least two times per year “to places with extra-special photographic opportunities.” When he is not traveling, he is able to take photos right in in his backyard. “My home backs up to woods, so a variety of critters are right there; much to my wife’s dismay of what they do to her gardens!”
Gerry sets time aside at least twice a week to take photos. He says, “I’m a Nikon guy, with multiple bodies and lenses. Usually my Z-8 is in my hand with an intermediate lens attached, but you may very well find me shooting a sunset with a wide format lens, or a bird with a long telephoto. It depends on the opportunity at the moment.”
Gerry says he hopes to contribute to Image City. “As far as skills I will add many unique nature displays, and I have some strong editing skills that folks may be curious to learn about. I perceive myself as similar to the other members of the gallery, which is making it fun to chat with them and learn about their work. Selfishly, I am hoping to have exposure to different perspectives and skill sets to broaden my current abilities.”
As a partner at image City, Gerry brings not only his creative vision, but also his deep-rooted belief in the healing and unifying power of the arts. We are delighted to showcase his work and excited for the many ways he will help shape the gallery’s future. Please join us in welcoming Gerry Iuppa, photographer, educator and advocate for beauty and belonging. To see more of Gerry’s images, click on this link to his website: https://www.iuppaphotography.com
If you have any questions or comments for Gerry Iuppa, please type them into the comment box below.
In A Visual Vocabulary of Feelings, David Bleich invites viewers into an immersive world where emotion is rendered both monumental and intimate. The exhibit includes a unique group of large images that represents feelings people share described by a one-word title. It includes three distinct sets of large format images—each one sealed beneath a glossy acrylic surface that intensifies their depth and visual weight: In A Crowded Manhattan created by people in civilization; In a Wetland, The Slough, found in Ft. Myers, Florida and cordoned off to promote tourism; and In the Aialik Glacier in Kenai Fjords National Park in Alaska, a natural phenomenon in the wilderness. Each image presents a wide variety of details, and the one-word title suggests the common observation that feelings occupy attention and space while challenging us to account for their many parts and meanings. We in society court this combination of actual scenes and images of these scenes as rich sources of understanding and pleasure.
Excess
These are not just photographs to admire; they are emotional landscapes to navigate. David says that large images “encourage close reading.” He says, “Sometimes I think of large images as ‘zones of civilization’ that teach us to value the achievements of the details of civilization with the same mental energy that we give to ‘natural wonders.’”
Rage
Some examples of the titles that anchor each image include Remembrance, Profundity, and Rage. These titles don’t describe the content so much as they unlock it—guiding the viewer toward the emotional territory David wishes to explore. It is a powerful device and in David’s hands, it works beautifully. The photos don’t illustrate feelings—they embody them.
David says that an adjective used to describe the majority of images in this exhibit is “Crowded,” yet this does not imply chaos, it suggests richness. He says the term indicates “different points of interest serving one another.” In each photo, multiple points of interest co-exist and serve one another, allowing for a complexity that mirrors the layered nature of emotion itself. For example, an urban scene may contain not just movement, but tension. A reflection might reveal more than the subject it distorts. These dense images ask viewers to look again and again.
Profundity
David explains, “I was surprised at my response to Profundity. It is one of a few reflection images that seemed to speak anew when I viewed them completed and mounted. I noticed the blue sky at the bottom where the ‘depths’ of the pool lived, and I imagined that the reflections of the trees were really reaching way down deep into the water. I have to say that the trees were performing the common thought among us that some things are really deep and feel the sky at the bottom, the last stop!”
David’s images are printed on metallic paper and mounted with an acrylic face. He says “The metallic paper, for me, lets the image speak in a way that you can feel its breath. It brings the image into living action, and I use it because these ‘still’ images live as if animated in my imagination. The images change in response to the light in which they are viewed. The effect is similar for urban and natural sites. I always feel it is remarkable that my response to buildings and urban scenes are just as alive as my responses to the many natural mysteries that I photograph.”
David, who is a professor of English at The University of Rochester says that his exhibit grew from his interest in Readers’ Response theory. “My first book, entitled Readings and Feelings, published in 1975, struck the note you may find in this exhibit. I have been interested in the difficulty people (mostly men) have in articulating feelings. I have studied this phenomenon since high school. I noticed that I was a respondent—a reader—of my own photos. That meant that a different part of my mind was at work in viewing, than in making, images. Part of our work as makers and respondents is to get these two parts of our minds to work together, to find ‘the right word’ for the feelings that lead to making images, and those that follow from viewing them.”
David Bleich’s A Visual Vocabulary of Feelings is a compassionate exhibit–formally ambitious and emotionally resonant. Through oversized, visually crowded, and psychologically charged photographs, David doesn’t just show us feelings, he invites us to live inside them.
David’s exhibit can be seen at Image City Photography Gallery, 722 University Avenue, Rochester, NY, from June 10-July 6, 2025. If you have a comment or question about David’s show, please place it in the comment box below.
Thank you to Dick Bennett and David Bleich for contributing to this article.
