Tag: Photography Exhibits

Fur, Feathers, and Fins: A Celebration of the Animal World Through Photography

July 12th, 2026

This summer, Image City Photography Gallery invites visitors to experience the beauty, wonder, humor, and diversity of the animal kingdom in our exhibition, Fur, Feathers, and Fins.

Featuring the work of more than 70 photographers, the show presents a collection of images celebrating creatures great and small. From majestic wildlife and colorful birds to aquatic life and beloved companion animals, the exhibition showcases the many ways photographers connect with and interpret the animal world.

One of the strengths of Fur, Feathers, and Fins is the variety of photographic approaches on display. Some images document fleeting moments in nature, while others transform familiar subjects into works of art that invite viewers to see the world differently.

Barely Breathing by Lisa Enterline

Among the featured work is Lisa Enterline’s imaginative image of koi fish gliding through a tapestry of reflections and geometric patterns. Rich in color and visual complexity, the photograph transcends simple documentation and becomes an artistic exploration of movement, light, and aquatic life.

Mr. Woody by Diane Dersch

Nature’s elegance is equally evident in Diane Dersch’s striking portrait of a wood duck. Perched gracefully on a branch, the bird’s intricate markings and vibrant plumage are beautifully highlighted against a softly blurred background, showcasing one of North America’s most colorful waterfowl species.

King of the Ridge by Ronald Andrews

The exhibition also celebrates the grandeur of the wild through images such as Ronald Andrews’ portrait of a bull elk standing confidently before a rugged mountain landscape. With its impressive antlers and commanding presence, the elk embodies the spirit and majesty of untamed places.

Look into my Eyes by Greg Vick

Some photographs draw viewers into intimate encounters with wildlife. Greg Vick’s captivating portrait Look Into My Eyes creates an unforgettable connection through the intense gaze of a raptor. The image invites viewers to pause and experience a rare moment of direct engagement with one of nature’s most accomplished hunters.

Nap Time by Tom Knauss

Other photographs reveal the quieter, more emotional side of animal life. In Tom Knauss’s Nap Time, a grizzly bear sits with its head lowered and body relaxed in a pose that feels surprisingly human. The image conveys a sense of reflection and vulnerability, reminding us that wildlife photography often captures personality as well as power.

Beneath Mom’s Wing by Martha Price

Family bonds and nurturing instincts are beautifully portrayed in Martha Price’s Beneath Mom’s Wing. A Canada goose shelters her goslings beneath her feathers, creating a tender scene that speaks to the universal themes of protection, care, and family.

Water Skiing Heron by Tom Kredo

The exhibition also highlights the artistry that photographers bring to their craft. Tom Kredo’s Water Skiing Heron transforms a familiar bird into a study of grace and movement. Its elegant high-key presentation emphasizes form, gesture, and design, demonstrating how nature photography can transcend representation and become fine art.

In My Easter Bonnet by Debbie Pace

And while many of the images celebrate wildlife in its natural habitat, the exhibition also honors the special relationships we share with companion animals. In Debbie Pace’s photo titled In My Easter Bonnet, her delightful portrait of her dog Monty, dressed in colorful attire and surrounded by flowers, captures the charm, personality, and joy that make pets treasured members of our families.

Together, these photographs represent only a small sample of the creativity, technical skill, and storytelling found throughout Fur, Feathers, and Fins. Visitors will encounter everything from intimate wildlife portraits and family moments in nature to imaginative aquatic scenes, artistic interpretations, and heartwarming pet portraits.

Whether you are a wildlife enthusiast, a birdwatcher, a pet lover, or simply someone who appreciates exceptional photography, this exhibition promises moments of beauty, discovery, and delight.

Join us at Image City Photography Gallery and experience Fur, Feathers, and Fins—a celebration of the remarkable creatures that share our world and inspire our imagination.

If you have any questions or comments, please type them in the comment box below.
A Study in Light & Land:

June 14th, 2026

Gil Maker’s Monochrome Journey through Ireland, Belize and Scotland

Beach by Gil Maker

When viewing Gil Maker’s exhibit, A Study in Light & Land, viewers will notice that even though the three destinations are separated by thousands of miles and very different climates, Gil’s photographs reveal an unexpected kinship. His landscapes are studies in form, texture, contrast and light. Shorelines, cliffs, rolling hills and distant horizons invite viewers to look beyond geography and discover the universal language of the land.

“These photographs invite viewers to see land as structure and light as sculptor,” Gil explains. Belize’s tropical coastlines, Ireland’s rugged countryside and Scotland’s dramatic northern shores become connected by tone, texture and form.

Unlike many photographers who focus on documenting destinations, Gil uses black and white photography to highlight the most important elements of every scene. Without the distraction of color, attention shifts to the curve of the shoreline, the grain of the weathered rock, the sweep of clouds across an open sky, and the subtle play of light across the landscape. A striking image is Gil’s Beach. The panoramic composition allows the eye to wander across the scene, from the textured foreground grasses to the calm water and rugged shoreline beyond. Dramatic cloud formations dominate the sky, creating a sense of scale and atmosphere. The absence of color heightens the interplay between land, sea and sky, revealing subtle tonal relationships that might go unnoticed.

One image holds particular significance for Gil. Captured at Cape Wrath, the northernmost point of mainland Scotland, the photograph depicts part of a remote nine-hole links golf course perched between hills and sea cliffs. The course sits in a landscape rich with history. During WWII, British naval vessels departed from nearby waters on their journeys into North America. While exploring the area, Gil says that he unexpectedly encountered the course and was captivated by its setting. In the resulting photograph, the gently curving golf green leads the eye toward the coastline and distant headlands, creating a sense of both isolation and serenity. The image exemplifies the themes that run throughout the exhibition: the relationship between human presence and the natural world, and the power of landscape to evoke emotion through simplicity.

Path to the Beach by Gil Maker

Gil’s photo, Path to the Beach, taken in Northern Scotland, leads viewers along a boardwalk through windswept coastal grasses beneath a moody Scottish sky. The simple path becomes an invitation––drawing the eye into the landscape and toward an unseen destination beyond the dunes. The weathered planks, flowing grasses and the layered clouds contribute to a feeling of solitude. Rather than documenting a location, the photograph captures an experience––the anticipation of discovery and the timeless relationship between people and the land they roam.

Belizian Rainforest by Gil Maker

In contrast to the windswept coastlines in Gil’s exhibit, a lush Belizean rainforest scene reveals a narrow stream winding through dense tropical vegetation. Layer upon layer of foliage creates depth and complexity, while the gentle flow of water guides the viewer through the frame.

One of the more contemplative images in Gil’s exhibit pays homage to Ireland’s rich literary heritage. A copy of James Joyce’s Ulysses sits alone on a simple wooden table, surrounded by softly blurred imagery hinting at the author’s enduring influence. The photograph holds particular meaning for Gil, an avid reader whose passion for books rivals his love of photography. Through careful selective focus and tonal control, the image serves as a bridge between his two lifelong interests–––reading and photography–––while inviting viewers to reflect on the stories that shape both landscapes and lives.

Ireland by Gil Maker

At the heart of this exhibition is Gil’s belief that black-and-white photography reveals something essential about the world around us. He says, “Black-and-white photography doesn’t just document these places, it distills them.”

Whether you are drawn to dramatic coastlines, expansive skies or the quiet beauty of black- and-white imagery, A Study in Light and Landpromises a thoughtful exploration of how light shapes our perception of place.

Gil’s exhibit can be seen at Image City Photography Gallery until July 12, 2026. If you have any questions or would like to make a comment, please do so in the comment box below.
2026 Black and White Invitational: Seeing with Intention

February 3rd, 2026

A Lantern for the Fog by Olena Kondrashova

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.
How to look at a Photograph

July 5th, 2025
By Gil Maker

They walk into the gallery.  They walk quickly around the wall, maybe venturing in the different aisles.   Sitting at the desk, before I even try to say more than hello, they are out the door.  I ask myself why they came in.  There could be many reasons; they were walking by the window and were curious, or they did not see anything that caught their attention, or did not know what they were looking at.

Looking at a photograph is more than just seeing—it’s about engaging with composition, light, texture, and emotion. If you have stopped by Image City, you probably have some interest in the Art of Photography.  I would like to offer four reasons to stop and look at an image.  I believe that these four descriptions will help you have a more enjoyable visit to the gallery.

1. First Impression: Mood & Emotion

Before analyzing details, take a moment to absorb the overall feeling.  Many viewers focus on what is captured but overlook why the photographer framed it a certain way.
- What mood does the image convey?
- Does it evoke calm, nostalgia, mystery, or intensity?
- How does it make you feel?
Image by Gil Maker

2. Composition & Structure

Photography often relies on balance and abstraction.
- Framing: How is the subject positioned within the frame?
- Lines & Shapes: Do strong geometric elements guide the eye?
- Negative Space: Does emptiness enhance the impact?
3. Light & Tone

Tonal contrast plays a huge role.
- Highlights & Shadows: Does the interplay of light define the image?
- Gradation: Are the transitions between tones smooth or stark?
- Texture: Does light accentuate details or create softness?
Rage by David Bleich

4. Narrative & Interpretation

Instead of just identifying subjects, ask what the image is saying. Viewers often miss the deeper narrative—whether it’s a fleeting moment captured in time or an intentionally crafted scene. Art photography isn’t just about documenting; it’s about expressing something unseen.
- Is there a deeper meaning beyond the subject itself?
- Does it feel intentional or spontaneous?
- Is it inviting reflection or simply documenting a scene?
Following these four rules will help you better understand what you are looking at.

And one more thing. I know that I am standing on my high horse saying the following. I hear many people looking at a photograph saying, “I could take this photograph,” but you didn‘t. The photographer put his own personality and experience to take that picture. Take the time to study the image and give the photographer his/her due in creating the image in front of you.

If you would like to ask Gil a question or make a comment, please do so in the comment box below.
A Visual Vocabulary of Feelings Featuring David Bleich

June 11th, 2025

Diversity

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.
Magic of Light Award Winning Photos

January 16th, 2023

The 16^th annual Magic of Light 2023 Show at Image City Photography Gallery features 76 photographers who were juried into the show. One of the award-winning photographers is David Ridley who started developing his interest in photography when he hiked the Appalachian Trail in 1977. At that time he was shooting Kodachrome 64 color slides with a Kodak Pony Rangefinder.

Dichotomy Series #4 by David Ridley

David’s photo entitled Dichotomy Series #4 received the Lumiere Photo Award provided by Lumiere Photo (https://www.lumierephoto.com). This photo is part of a series of photos that David photographed several years ago at one of his past workplaces. David says, “I was amazed at the interesting and unique shapes, form, line and texture that I found.” The title is a play on the contrast between the substance and the genre of the photo.
(more…)