In 1960, Magnum photographer Eve Arnold was assigned to document the making of John Houston’s The Misfits, filmed on location in and around Reno, Nevada. The film starred Arnold’s friend and muse Marilyn Monroe in her last screen appearance and was written by Monroe’s then-husband playwright Arthur Miller.

In this photograph Arnold captured Monroe, enveloped in thought, preparing for the film’s final scenes, against the stark and lonely desert landscape. Perhaps Arnold’s most iconic photograph, all of its formal elements masterfully reflect the themes of this brooding, existential film.

Arnold recalls the special relationship she and Monroe shared:

“She trusted me. The bond between us was photography. She liked my pictures and was canny enough to realize that they were a fresh approach for presenting her--a looser, more intimate look than the posed studio portraits she was used to in Hollywood. By seeing her through photographs, the only way most people ever saw her, it may be possible to get some idea of how she saw herself and perhaps to glean some insight into the phenomenon that was Marilyn Monroe.”

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Eric William Carroll’s contact prints are reproductions of drawings he made of resolution targets and graphs commonly used to test and calibrate photographic equipment. By attempting to render these intricate patterns by hand, Carroll was, in effect, testing his own “human resolution.” Carroll reflects on our current digital turn away from analog technologies:

“The personal and human element of making physical photographs is in danger of disappearing, and with that, all the fantastic mistakes and happy accidents that make the medium so fantastic. We learn from our failures. If there is a computer that will automatically fix all our mistakes, what is left for us to learn?”

Eric William Carroll is the recipient of the 2012 Baum Award for Emerging American Photographers. He received his MFA in Photography from the University of Minnesota and has exhibited his work internationally. He currently lives and works in San Francisco.

www.ericwilliamcarroll.com

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San Francisco in the 1970s was the epicenter for America’s gay rights movement and Hal Fischer’s seminal Gay Semiotics project was a landmark conceptual art project. Fischer explains the origins of his work:

“In February 1977 I began work on a series of photographs that dealt with signaling devices found in the gay community. The images evolved out of my attempt to integrate the phenomena I observed in my neighborhood (Castro Street & Haight Ashbury) with my readings on structuralism. Like any other cultural group, gay people developed a semiotics intended both for identification and/or invisibility within the larger culture, as well as communication among themselves. The project explored archetypal media images, fetishes, signifiers, and street fashions.”

Fischer’s Street Fashion: Basic Gay now resides in the collection of SFMOMA. NFS Press in San Francisco published Gay Semiotics in 1977.

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Seattle-based Eirik Johnson continues his exploration of the Pacific Northwest with his study of mushroom hunters and their camps. Johnson describes these environments and their itinerant populations:

“In the forests of Oregon’s Cascade Mountains, commercial mushroom hunters erect makeshift campsites. These seasonal mushroom hunts draw together a uniquely American mix of Southeast Asian multi-generational families, rural counterculture folks, and Mexican migrant laborers. Many of those hunting mushrooms have lost or can no longer depend on once stable employment and have, in turn, sought out a living through the global demand for foraged mushrooms. Others temporarily leave their day jobs to spend a few months each year out on the hunt.”

Eirik Johnson is a photographic artist based in Seattle. His work has been exhibited at institutions such as the Museum of Contemporary Photography in Chicago, the Institute of Contemporary Art in Boston, and the Aperture Foundation in New York. His work is in the collections of SFMOMA, the Seattle Art Museum, and the George Eastman House, among others. His most recent monograph, Sawdust Mountain, was published by Aperture in 2009. He was recipient of the 2012 Neddy Art Award at Cornish College of the Arts and is represented by Gail Gibson Gallery in Seattle and Rena Bransten Gallery in San Francisco.

www.eirikjohnson.com

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Jason Kalogiros literally pulls a page from the history books with his photograph from a project in which he contact printed every page of Beaumont Newhall’s MoMA catalog, Photography 1839 to 1937. By placing a sheet of black-and-white photo paper under each page, Kalogiros made a copy of the front and back of each page onto one sheet of photo paper. The book’s merged text and images obscure as much as they reveal; becoming inaccessible, the book eclipses itself as it’s rendered by the very medium of its own subject.

Jason Kalogiros received his MFA from the California College of the Arts in San Francisco and has exhibited his work internationally. He currently lives and works in San Francisco.

www.jasonkalogiros.com

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Daniel Nicoletta is a San Francisco-based freelance photographer who began his career in 1975 as an intern to Crawford Barton, who was the staff photographer for Advocate Magazine. Nicoletta also worked in Harvey Milk’s camera store in the heart of the burgeoning lesbian gay bisexual transgender mecca in the Castro district of San Francisco and he was involved in Milk’s victorious election to public office on one of the first openly gay political platforms in the world. Nicoletta’s body of photographic work maps his long romance with San Francisco and its people, especially the lesbian, gay, bisexual, and transgender communities. Nicoletta’s portrait of San Francisco city supervisor Harvey Milk, produced five months before he was assassinated, is a poignant reminder of a still relevant social movement.

Nicoletta’s work has been featured in numerous settings: books, periodicals, films and collections, including The New York Public Library’s Wallach and Berg Collections and The Bancroft Collection at University of California, Berkeley. He was a consultant and set photographer for Gus Van Sant’s Academy Award-winning film Milk.

www.dannynicoletta.com

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Maggie Preston's practice represents an exploration of the basic concepts of the photographic medium and engages the complexities of its representational value. The technical strategies and critical approaches employed by Preston at once explore the process and materiality (or aesthetic translation) of photographic objects, as well as their presentation and social reception.

To create the sculptural works in her series Form, Preston manipulates wet fiber prints and leaves them to harden into rigid structures. Alternately, Shot Forms brings these 3-D sculptures back to their 2-D origin via re-photographing in the studio. Interested in this multi-dimensional translation, Preston calls attention to the embodiment (sculptural form) and disembodiment (photographic representation) of objects.

Preston received her MFA from the California College of the Arts and is currently a photography instructor at Out Of Site Center for Arts Education in San Francisco. Her solo exhibition, Maggie Preston: An Unfixed Form was staged at SF Camerawork March 2—April 21, 2012.

www.maggiepreston.com

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Gerald Slota’s creative endeavors in photography speak not only to our zeitgeist but also to our often-troubled relationship with the medium. The aesthetic vernacular of a Slota photograph, marked and torn, references an age when photographs were a formal reality in our daily lives—an era that afforded the potential for the mild violence and visceral pleasure of physically rearranging our memories to suit our current reality. In his Urbania series Slota applies a colorful layered collage approach to representations of his native Paterson, New Jersey, transforming its urban rough edges into a surreal wonderland.

In June 2012 SF Camerawork will publish his first monograph, Gerald Slota: Story, with an introduction by Joyce Carol Oates, and will stage his first Bay Area solo exhibition in September 2012. Slota’s photographs have been exhibited at institutions such as the George Eastman House, Rochester, NY; Langhans Galerie, Prague, Czech Republic; Recontres D’ Arles, France; Ricco-Maresca Gallery, NYC, and Robert Berman Gallery, LA. His work is included in collections at the Los Angeles County Museum of Art (LACMA) and the Whitney Museum of Art, NYC. His images have appeared in numerous publications including The New York Times Magazine, The New Yorker, BOMB, Blindspot, Art in America, and Aperture. Slota teaches at the School of Visual Arts in New York.

www.geraldslota.com

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In his Ground Truthing project, Oakland-based Noah Wilson visits sites of historical and contemporary resonance within the environmental conservation movement. His photograph, Cherokee, California, references 19th-century land use issues that made a lasting impact; Wilson explains:

“During the California Gold Rush, hydraulic mining in the central Sierra Nevada Mountains washed 1.5 billion cubic yards of rock, soil, and tailings downstream. This slurry filled riverbeds in the Sacramento Valley, flooding towns and farmlands. Valley farmers sued the mining companies, charging that the operations had polluted their water and flooded their farms and homes. They won the lawsuit in 1884, which became one of the first legal decisions in the US to favor human welfare and the environment over the capital ambitions of business.”

Wilson received his MFA in Photography from San Jose State University where he received the Excellence in Photography Award. He lives and works in the Bay Area.

www.noahmwilson.com

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Dave Anderson is represented by Stephen Wirtz Gallery, San Francisco; Clampart, New York; Susan Spiritus Gallery, Newport Beach; and Lux Photo Gallery, Amsterdam. His work has been exhibited nationally and internationally, from New York, Chicago, Houston, and San Francisco to Ireland, Belgium, Lithuania, and Amsterdam. His work is held in the collections of the Corcoran Gallery of Art, Washington D.C.; Museum of Fine Arts, Houston; Morris Museum of Art, Augusta, GA; Worcester Art Museum; Ogden Museum, New Orleans; and others.

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A graduate of the California College of the Arts, Caitlin Atkinson was the winner of the 2003 James D. Phelan Art Award in Photography. Her work has been exhibited nationally and she is represented by Foley Gallery, New York.

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Bay Area native Kimberly Austin transfers found images, correspondences, and ephemera to film before collaging the new imagery through the antiquarian Van Dyke process. She was the winner of the 2003 James D. Phelan Art Award in Photography. Her work has been exhibited internationally and is included in numerous public and private collections. She is represented by Braunstein/Quay Gallery, San Francisco.

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Richard Barnes is represented by Michael Foley Gallery in New York. This photograph is featured in Barnes' most recent monograph, Animal Logic (Princeton Architectural Press, 2009), and continues his investigation into the ways museums classify and display information, as the real and simulated coexist in ambiguous spaces. Barnes has been featured in numerous prestigious exhibitions worldwide, including the 2006 Whitney Biennial. His photographs are included in the collections of the Metropolitan Museum of Art, New York; Philadelphia Museum of Art; San Francisco Museum of Modern Art; Hirshhorn Museum and Sculpture Garden; Los Angeles County Museum of Art; the New York Public Library; and many others.

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Celebrated photographer Ruth Bernhard lived in San Francisco from 1953 until her death in December 2006 at the age of 101. A peer to the Bay Area’s photographic modernists Edward Weston, Ansel Adams, and Imogen Cunningham, Bernhard’s work is world-renowned and is found in major national and international museum collections. This limited edition gelatin silver print, made especially for SF Camerawork from a 1956 negative, was one of her last editions.

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Julie Blackmon is represented by Catherine Edelman Gallery, Chicago; Fahey Klein Gallery, Los Angeles; Gail Gibson Gallery, Seattle; and Claire Oliver Gallery, New York. This image is featured in Blackmon’s 2008 monograph, Domestic Vacations. Referencing 17th century Dutch and Flemish painters, Blackmon’s work is also inspired by her experience as the eldest of nine children and the mother of three. Her work is held in numerous collections, including the George Eastman House, Rochester; Nelson-Atkins Museum of Art, Kansas City; Kemper Museum of Contemporary Art, Kansas City; Museum of Fine Arts, Houston; Photographic Center Northwest, Seattle; Portland Art Museum; Museum of Contemporary Photography, Chicago; and C/O, Berlin, Germany.

Debra Bloomfield’s work is included in the collections of the Victoria and Albert Museum, London; the Museum of Fine Arts, Boston; the San Francisco Museum of Modern Art; and others. She is represented by Robert Koch Gallery, San Francisco.

Mike Brodie, aka “The Polaroid Kidd,” is a self-trained photographer represented by M+B Gallery in Los Angeles. Brodie left his home state of Florida at age 18 to travel across America using any available means of transportation. He spent the next three years photographing his friends and the lifestyles he encountered crisscrossing the country in boxcars. He is the 2008 recipient of the Baum Award for Emerging American Photographers for this powerful series, which is reminiscent of Horace Bristol's Grapes of Wrath-era documentary work. Now, for the first time in three years, Brodie is making his work available to the public.

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Over a three-year period in the mid-1980s, Kevin Bubriski, who speaks fluent Nepali, journeyed through remote areas of Nepal, living with and photographing the people in their traditional villages. Chronicle books published the resulting images in a volume entitled Portraits of Nepal (1993), with an introduction by Arthur Ollman. Bubriski's work is held in several major collections, including the Metropolitan Museum of Art and the Museum of Modern Art, NY. He received a Guggenheim fellowship in 1994.

In this series of photographs, Angela Buenning Filo explores the ongoing transformation of Silicon Valley, her home for more than a dozen years. “Around the world, Silicon Valley is a symbol of technological advancement and financial opportunity—a place defined by products and profits. But it is also a place where people live. It is simultaneously an intensely personal and iconic place, my home as well as a strange and foreign land.” In this valley of extremes and in constant flux, Filo searches for visual clues to explain the way economic changes are shaping our values, our motivations, and our relationships. Created during a period of boom and bust, Filo’s photographs tell the story of a specific moment in the history of this region. “They are meant neither to glorify Silicon Valley’s innovations, nor to condemn its excesses, but simply to point out the choices made along the way. Some believe Silicon Valley is a model to be replicated while others think that it is a warning we must heed. Above all, it shows us the future, and in doing so gives each of us a chance to decide.” Filo earned her MA in journalism from UC Berkeley. Her work is in the collection of SFMOMA and Harry Ransom Humanities Research Center (University of Texas, Austin), among others.

http://www.angelabuenning.com

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Debbie Fleming Caffery captures the subtle rhythms of life in Mexico, Portugal, and southern Louisiana, while bathing her subject matter in an aura of "myth and memory." She was awarded the prestigious Lou Stoumen Prize in 1996 by the Museum of Photographic Arts in San Diego, and her work has been widely exhibited and collected by several museums. She is represented by Howard Greenberg Gallery, NY; and Robert Koch Gallery, SF.

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Sparky Campanella’s photographs have been described as "the urban dweller's romantic quest for the horizon." His work has been exhibited at DWC Gallery, Chicago; Center for Photography at Woodstock; Umbrella Arts, New York; The Print Center, Philadelphia; Works/San Jose; Gallery 825, Los Angeles; and many other venues. He is represented by David Weinberg Gallery, Chicago; and Koelsch Gallery, Houston.

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Tammy Rae Carland is represented by Silverman Gallery in San Francisco. Her work has been widely exhibited and screened in galleries and museums in New York, Los Angeles, San Francisco, Berlin and Sydney. Carland is Chair of the photography program at California College of the Arts. Her photographs have been widely published and reviewed in numerous publications, including: The New York Times, Artforum, Art Papers, Big, Curve, Los Angeles Times, Spin, Details, Out, and The Village Voice.

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John Chiara is represented by Von Lintel Gallery, New York; Eleanor Harwood Gallery, San Francisco; and Crown Point Press, San Francisco. Recent reviews in The New Yorker, Artforum and New York Magazine have lauded Chiara’s work and his unique praxis. The photographs for this series were contact printed from large sheets of film exposed in Chiara’s over-sized, hand-built camera. In a review in Artforum (11/1/08), critic Glen Helfand highlights “John Chiara's highly crafted, unique prints” and describes how they are created “through intensely analog actions producing images of vaporous, sometimes acid-tinged apocalyptic beauty.”

John Chiara is represented by Von Lintel Gallery, New York; Eleanor Harwood Gallery, San Francisco; and Crown Point Press, San Francisco. Recent reviews in The New Yorker, Artforum and New York Magazine have lauded Chiara’s work and his unique praxis. The photographs for this series were contact printed from large sheets of film exposed in Chiara’s over-sized, hand-built camera. In a review in Artforum (11/1/08), critic Glen Helfand highlights “John Chiara's highly crafted, unique prints” and describes how they are created “through intensely analog actions producing images of vaporous, sometimes acid-tinged apocalyptic beauty.”

Mark Citret assisted Ansel Adams for several years both in the darkroom and out in the field, and Adams’ influence can be seen throughout Citret’s oeuvre. His work is in many museum, corporate, and private collections, including SFMOMA, LACMA, the New Orleans Museum of Art, the Santa Barbara Museum of Art, the University of Arizona’s Center for Creative Photography, and the Monterey Museum of Art. He is represented by Michael Shapiro Gallery, San Francisco.

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Bill Dane’s work is in the collections of the Museum of Modern Art, New York; Art Institute of Chicago; National Gallery of Art, Washington, D.C.; San Francisco Museum of Modern Art; and others. He is represented by Fraenkel Gallery, San Francisco; and Jack Fischer Gallery, San Francisco.

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Robert Dawson is represented by Scott Nichols Gallery in San Francisco. Dawson's photographs have been featured in four monographs, and widely exhibited nationally and internationally. His work is held in numerous permanent collections, including the Museum of Modern Art, New York; National Museum of American Art, Smithsonian Institution, Washington, DC; San Francisco Museum of Modern Art; the J. Paul Getty Museum, Los Angeles; the Center For Creative Photography, Tucson; the Library of Congress, Washington, DC; and the Bibliotheque Nationale, Paris.

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Janet Delaney’s South of Market Survey Project was undertaken during a time of remarkable transformation in San Francisco as a convention center, hotels, and high-rises were rapidly replacing two-story buildings that housed 700 businesses and 5,000 residents. Photographs from the series are included in the collection of the San Francisco Museum of Modern Art; University of Texas, Austin; Musée de la Photographie á Charleroi, Belgium; and Bancroft Library, University of California, Berkeley. Delaney has been the recipient of three NEA Photography Fellowships, and has exhibited in Seattle; San Francisco; Chicago; New York; Nova Scotia, Canada; and Plymouth, England.

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This image is included in the 2009 monograph Waters in Between, which documents the Sacramento Valley. Felzmann’s work has been exhibited throughout the U.S. and internationally in Egypt, Germany, Switzerland, and Columbia. His work is held in the permanent collections of the San Francisco Museum of Modern Art; San Francisco Art Institute; Stanford Museum of Art, Palo Alto; Rene DiRosa Collection, Napa; Foundation Herzog, Basel; and many others.

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Robert Flynt explores the malleable nature of photography by combining two photographs, one a figure photographed (usually underwater) by Flynt, and the other a found 19th century photograph, creating a new meaning in the juxtaposition. In his pairing of disparate images, he forges unexpected relationships and inferences between the subjects. He is represented by Vance Martin Photography & Fine Art, San Francisco.

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In his twelve-year study of bunkers, Alex Fradkin explores a picturesque California landscape littered with the remnants of America’s military installations. These historical ruins span more than 100 years, from the Mexican–American War in the mid-19th century to the contemporary Cold War years. Once a springboard for U.S. military operations as well as a site of defense, the edge of the continent now serves as a coastal reliquary for a bygone era. Fradkin received his MFA in photography from Columbia College in Chicago and, in 2010, was the recipient of the prestigious Aaron Siskind Foundation Award. His monograph, The Left Coast: California on the Edge (with text by acclaimed environmental historian Philip L. Fradkin), published by the University of California Press, will be available in June 2011. The monograph Bunkers: Ruins of War in a New American Landscape will be published by Radius Books in 2012. His photographs are in numerous private, public and corporate collections, including the Art Institute of Chicago; Museum of Contemporary Photography in Chicago; Portland Art Museum; and The Art Museum of Princeton University, among others.

http://www.alexfradkin.com

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Jona Frank spent three years visiting schools across the country in an extensive look at the cliques and stereotypes that pervade our formative years, photographing hundreds of students outside of their specific social groups. Work from the High School series is in the collection of the San Francisco Museum of Modern Art. Frank's documentary films have been shown nationally, and she is the recipient of a prestigious fellowship in conjunction with her inclusion in Bay Area Now III at the Yerba Buena Center for the Arts, San Francisco.

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Michael Garlington’s playful work has been described as "David Lynch meets Leave it to Beaver." His work is held in the collections of Minneapolis Institute of Arts; Yale University; Dartmouth College; Mount Holyoke College; the di Rosa Preserve, Napa; and many others. He is represented by Stephen Cohen Gallery, Los Angeles; and Barry Singer Gallery, Petaluma.

Richard Gilles’ Mad Greek is from the series Signs of the Times, a body of work focused on the blank vehicles of outdoor advertising and the often remote landscapes where they are situated. While these forlorn screens in empty environments can easily serve as reminders of tough economic times, they also invite new narratives to be projected onto them. Gilles explains: “Billboards, as they are more commonly known, are a reflection of our society and economy. In fact, the outdoor advertising industry's trade publication is called Signs of the Times. I am interested in what these signs might say about us or to us when they are empty. Is a blank billboard an advertisement for economic decline? Or is it a minimalist object whose message is only that which the viewer brings to it?” Gilles holds a BFA from San Francisco State University and his work is included in the collections of the Southeast Museum of Photography in Florida and the University of California Davis, Richard L. Nelson Fine Arts Collection. He is represented by dnj Gallery in Santa Monica.

http://www.hues.com

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Cynthia Greig is represented by Nicole Fiacco Gallery, Hudson, NY; Stephen Bulger Gallery, Toronto; Clark Gallery, Lincoln, MA; Richard Levy Gallery, Albuquerque; and Wallspace, Seattle. This image is from the series Representations, in which Greig draws directly onto everyday objects that she has whitewashed to create what she refers to as “photographic documents of three-dimensional drawings.” Greig’s work is held in the collections of the Museum of Fine Arts, Houston; Light Work, Syracuse; George Eastman House, Rochester; Coleçao Foto Arte, Brasilia; the Museum of Contemporary Photography, Chicago, and numerous others.

Christine Koci Hernandez is represented by Geras Tousignant Fine Art, San Francisco and Slate Gallery, Oakland, CA. After spending 13 years as an award-winning staff photojournalist, Koci Hernandez has transitioned exclusively into a career as a fine artist. She is the recipient of the Hearst Newspaper’s Eagle Award; the Ken McLaughlin Newspaper Photographer of the Year: Award of Excellence; and has been nominated for a Pulitzer Prize. Her work is held in the collection of The Smithsonian American Art Museum and has also been exhibited at SLATE art & design; SF Camerawork; Exposures Gallery; and Industrielle Gallery.

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In The Greater Good series, Anthony Hooker revisits the enticement of African American males in Tuskegee, Alabama, into a study of syphilis. As images of untreated patients are overlapped with those of the medical facility in which the now-questionable study was conducted, Hooker interrogates the claim made by the United States Public Health Service, in 1932, that the suffering of a few hundred men (at least 15% of whom died) was for "the greater good" of Americans. Hooker’s work is included in several collections, including the San Francisco Museum of Modern Art.

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Michael Jang's work spans four decades and has been exhibited at several major institutions, including the San Francisco Museum of Modern Art, where his work was shown alongside contemporaries in the Museum’s permanent collection such as Garry Winogrand, Lee Friedlander, Robert Frank, and Diane Arbus. His work was included in the Phelan Award in Photography exhibition at SF Camerawork in 2005.

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A 2005 Finalist for the Santa Fe Prize for Photography, Chris Jordan’s first monograph, In Katrina’s Wake; Portraits of Loss from an Unnatural Disaster, was published by Princeton Architectural Press in fall 2006. He is represented by Paul Kopeikin Gallery, Los Angeles.

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Jennifer Karady traveled throughout the U.S. for four years to collaborate with veterans on the telling of their stories. She has produced photographs for this series with veterans in New Hampshire, New York, Los Angeles, Florida, and Virginia. This image was made during Karady’s residency in San Francisco as part of her exhibition presented at SF Camerawork in 2010. She has also been awarded residencies at Yaddo; the MacDowell Colony; and the Virginia Center for the Creative Arts, and her work has been exhibited in San Francisco, New York, and Philadelphia.

Mark Klett is represented by Pace/MacGill Gallery, NY; Paul Kopeikin Gallery, LA; Etherton Gallery, Tuscon; and Lisa Sette Gallery, Scottsdale. Originally trained as a geologist, Klett creates photographs of the American West that are renowned worldwide and have been widely exhibited by major museums. His work is held in more than one hundred collections, including the Victoria and Albert Museum, London; Tokyo Metropolitan Museum of Photography; Philadelphia Museum of Art; National Gallery of Art, Washington D.C.; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Whitney Museum of American Art, NY; and Museum of Modern Art, NY.

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David Levinthal’s work is included in the collections of the Museum of Modern Art, New York; Centre Pompidou, Paris; Whitney Museum of American Art, New York; Metropolitan Museum of Art, New York; Los Angeles County Museum of Art; and others. He is represented by Paul Morris Gallery, New York; Fay Gold Gallery, Atlanta; and Modernism Gallery, San Francisco.

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Maria Levitsky explores the realm of fantasy and reverie, describing her work as a form of "conceptual surrealism," giving shape to the imagery of dreams and the subconscious. This photograph is part of a larger series addressing the highly-charged psychological space of the home. Levitsky is represented by Debra Heimerdinger Fine Art Photographs, North Carolina.

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This image by Michael Light is the cover of his 36 x 44” handmade book produced in an edition of 8, titled LA 02.12.04, which was acquired by the Getty and the UCLA rare book collection. The image is part of Light’s aerial photographic work, which examines both the larger geological spaces and fast-paced urban growth of the arid American West. Light’s work has been exhibited nationally and internationally, published globally, and collected by the Los Angeles County Museum of Art, SFMOMA, The Getty Research Library, The New York Public Library, and the Victoria & Albert Museum in London, among others. He is represented by Hosfelt Gallery, San Francisco; and Frehrking + Wiesehofer Gallery, Cologne.

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David Maisel is represented by Haines Gallery, San Francisco; Von Lintel Gallery, New York; Miller Block Gallery, Boston; and Carrie Secrist Gallery, Chicago. His work has been exhibited nationally and internationally, and is included in the permanent collections of the Metropolitan Museum of Art, New York; Los Angeles County Museum of Art; Brooklyn Museum of Art; Museum of Contemporary Photography, Chicago; Museum of Fine Arts, Houston; San Jose Museum of Art; Santa Barbara Museum of Art; Victoria & Albert Museum, London; and many others. His work has been the subject of three monographs: The Lake Project (Nazraeli Press, 2004), Oblivion (Nazraeli Press, 2006), and Library of Dust (Chronicle Books, 2008).

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Recipient of the 2009 Baum Award for Emerging American Photographers and the 2005 James D. Phelan Art Award in Photography, Sean McFarland’s work has been exhibited nationally. He teaches at the California College of the Arts in San Francisco and is represented by Jack Hanley Gallery, San Francisco and Los Angeles.

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The Castro Theater project is one of Morrill's photographic site studies focusing on spaces of transition and historic places in flux. A San Francisco native, Morrill's work is included in many private collections and has been widely exhibited, including at the highly esteemed Bay Area Now IV exhibition at Yerba Buena Center for the Arts in San Francisco.

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On the 65th anniversary of the attack on Pearl Harbor, Japanese artist Katsushige Nakahashi photographed the deck of the Battleship USS Missouri Memorial. The final artwork was composed of 5,000 photographs and spanned a 40-foot wall at SF Camerawork. The artist then cut the work into pieces and offers these unique photographic sections to SF Camerawork members at the Sponsor Level.

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This image is part of A. Leo Nash’s series of photographs of the Burning Man Festival and other alternative gatherings and celebrations around the United States. Nash’s work has been exhibited nationally and internationally at venues such as Woodstock Center for Photography, Woodstock, New York; Houston Center for Photography; and the Oakland Museum. His work is in numerous public collections, including the Philadelphia Museum of Art, Rochester Institute of Technology, and the San Francisco Art Institute.

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Robert and Shana ParkeHarrison are represented by Catherine Edelman Gallery, Chicago; and Jack Shainman Gallery, NY. The husband and wife team has received worldwide acclaim for their fantasy-driven photographic tableaux. For this series, the artists have elaborately reworked their images with layers of paint before re-photographing them. Their work is held in the collections of the San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Photographic Arts, San Diego; National Museum of American Art, Washington, D.C.; George Eastman House, Rochester; Cleveland Museum of Art; Museum of Fine Arts, Boston; Houston Museum of Fine Arts; Nelson-Atkins Museum, Kansas City; Whitney Museum of American Art, NY; and numerous others.

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Nigel Poor’s Washed Books is a series in which the artist washes previously banned books—all incorporating women’s names in the titles—and then photographs the remains. While working on this project, Poor noticed an anomaly in the physicality of the books: “Each book is judged and in a way censored by the process itself. There is a hierarchy in literature. Books considered to have literary cache are printed on better paper (ex: Madame Bovary). These works are better able to hold up to the washing and drying. The lesser works of literature (ex: Carrie), printed on newsprint, do not fare as well; their words are nearly washed away in the cleaning process.” In a playful (and literal) mash-up of anachronistic ideas—the cleaning (once considered “women’s work”) of “dirty” books—Poor launders these books into sculptural objects. She enjoys the combination of randomness and control her working process offers: “It is partly random because I cannot dictate how the washing process destroys the books, yet there is control because I can determine how the remnants will be dealt with photographically.” Having earned her MFA from the Massachusetts College of Art, Poor is now an Associate Professor of Photography at California State University, Sacramento. She is represented by Haines Gallery in San Francisco and her work can be found in the collections of SFMOMA, the deYoung Museum, The San Diego Museum of Contemporary Art, and the Corcoran Gallery of Art.

http://www.nigelpoor.com

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In his series Saved, J. John Priola turns his camera on objects that were discarded from estate sales, elevating them to the perfection of a glorified memory. His work has been exhibited internationally and is included in many private, corporate, and museum collections, including the Metropolitan Museum of Art, New York; SFMOMA; Los Angeles County Museum of Art; and the Art Institute of Chicago. He is represented by Gallery Paule Anglim, San Francisco; Weston Gallery, Carmel; and Schneider Gallery, Chicago.

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David Puntel utilizes the 19th century process of wet-plate collodion, through which a glass plate is coated with various solutions, exposed in-camera, and developed before it dries to create images on glass. The resulting negative-less ambrotypes are all unique images. Each plate in this edition was exposed on April 18, 2003, for approximately 20 seconds, between 9:45 am and 1:53 pm; they are numbered in chronological order. Puntel is represented by Debra Heimerdinger Fine Art Photographs, North Carolina.

Michael Rauner’s photographs have been published by Chronicle Books in the monograph The Visionary State: A Journey Through California’s Spiritual Landscape. His work is held in several public collections, including the San Francisco Museum of Modern Art. Rauner is represented by Scott Nichols Gallery, San Francisco.

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Oscar Remy was a black portrait photographer who owned and operated several studios in Berkeley and Oakland between the late 1920s and early 1950s. Made with a sensitive eye towards dignity, family, and endurance over time, Remy's photographs encompassed a wide range of subject matter, ranging from young couples and musicians to open casket funerals. George Berticevich acquired the Oscar Remy collection in order to preserve it for future generations, and generously printed it for SF Camerawork members.

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This image is featured in Mark Richards' critically acclaimed monograph, Core Memory: A Visual Survey of Vintage Computers (Chronicle Books, 2007), an unprecedented exploration of the hidden art and history of computer technology. He is currently working on his second monograph, a gritty portrayal of the beauty of trail running on Mount Tamalpais. Richards is the recipient of numerous photography awards and his work has been widely published and exhibited.

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In his photographic exploration of the wilderness, Phillip Scholz Rittermann finds sites that are both pristine and debased. At the root of his imagery is a concern about humanity's relationship to the natural world. Rittermann's work is included in the collections of the Museum of Modern Art, New York; the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; and many others. He is represented by Thomas V. Meyer Fine Art, San Francisco.

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Lisa Robinson is represented by Klompching Gallery, Brooklyn; Etherton Gallery, Tucson; and Jack Leigh Gallery, Savannah. Work from Robinson’s recent monograph Snowbound has been featured in solo exhibitions throughout the U.S. and internationally in Germany, Argentina, Syria, Lithuania, Denmark, Uruguay, Chile, and Bolivia. Her work is held in the collections of the San Francisco Museum of Modern Art; Museum of Photographic Arts, San Diego; Portland Art Museum; Museum of Fine Arts, Houston; and Light Work, Syracuse.

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In her Meat Boy series, artist Jenny Rosenberg uses ground meat to create tableaux of milestones familiar to a typical American middle class boy’s life, blurring the line between sculpture, performance and photography. Rosenberg received her MFA in Photography from the California College of Arts and Crafts and has exhibited extensively in the Bay Area.

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God's Brain is an image drawn from Anne Rowland's series Dictu Sanctificare ("it is to be sanctified"), which offers a variety of unconvential images drawn from the Christian mythos. The series was exhibited at SF Camerawork in 1991, in addition to The Tartt Gallery, Washington, D.C.; the Jan Kesner Gallery, Los Angeles; and Zoe Gallery, Boston.

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Paul Shambroom’s work has been widely exhibited in the US and Europe, and is in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of Contemporary Photography, Chicago; Walker Art Center, Minneapolis; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; Art Institute of Chicago; San Francisco Museum of Modern Art; and others. He is represented by Stephen Wirtz Gallery, San Francisco; Weinstein Gallery, Minneapolis; and Rocket Gallery, London.

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Combining the mid-19th century photographic work of Charles Dodgson with that of early 20th century portraitist E.J. Bellocq, San Francisco-based artist Alice Shaw created this lenticular print. The lenticular technique, developed in the 1940s, interlaces two images and combines them with a lens that magnifies certain parts of the image that are visible from specific angles, thus creating an illusion of depth or movement. Dodgson (more famously known by his pseudonym Lewis Carroll and as the author of Alice in Wonderland) photographed young girls, whereas Bellocq is best known for his photographs of the working women of New Orleans’ Storyville district. Shaw came to see similarities in each man’s portraiture almost by accident. She explains: “I was making collages by mixing photographs that I traced. For example, tracing Dodgson photos and photographs from my childhood, making collages and Henry Darger-like drawings. Only afterward did I see a similarity between Bellocq and Dodgson and recognize that the lenticular process was the best way to demonstrate that similarity.” As for the subjects of her mildly mischievous analogy she says: “Whatever these women and girls might have been, they were definitely muses.” Shaw received her MFA from the San Francisco Art Institute. Her monograph, People Who Look Like Me, was published in April 2006. She is represented by Gallery 16 in San Francisco.

http://www.aliceshaw.com/

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Christopher Sims is represented by Ann Stewart Fine Art, Chapel Hill, NC; and Civilian Art Projects, Washington, D.C. He is the 2010 recipient of the prestigious Baum Award for Emerging American Photographers, which he received for his powerful series documenting simulated Iraqi and Afghan villages that have been constructed as training grounds on U.S. Army bases in North Carolina, Louisiana, and California. Sims has exhibited work nationally and internationally in San Francisco, Houston, Washington, D.C., Seattle, Warsaw, Poland, Philadelphia, New York, and Groningen, The Netherlands.

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Gerald Slota manipulates his photographs by marring the negative or the actual print with a variety of mark-making techniques. While each image in this edition has roughly the same form and content, a flashlight used during exposure renders each a unique print. Slota’s work has been exhibited internationally and is in several collections, including the Princeton University Art Museum, the LA County Museum of Art, and the Polaroid Corporation. He is represented by Ricco/Maresca Gallery, New York.

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Tracey Snelling’s work constantly turns in on itself: a photograph of a building can lead to a sculpture of that building, which in turn she photographs once again. Her work has been exhibited extensively and is held by numerous public and private collections, including the Museum of Fine Arts, Houston; de Saisset Museum, Santa Clara; and the Microsoft Collection, Redmond, WA. Snelling is represented by the Stephen Cohen Gallery, Los Angeles; and Brown Bag Contemporary, New York.

Youngsuk Suh is represented by Jane Deering Gallery in Gloucester, MA. Suh’s new series investigates wildfires and the unexpected atmospherics that result from fires in the American wilderness. Suh’s work has been exhibited nationally and internationally in New York, Boston, Berlin, Sacramento, Seoul and San Francisco. His photographs are held in the collections of the Santa Barbara Museum of Art; the Fidelity Investment Collection; and other private and corporate collections.

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Tim Sullivan is represented by Lisa Dent Gallery, San Francisco. He is a First Prize Winner of the Texas Photographic Society National Juried Competition, and his work has been exhibited internationally.

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Arne Svenson’s Sock Monkeys series came about after meeting Ron Warren and his collection of over 1,800 sock monkeys. Playful in nature, this series also reveals the thread of obsessive curiosity that runs throughout Svenson’s oeuvre. His work has been exhibited widely internationally and is held in a number of private and public collections. He is represented by Julie Saul Gallery, New York.

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Boasting a career spanning more than half a century, Arthur Tress is known for his surreal, dreamlike photographs. Traveling widely after receiving his BFA from Bard, Tress now lives and works in Cambria, California. Fascinated with how otherworldly reality has become, Trimming the Towers explores transformed, industrialized landscapes with humor and anxiety. While Tress looks to photography as a method to understand the complexities of the world around him, his photography often has the opposite effect on its viewer, confusing and distorting reality until it appears in uncanny ways. Tress has explained his approach to photography as a method for defining the confusing world that rushes constantly towards him. “It is my defensive attempt to reduce our daily chaos to a set of understandable images. The camera is a mechanical apparatus that extends my natural ability and desire for meaningful organization.” Several monographs of Tress’ work have been published during his career. His latest, Fresh: Arthur Tress, San Francisco 1964 , accompanies the upcoming exhibition of the same name at the de Young Museum in 2012. His work, included in virtually every major institutional collection, was the subject of the retrospective Arthur Tress: Fantastic Voyage, 1956—2000 at the Corcoran Gallery of Art in Washington, D.C. in 2001. Tress is represented by ClampArt in New York.

http://www.arthurtress.com

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Brian Ulrich is represented by Robert Koch Gallery, San Francisco; Julie Saul Gallery, New York; and Rhona Hoffman Gallery, Chicago. Ulrich has exhibited work nationally and internationally and is included in the permanent collections of the Museum of Contemporary Art, San Diego; Art Institute of Chicago; Museum of Contemporary Photography, Chicago; Museum of Fine Arts, Houston; Cleveland Museum of Art; DeCordova Museum and Sculpture Park, Lincoln, MA; and other private and corporate collections.

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Jenny Vogel was described by Tina Kukielski of the Whitney Museum of American Art as “a voyeur of contemporary loneliness.” Her images of people broadcast online from their personal webcams appear purposefully pixelated when viewed closely, yet convey the chiaroscuro effect of Renaissance paintings when seen from a distance. Her work has been exhibited at the Museum of Modern Art, New York; Novosibirsk Graphic Arts Biennial, Novosibirsk, Russia; Arnolfini Museum, Bristol, UK; Interflugs, Berlin; and other venues.

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Melanie Willhide is represented by Bellwether Gallery, NY. In this series, the artist digitally collages the front and reverse sides of photographs to reveal both simultaneously. The resulting ghostly images suggest clandestine memories long secreted away. Her work was recently featured in Blind Spot, and published in American Photography, IANN magazine, PDN, Details magazine, and The Boston Globe. Her work is included in the collections of Yale University, and the Paul and Barbara Kaben collection, among others.

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The blurred lines and sepia tones of the series Transform/Transcend push at our sense of time. The series delights in the sheer physicality of architecture while subverting the notion of its permanence, and in so doing serves as a metaphor for the continual presence of change in our lives. Wolf’s work has been exhibited throughout the country and abroad, including such venues as the Santa Barbara Museum of Art and the International Festival of Photography in Lishui, China. His work is included in a variety of museum, corporate and private collections.

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