52 Photographers

Al Brydon

Al Brydon’s work has some really great mood and atmosphere.

When I first saw his work, it was like a light lit up in my head. Viewing his work has given me new permissions in my own work that I’d never really had, or known existed before.

View more of Al’s work on his website.

Teresa Meier

Love at fist sight is how I would describe my feeling when I first came across Teresa Meier’s work.

I love the stories her work tells! 


Hubris and Hamartia—Allies and Enemies



Waiting recently won the Juror’s award in the  Fictional Narrative exhibition at the Photo Place gallery in Vermont opening up December 6, and will be up until January 5. Waiting  and Hubris and Hamartia  also can both be seen at the Portland Art Museum Rental Sales Gallery.

If you can’t see her work in person at either gallery, grab your favorite beverage and go check out her website!

Robert & Shana ParkeHarrison

I’ve been a long-time admirer of the husband and wife duo Robert and Shana ParkeHarrison.

They’re work is conceptual, and centers around the “Every Man,” who interacts with the landscape and works tirelessly to repair the damage done by man’s insatiable desire for expansion and advancement.

See more of their work on their website.

Diana Bloomfield

I came across Diana Bloomfield on Instagram earlier this year, and have been quite fond of her work ever since.

For Diana, photographs and memories are inseparable. She often works with gum bichromate, as the process and it’s resulting softness add to the feeling of the photograph’s relationship to memory.

During this year, Diana has been working on creating a piece of art every day, and as part of that project, she has been photographing flowers from her garden, and I love these botanical portraits. 


View more of Diana’s fabulous work on her website, and check out her Instagram feed

Oli Kellett

I recently came to know about Oli Kellett through Jeffery Saddoris’s podcast, Process Driven (you can listen to that episode here).

Oli is a British street photographer who travels to the US to photograph. Each trip lasts 10 days, and are full of image making.

I really like his style. It’s not really what I think of when I hear “street photography,” and I think that’s why I like his work so much.

Oli somehow manages to capture just one person (or a few) in some of the largest cities in America, and that makes the city seem even more vast, like that person is being swallowed up by the brick, concrete, and pavement.

More Posts Coming Soon!

It’s been far too long since there have been any posts here at 52 Photographers. I got busy with other things going on, and I had to unintentionally but this blog on hold. But I hope to get caught up and back on track. Look for a few posts each week over the next month or so until then!

Dornith Doherty

Dornith Doherty was given access to several seed banks across the world and, using the on-site x-ray equipment gathers images and then arranges them into collages. She also was able to photograph the facilities where these seeds are preserved.

Millennium Seed Bank Research Seedlings and Lochner-Stuppy Test Garden no. 2

Columbian Exchange I

Columbian Exchange III

Entry Tunnel, Svalbard Global Seed Vault

Collection of Drying Plant Genetic Researches, Geneva, New York

Millenium Seed Bank Vault Interior, England

View more of her Archiving Eden work and so much more over at her website.

Jerry Burchfield

  Passiflora Edulis

 Passiflora Edulis

I would be remiss if I didn't include a post about the late Jerry Burchfield here on 52 Photographers. I can only think of two or three other people who have had such a strong and lasting influence on me as an artist.

I first discovered Burchfield in 2005. I was researching presenters for the National Conference of the Society for Photographic Education held in Portland, Oregon. I was in the middle of completing my BFA project, which dealt with public parks. One of the lectures given was about the transformation of the El Toro Marine Corps Air Station, which closed in 1999, into a park and residential use. Burchfield, Mark Chamberlain and four other photographers embarked on the Legacy Project (you can see the project's website here), photographing and documenting the transformation of the land from air field to public park. My research led me Burchfield's lumen prints, a term he coined. Before then, I (along with the vast majority of the photographic community) was oblivious to the existence of such a thing as a lumen print. At least, as known by that name. The lumen print, which is really a variation of the photogram, has it's roots in the photogenic drawings William Henry Fox Talbot did in the mid-1830's. Anna Atkins followed in Talbot's footsteps, publishing her book Photographs of British Algae: Cyanotype Impressions, which is considered to be the first book illustrated by photographs. Then the photogram process (though still not known by that term) became popular in Europe in a post-World War 1 art movement. First Christian Schad, a German, experimented with the process, humbly (note the sarcasm) naming his works Schadographs, then Man Ray made similar images, and named his works Rayographs. Then the Hungarian Laszlo Moholy-Nagy produced his own work, and named the process the Photogram, which is still in use today. 

For over 7 years, Burchfield traveled to the Amazon to make his lumen prints on-site, on the deck of a boat. His aim was to "create images that are free of inherent bias and commentary while still expressing ecological concerns by drawing attention to the beauty of the place."

I was stunned at the beauty of Burchfield's images, and even further stunned when I learned how simple the lumen process is, and that the different colors came from black and white photographic materials!

  Galeandra Orchid

 Galeandra Orchid

I learned only a few years ago that Burchfield passed away in 2009 from colon cancer, but his legacy still lives on, and his influence on my work is still greatly felt today.

  Leguminosae #1

 Leguminosae #1

  Manihot Esculenta

 Manihot Esculenta

Richard Long

Richard Long has been a strong influence on me as a photographer for about ten years now. His work appeals to me on several levels, among them, the hiker inside me. My favorite pieces of his are any of the lines made by walking. In making these sculptures by walking, he is "echoing the whole history of mankind." Rebecca Solnit devotes some of her book Wanderlust: A History of Walking, a book I highly recommend, to Richard Long's art.

A Line Made By Walking, England 1967

England 1968

His work is as much performance art as it is anything else. Similarly to Andy Goldsworthy, his work lives in the ephemeral, and were it not for a photographic record, or in other instances, text works, there would be no evidence of Long ever having made his sculpture. 

Leaving the Stones, A Five Day Walk With Dogs on Spitzbergen, Svalbard Norway 1995

Pujet Sound Mud Circle, Henry Art Gallery, Seattle 1997

Visit Richard's website to view more work. 

Beth Moon

"Time is the shape of an old oak as the winds caress and sculpt the bark, defining the hardship and beauty. Time is the trunk that splits apart in great age to accommodate the tempest. Evidence of time is revealed in the furrowed bark of an ancient tree, gnarled, crooked, and beautiful," says Beth Moon in her artist statement for her body of work titled Portraits of Time. Trees are a great subject to use to define time, and Beth's photographs in Portraits of Time are sublime. From ancient Baobab trees that can live to be over 2000 years old (The Panke Baobab in Zimbabwe died in 2011 and was around 2500 years old), to giant oak trees, to towering cedars, these photographs show the majesty and awe of some of the organisms that grow on this planet.

The Bufflesdrift Baobab

The Great Western Red Cedar

Her body of work, Island of the Dragon's Blood does much the same thing, focusing on the dragon's blood trees (a name given by the scarlet colored resin that flows through them) and other flora of Socotra, an island in the Arabian Sea.

Diksom Forest

Shebehon Forest


Odin's Cove #2

Beth has some really great work, which you can see on her website.

Miguel Arzabe

Earlier this year I featured the work of Klea McKenna, who referred me to today's featured artist Miguel Arzabe. 

Miguel Arzabe has some really wonderful work made by weaving posters and flyers from various art shows that he attends. It is "informed by the textile tradition of [his] Andean heritage and other indigenous american cultures. Each piece is an archive of cultural output from a specific time and place."

You can see more of Miguel's work on his website.

Maggie Taylor

I just love the digital composites of Maggie Taylor. They’re all so playful and whimsical! Especially her two bodies of work that illustrate Lewis Carroll's Alice's Adventures in Wonderland, and Through the Looking Glass.

It’s Always Tea Time

It’s Always Tea Time

Explain Yourself

Explain Yourself

All The Better

All The Better

Beware The Jabberwock

Beware The Jabberwock

The Same Story

The Same Story

Night Watch

Night Watch

Here’s a video that provides some great context and behind the scenes looks at her process.

To see more of Maggie’s work, visit her website.

Carol Panaro-Smith & James Hajicek

I've long been an admirer of and influenced by the work of collaborative duo James Hajicek and Carol Panaro-Smith. I discovered their photogenic drawing work around 2004-2005 when I was really getting into making Lumen prints.

Their work hearkens back to, and indeed is directly born from William Henry Fox Talbot, the originator of photogenic drawings, the experiments for which began in 1834. He discovered that paper coated with a salt solution, then brushed with silver nitrate turned black when exposed to light, and a final coat of salt halted that darkening. He then made what is essentially a photogram, placing botanical specimens on the sensitized paper, and exposing it to sunlight. Thus, the "photogenic drawing," and one of the first successful photographic processes was born.

Today, James and Carol use variations of Talbot’s early formulas, and create beautiful pieces that are layered, possess depth, and have fantastic textures. I remember being stunned at the colors and textures the first time I saw their work, and those same feelings return each time I look at their work.

Earth Vegetation 08/17

Their compositions are so simple and organic, as if they clamped the plants between the glass and paper right where the plants grew out of the dirt.

Earth Vegetation 06/01

 A paragraph, and specifically the last half of it, of their artist statement for their latest body of work, Arc of Departure, resonates in me, and describes the experience of making this sort of work so much better than I’ve been able to in the past:

“The work evolved in stages from its initial intellectual underpinnings through a focus on the physicality of the remaining organic artifact to the spirituality of experiencing “the awe” of being in the immediate presence of this sacred transformative act - magic in its very essence, ruled by serendipity, elusive mysteries, fugitive images, and the ruling master of all – the ultimate impermanence of everything.”

Arc of Departure 09/09

Be sure to visit their website, and you can read an article about their work on Lenscratch. It’s well worth it to spend some time with their work, which can be seen at the Joseph Bellows Gallery, the photo-eye Gallery, and the Tilt Gallery.