THE NOCTURNAL HOURS: Diana H. Bloomfield & Constance Rose > HONORABLE MENTIONS: Helen Fong “Dinner”, Douglas Hill “Night Flight No. 32” & Stefynie Rosenfeld “A World of Quiet”
HONORABLE MENTIONS: Helen Fong “Dinner”, Douglas Hill “Night Flight No. 32” & Stefynie Rosenfeld “A World of Quiet”
Helen Fong/Dinner
HONORABLE MENTION
HONORABLE MENTION
HELEN FONG:
"My passion for photography fuels me. Over the last thirty years, photography has introduced me to wonderful people, both as strangers who became friends for perhaps a moment or two, or perhaps for years.
As a photographer I have learned to develop my sense of observation, of people, the natural world, of the big picture, of the nuances. I have learned to look for those behaviors and characteristics that define our humanity, our cultures, as well as learned to appreciate the symmetry and irregularities. I have learned to think “in the moment”, to anticipate both human and animal behavior, to observe, to initiate and invite interactions. I’ve learned to slow down, to observe, to “flow with the moment”, to wait as well as to plan and overplan.
Through the years I've explored and enjoyed several photography genres, lifestyle and family photography, abstract and still life, photojournalism.
I live with my husband Glen in the Pacific Northwest near Seattle, Washington, United States."
www.helenfongphotography.com
www.instagram.com/helenfongphotography.com
"My passion for photography fuels me. Over the last thirty years, photography has introduced me to wonderful people, both as strangers who became friends for perhaps a moment or two, or perhaps for years.
As a photographer I have learned to develop my sense of observation, of people, the natural world, of the big picture, of the nuances. I have learned to look for those behaviors and characteristics that define our humanity, our cultures, as well as learned to appreciate the symmetry and irregularities. I have learned to think “in the moment”, to anticipate both human and animal behavior, to observe, to initiate and invite interactions. I’ve learned to slow down, to observe, to “flow with the moment”, to wait as well as to plan and overplan.
Through the years I've explored and enjoyed several photography genres, lifestyle and family photography, abstract and still life, photojournalism.
I live with my husband Glen in the Pacific Northwest near Seattle, Washington, United States."
www.helenfongphotography.com
www.instagram.com/helenfongphotography.com
Douglas Hill/Night Flight No.32
HONORABLE MENTION
HONORABLE MENTION
DOUGLAS HILL:
"Night Flights is a nocturnal examination of public urban staircases. The series has been made over the past two years using digital cameras and common flashlights to produce archival pigment prints.
Where do I find myself? I’m not a night person, yet here I am moving, climbing, stumbling through the city after dark, a very different proposition than in daylight. There are very few people about at this hour, not that there are so many to be found on these staircases during the day, and I’m acutely aware of the proximity of nearby houses and apartments, some of them no more than a few feet from the stairs. Whether their lights are on or off it feels like an invasion of their privacy to be here, as if the occupants are unwillingly sharing their personal space with anyone who happens by. And I’m here with a camera and flashlight, no less. Remarkably, none of these people have taken offense at my presence or even so much as asked what I’m doing. Although I’ve given the question a great deal of thought, as one does when making photographs, there seems to be no easy answer.
The lowest and highest points of a public staircase are often difficult to find. There is no signage, no arrow pointing up or down, and with only a few exceptions, no sense of ceremony announcing their presence. The view from the bottom is usually unremarkable, while that at the top can be breathtaking. But the stairs themselves simply are, conveyances up and down. The population of the staircases shifts when night falls. During daylight hours, locals use them for exercise and to walk their dogs more than to get from one place to another. When the sun goes down they’re replaced by other creatures who quietly come out to do what they need to for survival. Coyotes can be heard yipping in the distance after a kill, while owls hoot and small ground animals scurry around in the darkness.
So much of my work has been dedicated to finding a way to define environments and the structures and objects that occupy them. This has often meant suppressing my personal point of view in favor of an apparently objective one. This is a false premise at best. Every decision that goes into making even the most clinical photographic rendering of a building, for instance, requires that subjective decisions be made. Angle of view, camera height, what’s included in the frame, time of day and time of year, which determine the angle of the sun, weather conditions, and so forth all go into determining what a photograph will look like. Less tangible, though, are the frame of mind of the photographer at the time of exposure, and their emotional responses to what they’re confronted with.
With this series I have attempted to acknowledge what it felt like to be in these very specific places. By working in this manner I have come much closer to experiencing what drew me to the medium in the first place, leaving myself vulnerable to the anticipation of not knowing what lies beyond the next step of the staircase or turn of the path: the uncertainty of the outcome each time the shutter is released.
In the 1920s a network of staircases was built into the myriad hillsides that dotted the city during their development as residential neighborhoods. I’ve lived amidst these staircases for over 40 years, and yet had only had a marginal awareness of the extent of their existence until I began using them to get around on a regular basis. The stairs contain vestiges of all that has happened in their vicinity since they were built, as if trapped in concrete. Yes, there were Laurel and Hardy and the Three Stooges, who famously used them as film locations, but there have to have been a plethora of large and small dramatic events in people’s lives that played themselves out in these places unrecorded."
Douglas Hill is a visual artist who was born in London, England. At the age of five he moved with his Canadian parents to New York where he lived until coming to Los Angeles in 1968 where he lives to this day. He attained U.S. citizenship in 1990.
Hill began making photographs in 1969. His work has been shown at The Gilb Museum, Arcadia, CA; Midwest Center for Photography, Wichita, KS; PH21 Gallery, Budapest, Hungary; Berlin Blue Gallery, Berlin, Germany; G. Ray Hawkins Gallery, Santa Monica; The International Center for Photography, New York; Kunsthaus, Zurich; Friends of Photography, Carmel; Kunstgewerbemuseum, Zurich; Prairie State College, Chicago; The Photography Place, Philadelphia, Craig Krull Gallery, Santa Monica; The Huntington, San Marino and in publications: Frames Magazine, Volume 15; This Side of Paradise: Body & Landscape in Los Angeles Photography; Looking at Los Angeles; American Photo; Camera; 24 Hours in the Life of Los Angeles; The New Color.
Hill’s work is included in the collections of the Getty Museum, the Huntington, the Library of Congress, Center for Creative Photography, Center for Motion Picture Studies, Amon Carter Museum and he participated in The Los Angeles Documentary Project commemorating the bicentennial of Los Angeles, funded by the National Endowment for the Arts. Hill was also a Photolucida Critical Mass 200 Finalist in 2023.
Hill has taught photography at UCLA Extension since 1995 and has offered independent workshops and master classes since 2010.
Hill currently lives with Elayne Sawaya, his wife of 45 years, and their poodle, Niccolo Paganini, in the Silver Lake district of Los Angeles.
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IMAGES FOR SALE-
Night Flight No3- 17"H x 22" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No12- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No32- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No41- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No45- 17"H x 22" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No55- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Contact:
Douglas Hill
douglas@douglashillphotography.com
www.douglashillphotography.com
www.instagram.com/douglashill_photo
"Night Flights is a nocturnal examination of public urban staircases. The series has been made over the past two years using digital cameras and common flashlights to produce archival pigment prints.
Where do I find myself? I’m not a night person, yet here I am moving, climbing, stumbling through the city after dark, a very different proposition than in daylight. There are very few people about at this hour, not that there are so many to be found on these staircases during the day, and I’m acutely aware of the proximity of nearby houses and apartments, some of them no more than a few feet from the stairs. Whether their lights are on or off it feels like an invasion of their privacy to be here, as if the occupants are unwillingly sharing their personal space with anyone who happens by. And I’m here with a camera and flashlight, no less. Remarkably, none of these people have taken offense at my presence or even so much as asked what I’m doing. Although I’ve given the question a great deal of thought, as one does when making photographs, there seems to be no easy answer.
The lowest and highest points of a public staircase are often difficult to find. There is no signage, no arrow pointing up or down, and with only a few exceptions, no sense of ceremony announcing their presence. The view from the bottom is usually unremarkable, while that at the top can be breathtaking. But the stairs themselves simply are, conveyances up and down. The population of the staircases shifts when night falls. During daylight hours, locals use them for exercise and to walk their dogs more than to get from one place to another. When the sun goes down they’re replaced by other creatures who quietly come out to do what they need to for survival. Coyotes can be heard yipping in the distance after a kill, while owls hoot and small ground animals scurry around in the darkness.
So much of my work has been dedicated to finding a way to define environments and the structures and objects that occupy them. This has often meant suppressing my personal point of view in favor of an apparently objective one. This is a false premise at best. Every decision that goes into making even the most clinical photographic rendering of a building, for instance, requires that subjective decisions be made. Angle of view, camera height, what’s included in the frame, time of day and time of year, which determine the angle of the sun, weather conditions, and so forth all go into determining what a photograph will look like. Less tangible, though, are the frame of mind of the photographer at the time of exposure, and their emotional responses to what they’re confronted with.
With this series I have attempted to acknowledge what it felt like to be in these very specific places. By working in this manner I have come much closer to experiencing what drew me to the medium in the first place, leaving myself vulnerable to the anticipation of not knowing what lies beyond the next step of the staircase or turn of the path: the uncertainty of the outcome each time the shutter is released.
In the 1920s a network of staircases was built into the myriad hillsides that dotted the city during their development as residential neighborhoods. I’ve lived amidst these staircases for over 40 years, and yet had only had a marginal awareness of the extent of their existence until I began using them to get around on a regular basis. The stairs contain vestiges of all that has happened in their vicinity since they were built, as if trapped in concrete. Yes, there were Laurel and Hardy and the Three Stooges, who famously used them as film locations, but there have to have been a plethora of large and small dramatic events in people’s lives that played themselves out in these places unrecorded."
Douglas Hill is a visual artist who was born in London, England. At the age of five he moved with his Canadian parents to New York where he lived until coming to Los Angeles in 1968 where he lives to this day. He attained U.S. citizenship in 1990.
Hill began making photographs in 1969. His work has been shown at The Gilb Museum, Arcadia, CA; Midwest Center for Photography, Wichita, KS; PH21 Gallery, Budapest, Hungary; Berlin Blue Gallery, Berlin, Germany; G. Ray Hawkins Gallery, Santa Monica; The International Center for Photography, New York; Kunsthaus, Zurich; Friends of Photography, Carmel; Kunstgewerbemuseum, Zurich; Prairie State College, Chicago; The Photography Place, Philadelphia, Craig Krull Gallery, Santa Monica; The Huntington, San Marino and in publications: Frames Magazine, Volume 15; This Side of Paradise: Body & Landscape in Los Angeles Photography; Looking at Los Angeles; American Photo; Camera; 24 Hours in the Life of Los Angeles; The New Color.
Hill’s work is included in the collections of the Getty Museum, the Huntington, the Library of Congress, Center for Creative Photography, Center for Motion Picture Studies, Amon Carter Museum and he participated in The Los Angeles Documentary Project commemorating the bicentennial of Los Angeles, funded by the National Endowment for the Arts. Hill was also a Photolucida Critical Mass 200 Finalist in 2023.
Hill has taught photography at UCLA Extension since 1995 and has offered independent workshops and master classes since 2010.
Hill currently lives with Elayne Sawaya, his wife of 45 years, and their poodle, Niccolo Paganini, in the Silver Lake district of Los Angeles.
---------------------------------------------------------
IMAGES FOR SALE-
Night Flight No3- 17"H x 22" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No12- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No32- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No41- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No45- 17"H x 22" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Night Flight No55- 22"H x 17" W
Archival paper
$800 unframed
Limited edition of 10
Signed on front
Contact:
Douglas Hill
douglas@douglashillphotography.com
www.douglashillphotography.com
www.instagram.com/douglashill_photo
Stefynie Rosenfeld/A World of Quiet
HONORABLE MENTION
HONORABLE MENTION
STEFYNIE ROSENFELD:
"I have always been fascinated by nature and the intricacies of its beauty, its resilience, its vulnerabilities and its anthropomorphic tendencies. I have always felt welcomed into its culture, without question or judgement. It is here where I have received some of my greatest gifts and where I feel most at home. My series, Nature’s Spirit, is an homage to the natural world and my deep connection to it.
Nature’s Spirit strives to go beyond my visual perceptions and to convey the spiritual essence of each unique encounter. This series of images was taken at night in the Glazier Preserve in New York State. The work invites questions about our own entanglements, our relationships with the dark and the light, our elemental similarities and what may lie beyond."
Stefynie is an award winning photographer and composite artist whose work has been in numerous publications and galleries. She enjoys working in different genres including portraiture, nature, narratives and composite imagery. Her work has been inspired by her own spiritual journey and the elemental similarities between humans and the natural world.
www.take2films.wixsite.com/throughmylens
-------------------------------------------
THE NOCTURNAL HOURS HOME:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose
FIRST PLACE:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/first-place-stuart-ratner-waterfront-club----/1
SECOND PLACE:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/second-place-gosia-machaczka-hollow---/1
HONORABLE MENTIONS:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/honorable-mentions-helen-fong-dinner-douglas-hill-night-flight-no-32-stefynie-rosenfeld-a-world-of-quiet---/1
BEST SERIES:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/best-series-stuart-ratner/1
EXHIBITION #1:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/exhibition-1/1
EXHIBITION #2
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/exhibition-2/1
"I have always been fascinated by nature and the intricacies of its beauty, its resilience, its vulnerabilities and its anthropomorphic tendencies. I have always felt welcomed into its culture, without question or judgement. It is here where I have received some of my greatest gifts and where I feel most at home. My series, Nature’s Spirit, is an homage to the natural world and my deep connection to it.
Nature’s Spirit strives to go beyond my visual perceptions and to convey the spiritual essence of each unique encounter. This series of images was taken at night in the Glazier Preserve in New York State. The work invites questions about our own entanglements, our relationships with the dark and the light, our elemental similarities and what may lie beyond."
Stefynie is an award winning photographer and composite artist whose work has been in numerous publications and galleries. She enjoys working in different genres including portraiture, nature, narratives and composite imagery. Her work has been inspired by her own spiritual journey and the elemental similarities between humans and the natural world.
www.take2films.wixsite.com/throughmylens
-------------------------------------------
THE NOCTURNAL HOURS HOME:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose
FIRST PLACE:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/first-place-stuart-ratner-waterfront-club----/1
SECOND PLACE:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/second-place-gosia-machaczka-hollow---/1
HONORABLE MENTIONS:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/honorable-mentions-helen-fong-dinner-douglas-hill-night-flight-no-32-stefynie-rosenfeld-a-world-of-quiet---/1
BEST SERIES:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/best-series-stuart-ratner/1
EXHIBITION #1:
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/exhibition-1/1
EXHIBITION #2
https://nyphotocurator.com/the-nocturnal-hours-diana-h-bloomfield-constance-rose/exhibition-2/1
