The Myth of Sisyphus (Because This is Where You Are) © Geoffrey Agrons

The Myth of Sisyphus (Because This is Where You Are) © Geoffrey Agrons

Big Big Love © Geoffrey Agrons

Big Big Love © Geoffrey Agrons

The variety of subject and form in the show is notable. I admit to an unabashed love of tintypes (and there are lovely ones in this exhibition), and I have a inexplicable soft spot for printing on organic material such as leaves. Nonetheless, I left this show most impressed by the exquisite and luminous printing of two artists: Fritz Liedtke and Geoffrey Agrons. Agrons’ palladium prints glow and draw your attention from across the room. His two images in the show, “The Myth of Sisyphus (Because This is Where You Are)” and “Big Big Love” I leaned into, stepped away from, then leaned into again to try to immerse myself in them. I didn’t simply feel “drawn” to the images. I wanted to go into them, to experience them and all of their strange light.

-Excerpted from a review of  Alternative Process at Soho Photo bRoger Thompson, professor at Stony Brook University and the Senior Editor of Don’t Take Pictures.

Ruins Jumieges, Normandy
Juror's Choice Award
Far Away Places
Darkroom Gallery
Essex Junction, VT

I kept in mind the call for entries: "From the far corners of your backyard to the far away country it takes weeks to traverse to, we want to see where you end up when you go 'far away'."  As I was selecting the winners, I enjoyed going around the world with the 114 photographers who submitted 632 images. Yet, some of the best work was not made in a far away, foreign land either, reminding us that the idea of far away is as much about a mental or emotional journey as it is a physical one.  The best images were technically flawless and perfectly composed.  They had one or more added elements, be it an especially dramatic time of day, an unusual angle, an experiment with time or with focus, for example.  Some, but not all then had an element of post production that supported the narrative in the image, be that making the image B + W or pinhole or panorama, etc.  These added elements ALWAYS supported the story in the photograph and never looked like they were thrown in to improve an otherwise mediocre image. 

The Juror's Choice goes to "Ruins Jumieges, Normandy".  This has all the elements I noted above.  The light is magical, the composition dynamic, the birds flying through make it a moment, the choice of black and white adds to the drama and the square format keeps our attention within the image unlike a rectangular image, which tends to move the viewer through the image.

-David H. Wells


Low Hanging Fruit

Still Life: The Art of Arrangement

The Kiernan Gallery

Lexington, VA

...the image Low Hanging Fruit was beautifully done and evokes a touch of Mapplethorpe.

-Jason Landry




Foret (Not My Father's Eyes)
Normandy, 2010 

Brought up in New Jersey, and now living in San Francisco, it is no surprise that much of Geoffrey’s photography centres on coastal and seaside locations. There is something dramatic and engaging in Geoffrey’s works which tell a photographic narrative - a flash of lightning above the fairground ride; fireworks before they settle; a shadowy, decaying room – they are a moment of motion captured in a single frame.


Geoffrey’s exploration into ‘the uneasy coexistence between human populations and the natural world’ reflects a total juxtaposition between that which is manmade (fairground rides, houses, fireworks, wooden structures) and that which is nature (the sea, sky and trees). This juxtaposition is most clearly shown in the firework and fairground images. The latter projects a battle between swings and storm, as they impose on, and clash with each other till the better half wins. The firework image also has an air of imposition as a firework explodes over the calm, natural landscape. Geoffrey is neither condemning, nor endorsing the natural or synthetic. He simply takes an observer’s perspective, combining the two in a stylised, dramatic aesthetic.

-Maxine Harris

Fussed Magazine


 One cannot help but to stare into those photos of gnarled trees and disappearing horizons, and get lost in the myriad of soft grays and the ethereal beauty of it all. ...In his photos there is always the sense that a single person may have once inhabited that space but has since moved on leaving the viewer with questions of their existence.

-Benjamin Mouch




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