Bryan R. Monte
Rijksmuseum Tower Watchmen
Bryan R. Monte always tries to take a camera with him when he goes into Amsterdam. Over the last decade, he has amassed a collection of over 1,000 photographs of the city, and especially its art and culture, including artwork in some of its museums’ permanent and special collections. The photo below of the north and west sides of the Rijksmuseum clock tower was taken in June 2013 with a hand-held, Canon Powershot SX130 IS with a focal length of 25,715, F stop 5 and an 1/160 exposure.
Nina Ascoly and bart plantenga
A Different Kind of Red
Demi Anter writes: ‘I began photographing as a means to document my other artworks, often ephemeral in nature. I quickly fell in love with the art form. Since moving to Europe, shooting on film has become an almost daily ritual that helps me feel awake to the world around me. This photo was taken on 35mm film with my Pentax K1000 in December of 2018, while I travelled alone to Amsterdam in order to get my first tattoos. The city in winter gave me equal doses of wonder and melancholy. This photo is an instance of wonder — oddity and delight — with thanks due to my best travel companion, the camera.’
Jury S. Judge
Jury S. Judge writes: ‘My photographs, Diaphanous and If You Love Yellow, This Is For You, were both taken with my Canon EOS Rebel T3i. I captured both images using a shutter speed of 1/80 of second and at an F-Stop of f/5.6. My cell phone served as an illuminated light source in the background, which set the delicate flowers aglow with bold colours. These pieces are both celebrations of the simplicity of vividly saturated colours and the exquisite, timeless beauty of plant life. I enjoy when small-scale subjects such as flower petals are magnified by camera lens, and become elevated to art.’
Young Jeremiah Gains
We are able to see what ordinary people in late-Victorian times looked like due to the popularity of what was known as a ‘Carte de visite’. Portraiture no longer the privilege of the rich, it had become possible to get photographed in one of the many studios available. The product was about the size of a playing card, just right for circulating among friends or adding to the family album. Although subsequently displaced by the postcard print that could be mailed, it was the arrival of the Box Brownie camera at the beginning of the 20th century that brought real change. Simple to use, everyone could now take pictures in their own settings, away from the make-believe backdrops provided by the studios.
Bob Ward is a contributor of poetry, an essay, and photographs to Amsterdam Quarterly. He discovered this indenture document of Benjamin Gains, a distant but direct relative, folded up and tucked away in the corner of a family Bible. He photographed the document using a Canon 20D SLR fitted with a 50mm macro lens in natural light and no flash to prevent damage. This document is now stored in the West Yorkshire County Archive, which will ensure its preservation.
The Belding Family Reunion
Jennifer Clark writes about the photograph’s origin: ‘The Belding Family Reunion is a family photo that was taken in 1909 in Belding, Michigan by an unknown photographer. A number of people within the photo have been identified by my soon to be 90-year-old father, Joseph Engemann. The photo’s porch setting is the former home of my great-great-grandmother, Theresa Spaeth Martin, who was born in Germany 1835, came to America in 1851, and who died about eight years after this photograph was taken’.
Jury S. Judge
Rubble of the Holy
Jury S. Judge writes that: ‘as an artist, I create art to express myself in the pictorial language of light, colour, and linear forms. I enjoy blending traditional and digital mediums within my art because I find this combination to be a versatile method of self-expression. Through my photography, I enjoy capturing the natural beauty of my home state, Arizona, as well as the other destinations where my adventures lead me. Rubble of The Holy features the hexagonal basalt columns of Giant’s Causeway in Northern Ireland. The camera I shoot with is a Canon. This photograph, however, was taken with a Samsung Galaxy S7 Edge.’
Textures of Earth and Water
Jayne Marek feels that her ‘designs should be balanced — not set in the centre, necessarily, but using well-distributed optical elements. I use mostly natural subject matter to achieve visual ambiguities, often through abstraction, to explore how objective reality can be perceived in multiple ways. I also emphasize designs by using bright or unexpected colours and by experimenting with exposures. Readers can take a closer look and enjoy patterns or shapes that might otherwise go unnoticed’. A Nikon Coolpix set at ISO 400 and 64 respectively was used for the first two photos. A Nikon D90 at ISO 200 was used for the last. None used flash.