Van Ham's photography auction, the 243rd auction run by this house, will take place in Cologne, Germany on October 28, 2005 at 5 p.m. The preview will run from October 21-27, F-Th, 10am-5pm, except Saturday from 10am-4pm and Sunday from 11am-4pm; and Friday, October 28, 10am-1pm. About 400 works of photography from the 19th to the 21st century will be on sale.

Original prints by internationally well-known photographers such as August Sander, Albert Renger-Patzsch, Margaret Bourke-White, Henri Cartier-Bresson and Arthur Rothstein are offered, as well as contemporary photography by Diane Arbus, William Eggleston, Bernd and Hilla Becher, Candida Höfer, Andreas Gursky, Thomas Struth, Wolfgang Tillmans and Lois Renner, among others.

For a catalogue, to place an order bid, or for more information, contact Van Ham Fine Art Auctions, Schönhauser Str. 10-16, 50968 Cologne/Germany. Van Ham's photography department head is Anne Gantefuehrer-Trier and she can be reached by email at a.gantefuehrer-trier@van-ham.com or by phone at +49 (0)221 92 58 62 28. Their web site is: http://www.van-ham.com .
 

Capitol Gallery and Christopher Wahren Fine Photographs are again holding an Online Photography Week, with sales to end on Wednesday and Thursday, October 12th and 13th. The two companies combine many years experience in the field and their two catalog and online sales of Online Photography Week offer a fresh selection of collectible photography, much of it new to market, with particular strength in work by photographers of the Daguerreian era.

The Capitol Gallery sale (closing October 12th) features several noteworthy cased images. Daguerreotypes include an important plate showing a fraternal Odd Fellow in full regalia and holding a large ceremonial ax, and a quarter-plate daguerreotype of a country boy in rustic clothing hugging his dog. The huge dog is secured by a long, tenuously thin rope, and this impromptu plate captures the folksy atmosphere for which Capitol Gallery is well known. Also offered is an extremely rare Daguerreian coloring kit and an identified half-plate ambrotype of a fireman by W. C. North. Further cased images include a three-quarter-plate daguerreotype of children with a hoop; a rare, albeit bruised, Mississippi half-plate of two women in fancy costume; photographic jewelry; an Irishman and hand-tinted Scotsman; a gambler; and additional dog images.

Capitol Gallery's selection of Daguerreian cases includes a lovely all mother-of-pearl case, a geometric full-plate case along with its original contents (a knife set!), and the family/accordion case. In paper photography there are additional lots with fraternal images, children with toys and occupational photographs.

Further information about the sale and placing bids can be obtained online at http://capitolgallery.com or by calling Kevin and Karen Kunz at 1-217-546-4654; email: capitolgallery@sbcglobal.net . A print catalog is available for $15 within the USA.

The Skylight Gallery #21 sale (closing October 13th) offers a lovely child study by the daguerreotypists Southworth and Hawes. Also included are an unusual daguerreotype of a English gentleman with an electrical coil, a quarter-plate image of a California Gold-Rush miner and an evocative pair of daguerreotypes circa 1849 showing children doing sums on a slate, in period gilt mount and with an inscription on reverse relating to a cholera epidemic. Other vintage daguerreotypes show children crawling, sleeping, snuggling, and holding toys. Examples of the ambrotype process include men drinking and smoking, an unusual view of a bare-chested man with blind eye, perhaps war-related and a very rare American ambrotype of a Chinese woman in traditional costume, possibly a California immigrant. Also noteworthy are a poetic ambrotype of bridge construction against the backdrop of a country landscape and an uncommon plate of a woman with fiddle from the pre-statehood Kansas Territory.

A selection of Japanese images in the Skylight Gallery is unusual, including four ambrotypes from Japan as well as a selection of Japanese albumen prints and two beautiful Japanese floral studies in albumen. Paper photography includes a grouping of portraits of Corot, Daumier and other French artists. Cartes-de-viste include a dog, cats, images of Chile, Peru and General U.S. Grant's partially smoked cigar. In line with its policy of avoiding "been there, done that" offerings by bringing something new to the table, the Skylight Gallery sale concludes with contemporary alternative process work, modern daguerreotypes including a becquerel-process Daguerreian photogram by Lori Oden, a view of storm clouds above the World Trade Center by Jerry Spagnoli and a hand-colored "Homage to Daguerre" by Mike Robinson.

Further information about the Skylight Gallery sale and placing bids can be obtained online at http://cwfp.biz/sg21 or by contacting Christopher Wahren at 1-203-772-3968. A print catalog is available for $15 within the USA.
 

The Tom Penniston Photographica Collection is being auctioned off on November 4, 2005 at the Holiday Inn at Boxborough Woods, Boxborough, MA by Lang's Auction House. The collection consists of 110 lots and is comprised of some of the earliest, rarest and most fascinating images of sport fishing history ever assembled. The Holiday Inn at Boxborough Woods is off Route 495 at exit 28.

Penniston has spent the past 15 years pursuing these images and has built a collection that is without equal in the specialty area. To find photographs this early depicting this subject matter is a difficult task, because sport fishing is one of the rarest categories of antique photos to acquire. Most are one of a kind and are truly museum quality. Together, these significant photos paint a portrait of the infancy of sport angling in America. To add to this remarkable collection is the inclusion of many scarce photographs of Victorian women, who are obviously very serious anglers, sporting the finest equipment of their time. The collection is of great historical importance.

The preview will be held Friday, November 4 from 8 am-noon. The auction itself will start sometime in the afternoon, approximately at 2 pm.

For a printed catalogue ($45, plus shipping) and more details, contact Lang's Sporting Collectables, 663 Pleasant Valley Rd., Waterville, NY 13480; phone: 1-315-841-4623; fax: 1-315-841-8934; and email: LangsAuction@aol.com . An online version of the catalogue will go up on their website three weeks prior to the auction. That online catalogue and more information will be found at http://www.langsauction.com .
 

I will be traveling to New York City October 6-13 for the upcoming Fall photography auctions there. If you would like me to bring specific prints to see while I am in New York City or would like me to preview and/or bid for items at auction there, please call me now. While I leave tomorrow, October 6, auction previews and bids can be made about two or three days before the actual auction itself by either calling my Asst. Director Marthe Smith at 1-215-822-5662 or me directly (after Oct. 7) on my mobile at 1-215-518-6962. I usually only use my mobile while travelling so do not call it earlier than Oct. 7.

My company Vintage Works, Ltd.'s auction services are charged at 5% of the successful hammer price against a minimum of $125 in the United States ($250 minimum in Europe). The minimum includes items that you are unsuccessful for or those that we warn you off of. The minimum is the same for one item or five items per auction. In other words, it is only $250 total (not per lot) to check out up to five auction lots (for more than five lots, please call). Usually, if you want us to actually bid for you, you will have to fax your details to the auction house with a signed authorization for us to do this. That is one of the reasons why it is best not to wait until the last few days. We never accept competing bids for the same lot and will only accept one client per lot to avoid any conflicts.
 

I Photo Central dealer Vintage Works, Ltd. has announced the publication of its first limited edition book, which is entitled: Marcus Doyle: Night Vision/Intimacies of an Unblinking Eye. Twenty-six photographs by Doyle will be reproduced in full color and will be accompanied by an essay by noted photography critic Matt Damsker.

The 32-page book will be offered in a special edition, which will be cloth hardbound (plus color dust jacket) and slip-cased and will come with an 8 x 10 inch signed photograph and be limited to only 100 copies (ISBN 0-9771415-1-9), for a starting list price of $500 U.S. (prices will go up $100/20 copies). A softbound edition, which is limited to 1,400 copies (ISBN 0-9771415-0-0), is list priced at $39.95 U.S. Both versions of the book will be available October 15, 2005. If you order before October 15th, shipping will be included free of charge. You may also purchase copies at Vintage Work's booth (G5) at Paris Photo. Marcus Doyle will be signing copies during the show on Friday and Saturday nights from 5-8 p.m.

To quote Matt Damsker's essay: "The photographs of Marcus Doyle transform the familiar spaces and landscapes of the modern world into twilight zones--nearly surreal, almost alien, yet always recognizable for what they are…Doyle's large-format approach, with saturated colors that result from exposures as long as three hours, turns his unstaged tableaux into visions of exalted expectancy amidst man's tendency to trivialize.

To view some of the images in the new book and for more information on the photographer, you can go to http://www.iphotocentral.com/showcase/showcase_view.php/57/1/1 .

To order copies of the book, contact: Vintage Works, Ltd., 258 Inverness Circle, Chalfont, PA 18914 USA. Phone: 1-215-822-5662; Fax: 1-215-822-8003.
 

By Mack Damsker

PARIS EN FETE.
Text by Francoise Paviot. Published by Editions du Collectionneur. ISBN No. 2-847620-00-1. Priced at 29 Euros. 172 pages; approximately 70 plates. Editions du Collectionnear, 60, rue Saint-andre-des-Arts, 75006 Paris, France. Information: Galerie Françoise Paviot, 57, rue Sainte-Anne, 75002 Paris; phone: +33(0)142-601001

City of Lights, of course, but even more so, Paris is a city of life, and Francoise Paviot celebrates that happy fact with this collection of Parisian photographs that takes us from the medium's early days and into the 1990s. The images are all black-and-white, some are iconic (Eugene Atget's "Organ Grinder," for instance), and the unifying theme is the great city's embrace of scale, spectacle, and always, the local color of its people.

In her text (in French), gallery owner and collector Paviot notes that Paris is the official birthplace of photography, and indeed, from the first daguerreotypes, it has been one of the medium's great subjects--arguably its greatest. It would be hard to imagine any icon that has been more photographed than the Eiffel Tower, but Paviot does not drown us with Tower photos, preferring instead to connect the human with the monumental, as in the charming cover shot of stylish 1920s louche youth hanging out, smoking and preening high upon the Tower (during the making of Rene Clair's 1927 film, "Paris qui dort"), as well as a more formal shot by Pierre Petit of dignitaries assembled at the Tower's 1889 inauguration. And André Kertész's 1927 shot of the Tower illuminated by bolts of lightning is, of course, incomparable.

Indeed, Parisian architecture is central to these shots, beginning with an 1844 image by Charles-Marie Isodore of riders on horseback on the Pont Royal, in full view of a magnificent mansard-roofed dwelling. Other 19th-century images capture the splendor of La Place de la Concorde, the grand boulevards, fountains, arches, and the Seine, including a wonderful rooftop perspective along the Boulevard des Capucines, by William Henry Fox Talbot. Chronicling the wonders of the Second Empire, Paviot finds images of the great Parisian boom in urban development, along with parades, gatherings, and the sights of the Universal Exposition of 1867.

These historical photos are at once charming and broad, mainly long views that capture scale at the expense of intimate detail, as in an important documentary shot of Victor Hugo's massive funeral on the steps of the Pantheon. As the 20th century begins, along with France's Third Empire, photography's refinement is evident in the works not only of Atget, but of Emile Joachim Constant Puyo, whose wonderful image of a chambermaid peering over a balcony in Montmartre--with Sacre Coeur mistily off in the distance--is a 1906 masterwork.

There is also a photo by Emile Zola of a pavilion at the universal exposition of 1900, and images of Parisians at galleries, peering through telescopes, observing a solar eclipse through smoked glass, and a panoramic shot by Jacques-Henri Lartigue of his model Bibi at the 1927 international exposition of decorative and industrial arts. Indeed, to celebrate Paris is to celebrate its artists, and there is a fine still from Rene Clair's 1924 film "Entracte", featuring Marcel Duchamp and Man Ray playing chess, as well as an anonymous image depicting surrealist founder Andre Breton playfully holding a friend upside down from atop a ladder with a bicycle in front of a gallery showing paintings by Max Ernst.

Moving into the pre- and post-World War II eras, the photographs capture the intensity of modernity, with its cars, crowds, and anxious faces, always with the timelessness of Paris as a backdrop. There is Robert Doisneau's memorable 1944 shot of jubilant young students in a marching band, and Christophe Gin's 1993 image of gay-pride marchers, their painted faces betraying a solemn sense of the outsider. And Wolfgang Volz's 1985 shot of the Pont Neuf wrapped in the vast shroudings of artist Christo brings us full circle--from a Paris of the Old World to a Paris that can more than accommodate the shock of the new.


DAVID GOLDBLATT: INTERSECTIONS.
Published this year by Prestel, in conjunction with the exhibition of the same name held at Museum Kunst Palast, Dusseldorf, from June 17 to August 21, 2005 and Camera Austria, Graz, from December 10, 2005 to February 26, 2006. Essays by Christoph Danelzik-Bruggemann, Michael Stevenson, and an interview with the photographer by Mark Haworth-Booth. 124 pages; approximately 40 color plates. ISBN no.: 3-7913-3247-3; Library of Congress control no.: 2005900732. Prestel Publishing, 900 Broadway, Ste. 603, New York, NY 10003; phone: +1-212-995-2720; fax: +1-212-995-2733, http://www.prestel.com . Price: $60.

South Africa's David Goldblatt has spent more than three decades chronicling the soul and soil of his troubled native land, resulting not only in an internationally collected body of work but also a unique perspective on a unique corner of the world. Born of Lithuanian-Jewish descent in Randfontein, South Africa (he now resides in Johannesburg), Goldblatt brings a somewhat haunted sense of the outsider to his large-format, austere color images. They open out on a sun-bleached landscape intersected mainly by a poor, scuffling humanity--a human presence in uneasy harmony with the land. If Goldblatt shares that unease, perhaps it's a measure of his marginal identification with the white oppressors who perpetuated apartheid for so long, but his photography doesn't stoop to rhetorical statements or images of pathos. Instead, a suggestion of spiritual emptiness pervades.

Indeed, as Michael Stevenson essay's quotes the great South African author J.M. Coetzee: "There are, it seems, no angels in this part of the sky, no God in this part of the world. It belongs only to the sun. I do not think that it was ever intended that people should live here. This is a land made for insects who eat sand and lay eggs in each other's corpses and have no voices with which to scream when they die." Such a scathing meditation seems to suit Goldblatt's recent images of a post-apartheid country ("nation" seems the wrong word), in which the freedom of a black majority is stilled twinned with poverty and struggle. In Goldblatt's photos, the South African veldt stretches unforgivingly, and unchangingly, through the social upheavals that have brought its people into awkward truce with the 21st century.

In fact, the highest achievement of Goldblatt's recent photography may well be his exploration of interior scenes as complements to the dominant landscapes. These shots, from a series entitled "Municipal People," focus on the new generation of local bureaucrats, captured in stark, wide-angle solemnity in their offices, and with their certificates of officialdom hung alongside portraits of Nelson Mandela. Despite the dignity and pride we sense from these people, Goldblatt locates the modern void that envelops them--the mostly bare walls and sparely furnished surroundings, the inertia of civil service made manifest in drab settings.

In contrast, the great void of Goldblatt's landscapes dwarfs its people in a comparable way, as the flat, rocky scrubland stretches toward mountainous beauty on one hand, yet offers little nourishment. The shacks and shanties which (barely) house their poor inhabitants are stuck like thumbtacks to this land, it seems, while life goes on somehow. A young woman fixes her hair next to one shack; men rest in the meager shade of a tree with their dogs; a goat farmer plays solitaire under the flap of his tent; children make a playground of a roadside width of dirt. Bursts of color enliven the desert's ochre monotone--whether from the flowers of a highway memorial (barely noticeable as the road stretches endlessly and Goldblatt focuses on its infinity), or, ironically, from the beautiful sprinkle of blue asbestos fibers that mark the rocks of the Owendale Mine, a reminder of South Africa's industrial legacy.

Many of these photos are of monuments, handmade signs, cemeteries--all of them overshadowed by the indifference of the land. In one image, the hundreds of white crosses marking graves on a broad hillside are hardly visible amidst the bleached vegetation and in the broad context of Goldblatt's sweeping view, from short foreground to vast horizon, with a highway crossing the top of the photo and vehicles whizzing by, hopelessly distanced from the dead. It may be facile to connect Goldblatt's work with those of other contemporary landscape photographers--say, John Gossage or Marcus Doyle--who make potent statements about modernity and human presence mainly by photographing scenes of human absence, for Goldblatt's work stands further apart. Its rewards lay in his organic conception of land, social fabric and humanity in metaphysical coexistence, separated yet always intersecting, enacting an almost Biblical narrative of interior and exterior wilderness.


A CATALOGUE OF VINTAGE PHOTOGRAPHY BOOKS.
Text in French. Offered by Denis Ozanne, 18 Rue de Provence, 75009 Paris, France. Phone: +33 (0) 148 01 02 37; fax: +33 (0) 148 01 06 29. Email: dnozanne@club-internet.fr . 48 pages.

This wide-ranging catalogue of vintage books describes 188 collectibles on offer from Parisian collector Denis Ozanne. Each selection features a full-color reproduction of the book cover, plus very basic information, in French, regarding the contents of the books. A complete list of prices, in Euros, is included.

Ozanne's collection spans the world of 20th-century photography, with interesting works by the likes of conceptualist John Baldessari ("Close-Cropped Tales," from a 1981 Buffalo CEPA Gallery exhibition; "The Life and Opinions of Tristam Shandy, Gentlemen," from 1988; and "Ingres and Other Parables," from 1972), along with Richard Avedon's 1993 study, "Gianni Versace," a 184-page luxury item chronicling the late designer's couture. Allan Kaprow's 1966 publication, "Assemblage, Environments & Happening," is a true classic. And several examples of Larry Clark's outlaw oeuvre (including "Teenage Lust," from 1983, and "Tulsa," from 1979) are offered, along with Lee Friedlander's 1976 "The American Monument," with its 213 reproductions.

In addition, there's a wonderfully vintage Bill Brandt collection, "Londres de Nuit," from 1938, with 64 photographs of a nocturnal London, and an equally atmospheric collection from Paul Morand, "Paris de Nuit," with 62 plates. And a 1955 Cartier-Bresson volume, "Moscou," features 163 images of Russia's capital, while a 1982 volume of Brassai, "Les artistes de ma vie," features photos of immortal painters from Bonnard and Braque to Kokoschka, Matisse, Miro, and Picasso. Books by Robert Doisneau include his marvelous 1960 study of barroom life, "Bistrots," with a poem by Jacques Prevert.

The avant-garde, and especially the eastern European chroniclers of life during and after the Soviet era, are well-represented here. From Allan Ginsberg's intimate 1990 trove of 92 photographs of friends, lovers, and notes in his own handwriting, to Gilbert & George's 1976 "Dark Shadow," with its red and black marbled cover, there are joyous discoveries. From Prague, Miroslav Hak's "Ocima," from 1947, is a nude collection of great rigor, while Hungary's Ivan Hevesy is represented by images of European life from the 1930s.

Ozanne also offers Japanese classics, especially Eikoh Hosoe's 1961 "Man and Woman", with its 33 images matched by Taro Yamamoto's poetry. And there is an especially broad collection of books by Edward Ruscha, from his 1968 collection of "Business Cards" to his 1970 "Babycakes with weights", his 1969 "Crackers" and "Twenty Six gasoline Stantions", and his classic 1971 "Every Building on the Sunset Strip", which folds out to reveal lengthy sequences of urban observation. Rounding out the offerings, Andy Warhol's 1967 "Andy Warhol Index" features 72 pages of photos, interviews, and random sights from the artist's Factory--preserved in its original plastic envelope.
 

DAGUERREIAN SHOW IN
PITTSBURGH WINDING DOWN

The gallery space of the Daguerreian Society in Pittsburgh, Pa., together with the Silver Eye for Photography, is hosting a show of modern daguerreotypes. The show includes daguerreotypes by David Burder, Sean Culver, John Hurlock, Marc Kereun, Christopher Lovenguth, Irving Pobboravsky, Gregory Popovitch, Levon Register, Eric Rickart, Mike Robinson, Alyssa Salomon, Charlie Schreiner, Robert Schlaer, Jerry Spagnoli, Hillary Treadwell and Tom Young.

The exposition is curated by Society President Mark Johnson and is entitled "Daguerreian Niche: Works by Contemporary Artists".

I Photo Central represents three of the photographers (Robinson, Schreiner and Spagnoli) and also has work by Irv Pobboravsky for sale.

The Daguerreian Society Gallery is located at 3043 West Liberty Ave., Pittsburgh PA; phone: 1-412-343-5525, Gallery Hours: W-F, Sa from noon-5:00 pm, Th Noon-9:00 pm. Admission is free. The show will run
through October 15, 2005.


CASTING A NEW LIGHT SHOW

A new traveling show of alternative process work has opened. Co-curated by Jerry Spagnoli and Alyssa C. Salomon, the show includes daguerreian work by Sean Culver as well as Irv Pobboravsky and other alternative processes by Jayne Hinds Bidaut, Ellen Carey, Dan Estabrook, Deborah Luster, Dana Moore, France Scully Osterman, Mark Osterman, and Roland Wirtz.

The show is scheduled to tour: Second Street Gallery (Charlottesville, VA): 10/7-10/29/2005; McLean Project for the Arts (McLean, VA): 1/19-2/25/2006; and Southwest School of Art and Craft (San Antonio, TX): 8/31-10/22/2006.

My thanks to photo dealer Chris Wahren for the above information. Check out his auction in the article on Online Photography Week above.
 

An article on I Photo Central dealer and photographer Charles Schwartz's camera obscura, which is mounted atop his New York City penthouse apartment and his photographs using the camera obscura were featured in the Sunday, Oct. 2nd City Section of the New York Times, along with images of his collaborator Bill Westheimer. While the actual City Section is only available in New York City, the article can still be virtually accessed online at http://www.nytimes.com/2005/10/02/nyregion/thecity/02came.html .

This was the third article in the New York Times on Schwartz's camera obscura work, following up on two earlier stories that ran in May 2000.

The images are part of a group show at the Alan Klotz Gallery, 511 W 25th St, Suite 701, New York City. The show, "Contemporary Obscurists: The Camera Obscura in Contemporary Photography" runs through November 12, 2005. It will also feature the work of Stephen Berkman, Rebecca Cummins, Vera Lutter, Abelardo Morell and Shi Guorui.

Charles Schwartz has also published a four-color catalogue of his and Bill Westheimer's work with the camera obscura, which contains an essay by Gail Buckland on the work itself and a short description of Schwartz's camera obscura and how it works by Jennie Hirschfeld. Copies of the catalogue are available from Alan Klotz gallery for $15. Klotz can be reached at 1-212-741-4764 or by email at: info@klotzgallery.com .
 

I Photo Central dealer Charles Schwartz, who is based in New York City, is looking for a new assistant director, who will be involved in all aspects of his private photography business, as well as general office administration.

The ideal candidate will have at least five years museum or gallery experience, excellent written and verbal communication skills, experience with archiving and solid computer skills (Mac OSX), including scanning and Photoshop. The hours and days are flexible.

Contact Charles Schwartz at cms@cs-photo.com or 1-212-534-4496.
 

AUCTION TO BENEFIT THE PHOTO REVIEW

The Photo Review, a critical journal of photography, will hold its Annual Benefit Auction on Saturday, November 5, 2005 at 7 p.m. in the Dorrance-Hamilton Building at the University of the Arts in Philadelphia.

The event will feature an international slate of photographers as well as a host of Philadelphia artists. Beginning and experienced collectors alike will have the opportunity to bid on work by such historic masters as Berenice Abbott, Eugene Atget, Ansel Adams, Bill Brandt, Brassai, Edward S. Curtis, Walker Evans, Milton Greene, Philippe Halsman, Lewis Hine, William Henry Jackson, Eva Rubentein, August Sander, Joseph Sudek and Todd Webb, as well as Barbara Morgan's famous image of Martha Graham, Letter to the World (The Kick) ($3,500-$4,500).

Among the contemporary photo stars whose work will go on the block are Tom Baril, Elinor Carucci, Lois Greenfield, Michael Kenna, Mark Klett, George Tice, Jerry N. Uelsmann and William Wegman, while featured local luminaries include David Graham, Larry Fink, Martha Madigan, Ray K. Metzker and Ruth Thorne-Thomsen.

According to Photo Review editor Stephen Perloff, estimates will range from $50 to $6,000.

A New York preview will be held from October 6-8 at the Sarah Morthland Gallery, 511 W. 25th St., Suite 704, New York City, from 11-5:30 p.m., in conjunction with the fall photography auctions.

A preview will also be held at the Dorrance-Hamilton Building on Friday, November 4 from 11 a.m. to 5 p.m., and on Saturday, November 4 from 11 a.m. to 6 p.m., just prior to the auction. Proceeds from the auction, a popular event since 1983, fund such activities as an annual juried competition for emerging photographers. Admission is free with purchase of the fully illustrated catalog, available through The Photo Review: phone: 215-891-0214 or you can email at info@photoreview.org . Buyers may preview the auction on-line, and place bids at http://www.photoreview.org . The website will be on-line in mid-October.

SANTE FE CENTER FOR PHOTOGRAPHY
TO AUCTION OFF PORTRAIT SESSIONS

Internationally renowned photographers Arnold Newman, Keith Carter, Joyce Tenneson, Andrew Eccles, Paul Elledge, Greg Gorman, Gregory Heisler, Matthew Jordan Smith, Arthur Meyerson, Frank Ockenfels 3, Rosanne Olson, and Alec Soth are donating their time and talents to benefit the non-profit Santa Fe Center for Photography by contributing a portrait session to successful on-line auction bidders. These master photographers rarely offer commissioned portraits as part of their photographic services. Successful bidders win the opportunity to be photographed by one of the most significant photographic artists of our time. Winning bidders may book a session for themselves or present the portrait session as a gift.

The photographers’ studios are located throughout the U.S. in New York, Chicago, Minneapolis, Houston, Seattle and Los Angeles.

Bidding opens October 23, 2005 and closes November 1, 2005 on eBay Giving Works, a program dedicated to support non-profit organizations. All of the proceeds from the auction benefit the Santa Fe Center for Photography (SFCP).

Interested bidders can visit http://www.sfcp.org for auction details and links to photographers’ websites.

Established in 1994, SFCP is a 501(c)(3) nonprofit organization that honors, supports and provides opportunity for gifted and committed photographers.