Former Artist-in-Residence Eric Carroll featured in The Design Observer Group

Eric William Carroll’s work titled, “Plato’s Home Movies,” consists of a long blueprint photogram mural (60 ft. in length), a video projection piece, and a C-print photograph. Challenging the belief that photographs are meant to preserve moments or memories forever, Eric uses early photographic techniques from a time when light sensitive paper was used but the ability to “fix” and archive an image was not yet achieved. His subject is light itself and the ephemeral shadows it creates on the blueprint paper as it falls through trees in the forest. The show will change and fade to white throughout the course of the exhibition allowing the viewer a new experience, and the opportunity for a new memory, each visit.

Check out The Design Observer Group’s featured slideshow on Plato’s Home Movies.

photo: Eric Carroll

photo: Eric Carroll

2012 National Photography Fellowship Competition “Developed Work”- Juror Ann Jastrab

MARCH 30 – APRIL 13, 2012

photo: Christopher Capozziello  “The Distance Between Us #1” -Gelatin Silver Print

photo: Christopher Capozziello

“The Distance Between Us #1” -Gelatin Silver Print


$500 Developed Work Fellowship Recipient

Christopher Capozziello
New Haven, Connecticut

For more information, please visit Midwest Center for Photography.

SF Examiner: “Plastic cameras reveal the cheap and cheerful”

By: Lauren Gallagher | 02/01/12 8:15 PM - 

Special to The SF Examiner


Less is more: “San Fernando Valley,” shot by Thomas Alleman with a Holga camera, is among the images on view in a fun show at RayKo Photo Center.

Never underestimate the power and pleasures of a cheap toy camera. The humble hunks of plastic have a magic, mystery and whimsy that cannot be duplicated, not even by tech-savvy iPhone app impersonators like the Hipstamatic.

RayKo Photo Center’s fifth annual International Juried Plastic Camera Show, on view through March 6, celebrates the versatility of the medium with impressive results.

A white wedding dress rests on a faceless mannequin, posed in a storefront window. Other dresses, hangers and shop miscellany float across the photo like ghosts, with the city street reflected in the glass. Though it looks as if it could be by pioneering early-20th-century photographer Eugene Atget, Jacqueline Walters of San Francisco took the photo with a Holga, a camera invented in the early 1980s.

The Holga and its big sister, the Diana, seem to be the most favored cameras in the show, perhaps because an actual vintage camera is no longer required. Reproductions of these and other plastic toy cameras are widely available, continuing the lineage of their pleasantly fickle results.

Part of the fetishistic appeal of cheaply manufactured cameras lies in the complete uniqueness of each image. No two pictures are alike, and the results are unpredictable. The bare-bones plastic manufacturing is far from airtight, often allowing light to access the pre-developed film.

Read more at the San Francisco Examiner:

Read full article here.

SF Gate “Five Places For Photography Buffs”

1. Rayko Photo Center, San Francisco

Remember the days when you would cram into the mall photo booth with three of your best friends and mug for the camera? Now you can re-create those memories with a trip to Rayko’s 1947 vintage booth. Strike a pose and wait two minutes for your goofy black-and-white portrait shots to appear on RC paper. A $3 token buys you four images. 428 Third St., (415) 495-3773,


SFGate: Exhibitions Skirt Mainstream Via Photo Technology– Kenneth Baker

Feather Lumen” (2008), RA-4 process C-print lumen, by Claudia Wornum.

Feather Lumen” (2008), RA-4 process C-print lumen, by Claudia Wornum.

Kenneth Baker, Chronicle Art Critic, Thursday, July 14, 2011

When the San Francisco Museum of Modern Art hosted a symposium last year titled “Is Photography Over?” I thought it a premature, if not gratuitous, provocation. But several current Bay Area exhibitions have me wondering.

The Haines Gallery’s “Science of Sight: Alternative Photography” assembles work by 13 artists from three continents. Each participant deliberately deviates from the methods, tools and rationales conventional in the photographic mainstream.

RayKo Photo Center has in its gallery “No Mirrors: A Juried Show of Camera-less Photography,” another sampling of work by people both local and international.

Marco Breuer, who also appears in “Science of Sight,” has a solo show at the de Young Museum titled “Line of Sight” that sets photographic works among other light-sensitive objects and things drawn from the museum collections with associative connections to the camera and photographs.

Suddenly artists everywhere seem to be looking for things to do with photographic technology besides shooting pictures.

Read more

The Bold Italic – “Flash Dance” The Photo Booths of SF


Any true photo booth connoisseur needs to take a trip to RayKo Photo Center on 3rd Street. The entryway of the building houses a gorgeous Model 9 booth, which, depending on who you ask is either from 1947 or 1949. Either way, it’s 40 years older than any other booth I came across in the city. It’s so old that it hasn’t even been retrofitted to take dollar bills and you have to give your $3 to the receptionist, who, in turn, hands you a token that she thinks might be made on site by the wild guys who like to work on the old beauty.

Caring for this relic is a real labor of love, and its clear that RayKo is staffed with people who enjoy the job. You can’t get parts for the machine anymore, so someone’s always welding it back together or adding makeshift pieces to keep it running. And it runs great—at least the day I was there. The pictures have a vintage sepia tone to them and this booth captures motion better than any other I found.

Luis Mendoza, a RayKo employee, showed me the inside of the machine. It’s a mess of wires, chemicals, and metal and with this intimidating and potentially dangerous mixture, I began to understand why most of the booths have gone digital. He told me that the chemicals are harsher and less diluted in the booth than a normal photo lab, and that a few months ago, a splash of chemicals almost cost him his sight.

Mendoza puts a token in, and with the door open we watch the process together. At first I worried that seeing the process from the inside would ruin the mystique. That some how knowing that the clicking sounds are the metal arm dunking the strip into the various baths will make a photo booth seem more scientific and less magical. But it only heightened my appreciation of the machine. After all, here is a full photo lab, hidden within a booth small enough to fit in the back of a dive bar.

Read more about S.F.’s photo booths.

PDN’s Benefiting from Portfolio Reviews: How To Stay In Touch

© Christopher Colville  A triptych by Christopher Colville, who landed a show at Rayko Photo Center after a review at Photolucida.

© Christopher Colville
A triptych by Christopher Colville, who landed a show at Rayko Photo Center after a review at Photolucida.

Recently, we talked to experienced portfolio reviewers about the most effective presentation methods and follow-up promos they have seen from photographers they’ve met on the portfolio circuit [See “Right Stuff: Making the Most of the Portfolio Review," PDN July.] Here more reviewers share their stories of photographers who got their attention, and then maintained their connection long after the 20-minute critique is long over. Each had their own opinions, however, about how they prefer to be contacted.

At the end of a review, photographers typically hand over a sample of their work—a promo card, a CD, a small booklet—as a leave-behind the reviewer can take home. Ann Jastrab, gallery director of Rayko Photo Center of San Francisco, tells photographers, “Keep in mind that most of the material we get is hard to bring back because we get so much of it.”

She jokes, “Unfortunately the leave behinds often get left behind” especially if more than a dozen photographers give them booklets, cards and CDs. Her advice to photographers: “Instead, follow up with me a few days or a few weeks later with an eye-catching 4 x 6 postcard that has an iconic image on the front and your contact information on the back. That works best for me.”

Jastrab, a frequent reviewer at Photolucida, Photo Alliance in San Francisco, and Review LA among others, says that the images that really wow her on a mailed card get pinned up on her office wall. It also helps her figure out which images might work together in a group show. For example, Rayko currently has a juried show of camera-less photography on view called “No Mirrors” that features work by nearly 50 artists from around the world. Christopher Colville is one of them.

Read more