Photography // curated by Dano Pendygrasse


This is an age where most people have a camera of some sort in their pocket at any given time, which gives anyone the opportunity to accidentally bang out a gem on an iPhone. But the ability to consistently make stunning images takes original thinking and commitment of time and a unique worldview.

Photography IS darkness and light, arrested for eternity in pixels or on paper. In the hands of a master the camera is more than a documenter of moments; it is a creator of emotion and a sculptor of light. Understanding how to manipulate and craft black shadows or blinding glare into an image that holds power over the viewer is borne of experience, curiosity, and perseverance.

For this issue of Lithographica I asked some of these masters for a photo that spoke to the theme “Darkness and Light,” without giving them any constraint on what they could submit. These are their selections.

Vincent Skoglund

The first photographer I thought of when the theme was presented, Vincent has worked with light on a massive scale in many of his works. By selectively lighting forests, or masking backgrounds with giant black sheets, Vincent chooses what to show and what to hide in scenes that are familiar, but with a perspective that draws new conclusions.

Chris Brunkhart

It would be impossible for me to put together this group of photographers without Chris. Now based in New York, Chris finds the interesting places where the dark grinds against the light. He has a masterful sense of composition and his interpretations of urban landscapes are unique. As always, there is detail in the darkness that many miss.

Colin Adair

Colin collaborated with Art Director Daniel Curtis on a series of images using fireworks and other pyrotechnics. Making these exposures is a tricky business as the dynamically changing light and moving subject make for a challenging shooting scenario.

Paul Morrison

Paul’s knowledge of light is well known in the world of ski photography. He is a master of the mountain landscape, but he’s always finding new ways to interpret light. Here we find him exploring a smaller scene. When he removes the reference points the macro image attains an ambiguity of perspective, creating worlds instead of documenting them.

Blake Jorgenson

By always embracing the strong contrast of light and dark that happens in the mountains, Blake draws a unique view of his world. He is known for playing with the harshness that exists and using the strengths and weaknesses of the medium to his advantage. Making this photo of Dan Treadway and Seth Morrison he says: "We can get a new perspective on the world from the limitations of the camera in dark and bright light."

Jordan Manley

Always finding new ways to manipulate subjects in unexpected ways, Jordan creates images that are provocative, challenging, and often beautiful. I can’t pretend to not be in awe of his talent. Here he presents the ubiquitous Vancouver rain with a completely new and fascinating technique.

Mattias Fredriksson

The chaos of a city at night is ripe territory for photographers. In Japan with Mark Abma, Mattias recounts: "In downtown Tokyo we were waiting for a bus, excited to go to the mountains and totally relaxed. The people around us were stressing, as always in the big cities and it was such a contrast."

Trevor Graves

Trevor was an early innovator of artificial light in action sports. Always experimenting, he inspired much of the strobe work that came after him. Yet with his submission of a natural light image of the Matterhorn he sent this: “We can only appreciate the miracle of a sunrise if we have waited in the darkness".

Andy Wright

Andy may be at the height of his career in the snowboard world, but his street photography is an insight into his active mind and varied interests. This shot, from his limited run book "Incidental Contact", speaks to darkness and light on multiple levels, embracing whimsy and dejection simultaneously.

Ian Ruhter

When Ian set out to shift gears in his photo direction, he did it on a scale that nobody before him ever had. He combined the hands-on craftsmanship of wet plate photography, a technique from a century ago, with a camera the size of a truck. In fact, it is a truck. However, his journey in photography has been broader than just his wet plate work. He’s always had a keen insight into the people he shoots.

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