All images copyright by the individual photographers

	Cocktail Party By David Braitsch Congratulations to David Braitsch whose Gallery Pick image, Cocktail Party, presents a vibrant and stylized photographic study that portrays the essence of a sophisticated gathering. It is part of a series created by David called “Still Life-Technically,” for which David used “rear screen” projection, combined with light refraction and some amount of digital manipulation. At the forefront, the composition of Cocktail Party features two elegant glasses and a decanter, each boasting crisp, clean lines that speak of a minimalist design and refinement. The red and blue content of the glasses provide a striking contrast, suggesting a blend of warmth and coolness that often characterizes the atmosphere of social events. The stark panes of red and blue in the background merge to create a bold backdrop, cleverly utilizing color theory, to evoke a feeling of balance and harmony. The vibrant red could be interpreted as the lively chatter and energy often found at cocktail parties, while the calming blue may represent the serene ambiance of a well-hosted evening where every detail is curated to provide guests with a soothing experience. The faces that appear within the glasses are suggestive of the conversation that might take place at the party. One “face” of the glass on the left seems to be engaged in a conversation with the tall decanter, while the “face” of the glass on the right faces away, perhaps half-listening to the discussion. The clarity and depth conveyed through the image’s sharp focus and the play of light and shadow give the objects a 3-dimensional quality that is both inviting and captivating. It’s as if the observer is not merely a viewer but a guest, poised to reach out and join the soiree. The overall effect of Cocktail Party is one of elegance laced with an air or anticipation. It is an image not only of an arrangement of glassware, but also of the conversations, and the impeccable calm before the night unfolds. This photograph is a compelling tribute to the art of celebration and the beauty found in the details that make social gatherings memorable. By Marie Costanza
	Lingerie Salesman, Florida 2005 By Sal LaDelia There is something honest and gritty about B&W film photography. We don’t see it in the Gallery much anymore, but when we do, I really enjoy it. There is a consistency to Sal’s compositions and wet work. As a digital photographer I have never experienced the tactile work of developing photographs. I do like the physical part of printing and the feel and smell of baryta infused paper. I can understand why Sal continues to shoot and develop B&W film. The Lingerie Salesman caught my eye immediately. I instantly created a “story” about where in Florida this was taken and on what small street in some bustling neighborhood this business existed. I was exploring possible sales pitch lines this individual used to convince women to purchase his product. I’m trying to imagine why he has such a surely expression. Is it his job? Maybe it’s the presence of a photographer. Whatever the reason, this is not a happy person. This is the power of street photography. Stories are told visually and each of us use our imaginations create the story we enjoy. By Don Menges
	Abandoned by Steve Dent In 1878, Eadweard Muybridge used photography to document the motion of a horse in full gallop, revealing for the first time what had long been debated but never seen: that, at one point in its stride, the horse had all four legs suspended in the air. Recently, Shannon Perich, a Smithsonian curator of photography, remarked, “The breakthrough is that the camera can see things that the human eye can’t see, and that we can use photography to access our world beyond what we know it to be.” In a similar way, Steve’s work in his third and final exhibit as Visiting Artist explores how camera and lighting settings can create images that are intentionally disorienting or confusing images that are “difficult to see or perceive clearly” with the naked eye alone. The photograph that captivated me was Abandoned. One common compositional technique among photographers is using an odd number of subjects, which is generally considered more visually pleasing than even numbers. Here, Steve captures three ghostlike figures frozen in motion. At first glance, the image seems straightforward: the model’s original position appears to be seated in a chair before moving to the left, standing. It suggests she is leaving the chair. But is she really? The two outer figures seem to be looking toward each other, yet one face is blurred while the other is sharper. Meanwhile, the middle figure and the one seated in the chair are both looking away from the chair. Does this suggest that what is "abandoned" is not the chair itself? This brings me to wonder: What technique did Steve use to create this intriguing effect? Was it multiple exposure? It seems unlikely that three distinct yet partially transparent images of the model could be captured with a single shutter click. Each figure has a different level of sharpness, suggesting a combination of different shutter speeds and unique lighting techniques. And finally, what exactly is being abandoned? The seated figure is facing to her right, looking outside the frame rather than forward, as if that were her initial position. Her foot, the only one visible, is also pointing to the right, as if preparing to move or signaling attention in that direction. What do you think? Thank you, Steve. Your intent for viewers to spend time engaging with your photography certainly succeeded with me. By Dick Bennett
	Contiguous Waterfall by John Ejaife John has been a long-time contributor to exhibits at the Gallery. His current exhibit showcases his recent visit to Watkins Glen, a beloved destination for many photographers located at the south end of Seneca Lake. One photograph that stands out is Contiguous Waterfall. In this piece, John skillfully employs several key elements of composition, including triangles, the rule of thirds, and leading lines. The two visible sections of the waterfall are strategically positioned at the upper right and lower left “power points” defined by the rule of thirds, creating a balanced visual experience. A sharp rock in the lower left corner initiates a leading line that extends diagonally through the center of the photo, guiding the viewer's gaze toward the upper portion of the waterfall. This forms a triangle that naturally directs the eye to follow the unseen water down to the lower part of the falls. Additionally, the striations of the sandstone and shale rocks add depth and keep the viewer’s focus within the frame. The photograph beautifully captures the essence of Watkins Glen's landscapes, with its consistent color palette and well-controlled lighting. Thank you for sharing your stunning photos, John. By Dick Bennett
	Cypress Dawn By Paul Yarnall Paul Yarnall receives a Gallery Pick for his image entitled Cypress Dawn. As the first light of dawn creeps across the sky, nature composes a breathtaking symphony of colors and contrasts---a spectacle beautifully showcased in Paul’s image. This artistic photograph focuses on a serene landscape where the silhouette of stately cypress tress is reflected elegantly upon the water, intertwined with the ethereal mist of early morning. Dominating the visual experience is the captivating palette of orange hues that suffuse the scene, creating an almost otherworldly glow that beckons the observer to pause and appreciate the calmness of the moment. The gradients of color, from the deep burnt orange to the soft peach of the sky, mimic the gentle awakening of the day, as if the world itself Is stretching and shaking off the cool blanket of the night. The cypress trees, known for their resilience and majesty, are the perfect subjects for such a moment. Their long reflections in the still water suggest a parallel universe below, where time seems to stand still, indifferent to the busyness of the world above. This natural mirror effect adds depth to the composition, inviting the viewer to look beyond the surface and contemplate the quiet beauty of the dawn. By his use of light and shadow in the silhouette of the trees, stark against the luminous background, Paul creates a serene and contemplative mood. The absence of direct sunlight in this pre-sunrise hour allows for a soft diffusion of light, which is masterfully utilized to enhance the texture of the sky and the reflections on the water. As one takes in the image, it is almost possible to feel the coolness of the air and hear the gentle rustle of the cypress leaves. It is a scene devoid of the hustle of humanity, a rare moment frozen in time, where the splendor of the natural world takes center stage. By Marie Costanza