All images copyright by the individual photographers

	Through a Child’s Eyes Chris Kogut   This superlative and enlightening exhibition is a wonderful tribute to Chris, whose love and dedication for the plight of the heroic Burmese people is remarkable and heartwarming. The images that she and her fellow artists have on display, tell an inspiring story of an impoverished and oppressed society, where cultural traditions are both alien to most western experiences, and geographically far removed from them.   Of all the captivating images in the “Simply Myanmar” exhibition, the highlight for me is this striking portrait of a beautiful young girl. It ranks right alongside Steve McCurry’s photograph of the “Afghan Girl”, as two of the most magnificent and remarkable images of our generation. In Chris’s portrait, there is a sublime power and uplifting grace that is just awesome, coupled with a sense of both wonder and innocence that could only come from a child. The latter’s imaginary fulfillment is strongly augmented by her delicate hands, captured charismatically in an act of appreciation and inward happiness.   The viewer is immediately drawn to the most priceless part of the portrait, namely the beautiful, wide-open eyes, that both welcome you in to melt your heart, and outwardly, evoke a passionate feeling of both hope and compassion, both for herself, and for the future of her proud and courageous people. Photographically and artistically, this portrait is masterly in every respect. The color palette is exceptional, and the gorgeous soft lighting is magical, resulting in every important detail being highlighted to perfection. The subdued background and creative vignetting, all contribute to an exquisite portrait that is both prophetic and inspirational. The portrait expands our vision and personal horizons, with both awe and wonderment, and evokes an inner response in the observer to the world around the young girl, so that we are at one with the eternal spirit of the Burmese people.    Peter A. Marr
	Pilgrim Water Station Dick Bennett   This enchanting image was creatively seen and superbly captured and printed by the artist, resulting in a strong visual statement that has a spirit and vitality. The soft, directional lighting brings out every intricate detail and texture to perfection, from the bench and shelf contents, to the background wall and floor slabs. The lovely illumination also enhances the tonal range and values of the warm hues of browns, yellows and earthy-colored details, that all contribute to give this “Water Station” an inviting and necessary presence for everyone to appreciate. The bench and its contents, although weathered and worn is certainly strong and imposing, a witness to thousands of pilgrims who have passed by over eons of time, and who have gratefully partaken of the water that this life-saving station has provided. The stucco-like wall with its fading paint surface and myriad of cracks, adds to the historic nature of this picturesque, enigmatic setting. The delightful, traditional water pots, together with their intricately woven bamboo “hats” are two striking elements that no doubt are the pride of local artisans who have created these lovely containers to withstand the passage of time, without leaking their precious contents. The colorful, graceful water ladle hung on the wall and the earthenware dish on the lower shelf complete this quiescent scene. The only things missing are the pilgrims themselves, devout people, who after traveling bare-footed over untold miles and relentless changes in elevation, traversing rugged steps and ill-kept trails, through extreme weather conditions, finally reach this much welcomed oasis to quench their thirst. This station offers little sustenance, but in the pilgrim’s minds, it is a life saving stop on the way to a monastery or holy site, and they are forever grateful as they leave what precious alms they have in the dish on the shelf of the bench. The artist has sublimely captured a water station that has changed very little, but is just as important today as it was centuries ago. A truly exquisite and meaningful image.   Peter A. Marr
	Reflections of a Monk Terri Sipone   Like many of the great prints in this exhibition, this image exquisitely and eloquently, captures both the richness and grandeur and the abject poverty commonly found in Burma. The powerful and dramatic natural lighting, gloriously illuminates every facet of this regal hallway of a sumptuous, grand building, whose outstanding architecture is highlighted by magnificent columns and archways that imposingly frame an opulent scene of awesome brilliance.The elegant design details, and the impressive vibrancy of rich harmonic colors arouse the viewers’s emotions and appeal to, and captivate their subconscious feelings. As if that were not enough, one is rewarded by the whole scene being recorded as a mirror-like reflection on the gleaming tiled floor. Beyond this luxurious hallway is an open courtyard that is highlighted by two large windows, both of which are graced with traditional, elegantly carved frames of great beauty. Dramatically walking through this imperial setting is a Buddhist monk, wearing the habitual crimson robe, a color that is repeated many times in the tiles and brick designs of the columns. Like the structures around him, he also casts a lifelike reflection in the floor of the hallway. For myself, I would like to think that in this palatial setting, the monk himself appears as an island of serenity, and this feeling is supported by the presence of a man, humbly clothed, sitting on the pristine floor, and resting his back against one of the ornate columns. With his feet tucked under him, and his legs slightly apart, it is reasonable to assume that he is cradling an alms bowl, for some small reward from the prosperous people who frequent this place. The only question that remains to be answered, is what is the monk doing in this rich environment? Rather than try to answer this, I would leave it up to every viewer who loves and enjoys this inspiring image like I certainly do, to take the time to ponder for themselves, the mystery of the Buddhist monk in a truly illustrious setting. Peter A. Marr
Additional Gallery Picks
	Tastes Good by Hope DellaStua   Hope mentioned in her artist statement that she was most influenced by the simplicity of life in Myanmar as well as how peaceful and content the people seemed to her. This wonderful image captures exactly that and isn’t that what we try to achieve as photographers? Street photography is very challenging. The photographer often likes to have the images appear as if they, the photographers, were not there; as if they were invisible in order to capture a truly un-rehearsed and un-posed image. Hope was able to do that here. These children seem totally unaware of her presence as they work to devour their ears of corn. Their eyes are closed tightly to concentrate on the job at hand.  What captured my attention the most was the position of their feet. The taller boy has an almost ballerina pose, while the shorter fellow has his feet dug in for the chore at hand. The two images fill the frame well and the saffron robes contrast effectively against the soft yellow building. The black bowls accent the image nicely. This is a well composed and carefully thought out image.
	Leg Rower by Bob Pierce   This wonderful image of Bob’s is all about light and detail from the silhouetted “rower” in the fore ground to the soft morning sky. There is a sense of tranquility as this early morning fisherman sets out for the day. The scene is so “quiet” you can almost hear the paddle stroke the water guided by a single leg push. The fisherman balances deftly on the very stern of his craft and yet still is able to manage his fishing net with one hand. All of this detail is obvious to us with a mere silhouette. The landscape image in the top half is equally remarkable as the photographer captures the delicate mist rising off the water into the morning and beautifully lit sky. Some might argue that there are two images here; the fisherman and the landscape horizon. In fact if you visually cover each half with your hand you will see these as potentially two distinct images each having it’s own merit. The very small stream of water, perhaps the current, in the middle of the image neatly ties the two half together with an “S” curve coming off the bow of the boat and bringing our eye back to the hut at center and the other building to the right. This is a classically composed image employing many traditional photographic elements. Well seen. Excellent work!