The Griffin at 530 Harrison Avenue in SOWA

Statement
Street photography has a cinematic character that has always attracted me, combining elements of photojournalism, documentary and pure surprise to catch unguarded moments of everyday life.

Spontaneity, immediacy, serendipity and empathy all come into play. But to me what makes for impactful street photos is visual tension, the interplay between subjects themselves or between them and their surroundings. Visual tension gives a photo intimacy and depth, inviting the viewer to pause and decipher possible meanings; it offers a glimpse of the photographer’s intention while providing opportunity for imagination.

So I look for the “click point” in a simple situation — the visceral second that suggests a story and evokes the humor, sadness, beauty, irony, mystery or absurdity of human nature in action. People’s eyes, dress, body language, and relationships to objects and each other are some of the things I seek out that might resonate with a viewer. Whether shot indoors or out, my work is candid and intuitive, neither staged nor manipulated.

My usual kit is minimal: Contax G2 with 28mm and 45mm Zeiss lenses, Contax T3 with a 35mm Zeiss lens, or Nikon N70 with a 24mm lens. I shoot film (Tri-X 400 and T-Max 3200) because I like its distinctive look and the fact that it forces me to pay close attention, and I prefer black and white because it reduces visual complexity and focuses the eye. – JL

Bio
Lustenader has been published in Black & White magazine, and had solo exhibitions at Umbrella Arts Gallery in New York, In An Instant Gallery in Florida, and Dartmouth College. He also been in over forty  juried exhibitions, including the Salmagundi Art Club of New York; Your Daily Photograph; Center for Fine Art Photography; New York Center for Photographic Art; Black Box Gallery; Greg Moon Art Gallery; WPGA Pollux (“Photographer of the Year”), Charles Dodgson and Jacob Riis Awards; Cape Cod Art Association; Texas National Art Competition; Camera USA National Photography Award; Minneapolis Photo Center; Colorado Photographic Arts Center; and the Boca Raton Museum of Art. Three of his photos are in the permanent collection of the Municipal Museum in Malaga, Spain.

Jim Lustenader is a New Hampshire resident.

All photographs are available as Silver Gelatin prints.

CV

Published Work
2020
Black & White Magazine: “Single Image Contest”

2019
Black & White Magazine: “Single Image Contest” (2 photos)

2018
Black & White Magazine: “Looking Back–Looking Forward”and “Single Image Contest”

2017
Black & White Magazine: “Looking Back–Looking Forward”

Gallery Representation
Soho Photo Gallery, New York City

Truth and Beauty Gallery, Vancouver, Canada: limited edition prints

Solo Exhibitions
2020: Griffin Museum of Photography — SOWA Gallery, Boston, MA: “City Streets;” curator: Paula Tognarelli, Executive Director

2019: Converse Free Library, Lyme, NH: “Serendipity”

2017: Umbrella Arts Gallery, New York City: “Street Walking;” curator: Harvey Stein, photographer

2016: Dartmouth College: “Paris In A Second”

2012: In One Instant Gallery, Florida: “Street Walking”

Juried Exhibitions
2020
Worldwide Photography Gala Awards, Barcelona: Honorable Mention, 14th Pollux Award: “Street,” “Black & White,” “People Series”

Black Box Gallery: “Black and White;” juror: Todd Johnson, director

2019
Your Daily Photograph.com: “Editions of Five”

All About Photo Awards: Finalist, “Street”

Miami Photo Center Visual Excellence Awards/Art Basel: Finalist, “Street” series

14th B&W Spider Awards: Nominee, “People;” Honorable Mention, “People,” “Silhouette”

Black Box Gallery: “Photo Shoot;” juror: Todd Johnson, director

Analog Film Photography Association: 2019 Exhibition (2 photos)

Black Box Gallery: “Cars and Dogs;” juror: Todd Johnson, director

Black Box Gallery: “Black and White;” juror: Todd Johnson, director

Worldwide Photography Gala Awards, Barcelona: Honorable Mention, 13th Pollux Award

Soho Photo Gallery National Competition; juror: Julie Grahame, photo curator and consultant

YourDailyPhotograph.com: “Vintage”

Greg Moon Art: “After Dark 8” (2 photos); jurors: Isabel Samaras, Janet Webb, Greg Moon

Black Box Gallery: “Taking Pictures;” juror: Todd Johnson, director

Black Box Gallery: “Black & White;” juror: Todd Johnson, director

Salmagundi Art Club of New York — Non-Members Show: Certificate of Merit (2 photos)

2018
Monochrome Awards: Honorable Mention (2 photos)

New York Center for Photographic Art: “Urban Suburban Rural” (2 photos); juror: Kay Kenny

YourDailyPhotograph.com: “My Private Paris;” juror: Agathe Gaillard, Paris gallery owner

13th B&White Spider Awards: Nominee, “People,” “Photojournalism,” “Fashion”

Black Box Gallery: “Gray Scale;” juror: Todd Johnson, director

Black Box Gallery: “Focus: Shadow and Light;” juror: Todd Johnson, director

Black Box Gallery: “Taking Pictures;” juror: Todd Johnson, director

2017
12th B&W Spider Awards: Honorable Mention, “People”

Specto Art Space: “Black & White” inaugural exhibition

Worldwide Photography Gala Awards: Honorable Mention, 10th Pollux Award

LensCulture Network Gallery: curated show of top photographers

Worldwide Photography Gala Awards: Finalist, Charles Dodgson Black & White Award

Worldwide Photography Gala Awards, London: Finalist, 9th Pollux Award

New York Center for Photographic Art: “Black & White;” juror: Mark Sink, curator

Black Box Gallery: “Black & White;” juror: Todd Johnson, director

Morean Arts Center: “The Journey;” juror: Sam Abell, photographer

2016
Black Box Gallery: “Framed: Shadow & Light;” juror: Todd Johnson, director

11th B&W Spider Awards: Honorary Fellow and Nominee, “People”

Worldwide Photography Gala Awards: Finalist, 8th Pollux Award

Black Box Gallery: “Photo Shoot;” juror: Todd Johnson, director

Cape Cod Art Association: “Children Being Children;” juror: Kelly Bennett, photographer

Center for Fine Art Photography: “Black & White;” juror: Rod Smith

Center for Fine Art Photography: “Night” — Curator’s Honorable Mention; jurors: Sean Corcoran, Hamidah Glasgow

2015
Black Box Gallery: “Photo Shoot;” juror: Todd Johnson, director

Worldwide Photography Gala Awards: Finalist, 7th Pollux, Charles Dodgson and Jacob Riis Awards; juror: Frank Meo, director at Foundartists.com

Cape Cod Art Assoc.: “Fluent in Photography”

39th Annual Elden Murray Photo Exhibition: Outstanding work by a first-time entrant

CORE New Art Space: “Losing Love;” juror: Niza Knoll

2014
Worldwide Photography Gala Awards, 6th Pollux Award: Photographer of the Year, 3rd International Biennial of Fine Art and Documentary Photography in Malaga, Spain

Verum Ultimum Gallery: “Streetwise;” juror: Jennifer Cutshall, director

Texas National Art Competition: Annual exhibition at Stephen F. Austin State University; juror: Jerome Witkin, artist

Starcatcher Gallery: Juried into permanent collection

Flow Art Space: “Encroaching City;” juror: Melissa Metzler, director

eXel Photo Magazine: Finalist, first print edition; juror: David Hirsch, publisher

2013
Flow Art Space: “Perceptions;” juror: Melissa Metzler, director

Worldwide Photography Gala Awards — “Love:” Honorable Mention; juror: Tom Atwood

Camera USA: National Photography Award; jurors: Harry Benson and Christopher Rauschenberg, photographers; Ron Bishop, gallery director

Minneapolis Photo Center: “What We Photograph;” juror: Cig Harvey, photographer

Colorado Photographic Arts Center: “Street View;” juror: Anne Kelly, Photo-eye Gallery

2012
Minneapolis Photo Center: “The Human Condition: A Survey of Humanity;” juror: Annie Griffiths-Belt, National Geographic

Flow Art Space: “Retro;” juror: Melissa Metzler, director

Boca Raton Museum of Art: 61st Annual All-Florida Competition and Exhibition

2011
Projekt30: Finalist and Exhibitor, “Melancholy: At the Bottom of Everything, Forever”

Minneapolis Photo Center: “Where in the World”

JPG Magazine: Best of Photo Challenge, “Working for a Living”

Still Point Art Gallery: “Destinations”

Creative Arts Workshop: “Seeing Seeing: Capturing a Moment”

Art League of Bonita Springs Annual Show: Honorable Mention

Permanent Collections
Three photos in the Municipal Museum of Malaga, Spain

Lectures
Eastman Photo Guild: “Paris In A Second–The Art of Street Photography”

Alliance Francaise: “Paris In A Second–The Art of Street Photography”

ArtNaples Contemporary Art Fair: “The Art of Seeing: Contemporary Photography and Developing Trends in Collecting”

Self-Published Books
Paris In A Second, editions one and two; Street Walking

Statement
At a portfolio review,  the reviewer asked me why I shoot street photography.  But that is not an easy question to answer because my work does not fit into what most photographers consider street photography.

The “purist” say that you should take a picture and do little or no editing to the image.  Any changes that are made are global.  These photographers document the world as it “is.”  (But that would depend on what your definition of the word “is” is.)  They are more of a documentary photographer by creating a sort of time capsule to share with future generations showing them what the world was like in the past and is hard to put into words.  For example, if they were to photograph a child chasing a bouncing call down the street, they would leave the image as it is. That alone is a lovely image and tells a story the photographer wants to share.

The second camp of street photographers envisions the world more artistically.  These people wish to change the public’s perception of the world in their vision.  Let’s take the image example of the child chasing a bouncing ball down a street. They may want to try and convey a message of impending doom if the child continues to pursue the ball any further. They might darken the shadows, remove any distractions that take away from the story.  By doing this, they would try to convey a message the photographer wants to share. Maybe the message the photographer is trying to convey is about a dream they recently had or even a repressed memory.

From my portfolio, you should see that I am in the other camp of street photographers.   I see the world more artistically and with dashes of negativity.  I would have to admit that my vision of the world around me is a little different than most people.  It is dark, mysterious, and unusual.   You will not find puppy dogs or flowers in my photography.

Being able to be unique is a great privilege, and we all should be able allowed to explore this.  If people are not permitted to be an individual, society will not be able to grow and evolve.

Hopefully, I made myself clear with my vision and purpose in my photographic style.  It is pretty unique and hard to explain. I am guessing that my pictures speak louder than my words.  – JR

Bio
John O. Roy rediscovered his love of photography when his father-in-law gave him a digital camera in the late 1990s. John did dabble a little in photography when he was a teenager, but with limited funds, he was unable to pursue it.  In the years that followed, John refined his skills through self-instruction, a close friend, and several photography workshops at a local community college.

In the Spring of 2006, John wanted to make photography a more significant part of his life, so he enrolled in a Professional Photography Program and The Center for Digital Imaging Arts at Boston University.  John refined his skills through one on one instruction with real-world photographers. The school was a fantastic experience for him.

After graduation in 2008, John attempted to be more a traditional photographer by taking portraits as well as photographing weddings.  He quickly realized that wasn’t his calling.

While contemplating his future, John recalled something from a photography review during his last class at CDIA.  The instructor, Jim Fitts, pointed out that he had real skills as a fine art photographer. John then started experimenting with shooting items with studio lighting.  John also experimented with street photography, something that he enjoyed and excelled in.  Some of his heroes are Stanley Kubrick, Joel Meyerowitz, Marie Laigneau, and Gary Winogrand.

When John isn’t shooting, he is cooking, riding his bike, and working at his grownup job as an Inside Sales Rep. John is also a board member of the American Society of Media Photographers.

Website

Statement
Seeing You, Seeing Me is a photographic collaboration between my 21-year-old daughter, Leah, and me.  She is in front of the camera, while I stay behind it.  However, in our images we share the roles of observer and participant.  In these pictures, I see myself at her age while simultaneously imagining her as an adult: I also, see her seeing into the future while she observes me behind the lens in my new role as a photographer.

This project has allowed me to slow time with intent.  In front of the camera, I pose Leah along with personal artifacts and articles of mine.  In doing so, I image the traditions and morals that I have imbued in her.

Inspired by Dutch artists, particularly Vermeer, and books of my childhood such as Jane Eyre and Little Women, I attempt to create timeless and romanticized portraits that capture a fleeting and pivotal moment in time – the still of life as she stands on the cusp of adulthood.  -BB

Bio
Becky Behar is an emerging photographer born in Bogota, Colombia, raised in Miami, FL and currently living near Boston, MA.  Her love of photography started in high school where she worked with pinhole cameras and black and white film.  At Wellesley College, she studied photography with Judith Black, who introduced her to the art of the domestic interior; she then spent a summer studying photography at the Rhode Island School of Design.

After raising three children, Behar has returned to the world of photography, studying at the Griffin Museum in Winchester, MA, with Emily Belz as her teacher and mentor. There she has refined her interest in photographing domestic spaces, while also fine tuning her technical skills at the New England School of Photography in Waltham, MA.

Behar enjoys incorporating still lifes and family portraits into her images of domestic spaces.  Apart from her mentors, she is heavily influenced by Dutch Golden Age paintings, especially those of Johannes Vermeer. Light occupies a central role in her images.

Becky Behar was a finalist for the 2020 Chervinsky Awards.

View Becky Behar’s website.

Statement

I am fascinated by group gatherings, such as holidays, or outings with family or a regular group of friends. Repeated over time, the group activity becomes more familiar, ritualized and expected, and fosters levels of interaction, which are increasingly informal. Even if some within the group are less than enthusiastic about individual interactions, the repeated interactions deepen over time, and the life of the group starts to transcend the sum of its individuals. I am illustrating the group experience with panoramas, where the long aspect ratio allows the viewer to see the group from the perspective of a member.

 

Bio

Lee Kilpatrick is a fine art photographer and the director of the Washington Street gallery and studios in Somerville, MA. His primary focus is fine-art documentary in both digital and film. His work usually depicts people in everyday but intimate situations; the subjects seem to be in their own private worlds, conscious of neither the camera nor themselves. As opposed to “photographing people”, he photographs their interaction – and lack of interaction – with their environment. Along with conventional formats, he also uses panoramic photography, to present a closer view of the subject set in a wide view of the environment.

Kilpatrick’s recent work includes “Splendid Isolation: Late Summer in Northern Maine,” portraying the agricultural area where he grew up, and “A Case Of You,” documenting his sister who died at 42 after years of mental illness and alcoholism.

Website

Statement
Martello Towers dot the coast of Dublin and then more sporadically the coast of Ireland. They have been in my peripheral vision since we first started visiting our family in Dublin fifty years ago. Though they have been ever-present it is only in the last few years that I have come to know more about the history and intended use of the Martello Towers.

After deciding to document these beautifully situated structures I purchased a tiny book published in the 70s by Victor J. Enoch, an American man who had owned and lived in a Martello Tower in Killiney, South Dublin. My initial intent was to find out where all the towers stood, to have a road map. However this small book provided me with information well beyond location.

Prior to reading this publication my knowledge as a child was none, not even the name of them. Then as a young adult the fact that Bono from U2 bought and lived in a Martello Tower made me much more conscious of their existence. Years passed, and Bono moved out of his tower. I then had the idea to document a different kind of structure in Ireland but my cousin Ann quickly redirected me to the Martello Towers for which I am ever grateful.

Ann O’Laoghaire told me in no uncertain terms that the Martello Towers were a much more interesting project because of how varied their uses are currently. Some are homes, others are museums–including the James Joyce Museum where Ulysses began from, tower number 11 in Sandycove–and many are derelict.  They are all numbered.

The towers were originally built in 1804-1805 to defend against a Napoleonic invasion by sea. Napoleon never came and Victor J. Enoch’s book informs that the towers did in fact deter what seemed to be the inevitable. The Martello Towers were built closely together so as to function as signal towers. When standing at one you will surely see at least one other. In Dublin you will see one to the left and one to the right. There are more in other countries too but Ireland is the filter through which I chose to document the towers.

Documenting each tower has been its own adventure, traveling by land and by sea to reach them has all been quite remarkable. The information people have shared, the help people have given me and the moments of awe as I stand solitary in the presence of these historical, coastal towers has been an honor. I have four towers left to document and when my project is complete I will have captured all 37 remaining towers in Ireland. 

 

Bio
Tricia O’Neill has been making photographs since the 1970’s. She formalized her love of photography by completing a fine arts degree at the School of the Museum of Fine Arts and Tufts University in 2007. Tricia studied film photography and digital photography at the SMFA, rendering her a versatile photographer with knowledge of both analog and digital photography. Tricia also studied the art of hand lettering at Butera School of Art and founded the company Signs Unique in 1986. Photography and the completion of a fine art degree are fitting extensions of Tricia’s creative endeavors. Tricia’s years behind the brush–painting signs and murals–informs her photography.

Tricia works in a documentary style. Her work has been exhibited throughout the Northeast, in solo shows, juried shows, group shows and is in private collections.

 

Website

Website

By request for this exhibition photographer and Photography Atelier educator, Meg Birnbaum has assembled a collection of work from Judy Brown’s Far from the Madding Crowd and her own photographs from Losing the Farm.

Far from the Madding Crowd Artist Statement

As a child growing up in a small town in Texas I dreamed of living on a farm surrounded by animals. In suburban Massachusetts a couple of years ago, I discovered that my fantasy farm exists just up the street. While visiting the farm I formed attachments and developed trust with the animals;  I made images in a style I developed over the last decade. Concentrating on fine details, I find beauty in dirty faces and dripping saliva.

My images focus closely on portraits of individual animals. I capture their personalities and humanlike qualities – their questions, their curiosity, their wish for affection, and their offer of friendship along with their ever powerful appetites. Ideally I hope my images might help lead to more humane treatment for farm animals such as advocated by Temple Grandin and others. I hope my photographs lead people to view the animals with respect, as sentient beings similar to our pets and worthy of protections and humane treatment.

Judy Brown Biography

Following a career as Professor of Physics at Wellesley College and Research Scientist at the MIT Media Lab, Judy Brown has combined her long-time passions for animals and photography. She is particularly interested in form, texture, and lighting in images and is attracted to subjects for their simplicity and beauty of form. Her “Elliott” portfolio of a spirited pony in his stall has been given a number of solo shows including two in Griffin Museum satellite galleries and an MIT Architecture Department Tele-exhibit. Selections from her “Antique Skin” and “Elliott” portfolios as well as other images have been selected for over a dozen juried exhibitions including Asbury University, Wilmore, KY “The Horse: A Juried Exhibit”, Texas Photographic Society Members Only Show , and SE Center for Photography “The Contemporary Nude”. Most recently she has spent much of her time photographing the animals on a farm in South Natick, MA consummating a childhood passion for farms and animals while growing up in rural Texas.

In the last decade Brown has taken several courses at Rhode Island School of Design and New England School of Photography. She has also taken studio art courses in drawing and design at Wellesley College. Workshops include Equine Photography in Southern France with Tony Stromberg, Maine Media’s “A Certain Alchemy” with Keith Carter, and Atelier 26 with Meg Birnbaum at the Griffin Museum of Photography.

Website

Losing the Farm Artist Statement

On a spring day in 2015, I entered a call for entry from a local arts organization seeking to match 10 artists with ten farms. The hope was to build community and educate the public about the local raising and growing of food.

The 10 artists, of all mediums, were tasked with telling the story of a year in the life of a small Massachusetts farm. I was matched with ‘Pete and Jen’s Backyard Birds,’ a pig, chicken, and turkey farm.

I learned, among many new things, that unless a person inherits a preexisting family farm it is common practice to lease land from a larger farm that is not able to use all of what they own. That is what Pete and Jen did. Sadly, shortly after I started my project they were told that their time was up. The mood and tone of the farm changed to a heaviness that matched the crushing heat.

I followed the farm through moving day, watching the farm deconstruct day by day. The animals went to market, the greenhouses came down, the fruit trees dug up. The farm was lost.

Since, Pete and Jen are still farming but in a completely different venue. They are stewards for a community farm owned by the town of Lincoln MA. Jen is the Director of the New Entry Sustainable Farming Project, a beginning farmer training program at Tufts University’s Friedman School of Nutrition Science and Policy.

Meg Birnbaum Biography

Meg Birnbaum lives and works in the Boston area. She is a graphic designer, educator and photographer. She has had solo exhibitions at Gallery Tanto Tempo in Kobe, Japan, Corden Potts Gallery, San Francisco, The Lishui International Photography Festival, China, the Museum of Art Pompeo Boggio, Buenos Aires, the Griffin Museum of Photography, Massachusetts, Flash Forward Festival, Boston and others.

Meg teaches portfolio building classes (called the Photography Atelier) at the Griffin Museum of Photography  where she also designs catalogs, signage, their website and is a member of their exhibition committee. Her work is held in the permanent collection of the Museum of Fine Art, Houston, the Lishui Museum of Photography in China, the Meditech Corporation, and private collections.

Website

Boston-based Edward Boches’ interests as a photographer lie in documenting how people live, work and play. His series “Seeking Glory” celebrates the strength and courage it takes to be a boxer. Boches has spent the past year in city gyms especially in the old mill towns north of Boston.

“Seeking Glory” will be on view at the Griffin at 530 Harrison Avenue in SOWA February 7, 2018 – April 9, 2018. A reception will be held on April 6, 2018 from 6-8pm.

“Fame, success, even self-respect can be elusive goals for many young men and women who grow up in the inner city,” says Boches. He goes on to say that, “the boxing gym promises a way up for some and a way out for others. It offers young boxers a home where they can find support and community. It helps them build character. It inspires the discipline needed to avoid the ever-present lure of gangs or drugs.”

“Seeking Glory” is just the beginning of Boches’ journey photographing boxers. He plans deeper exploration into their courage and strengths that motivate them into the ring as well as photographing an expanded view of their lives.

Edward Boches has exhibited as part of group shows at the Griffin Museum of Photography and at the Providence Center for Photographic Arts. His work has been featured in The Lowell Sun; has appeared in The Boston Globe and online on WBUR.org; and has been distributed internationally by Caters News Agency.

Website

Photographer, Tony Schwartz has been photographing all over the world since 2003. In the exhibition, Travels to China and Tibet, Schwartz presents his audience with a curated selection of photographs of his travels around China and Tibet in 2007.

Travels to China and Tibet will be on view at the Griffin at 530 Harrison Avenue in SOWA, MA, November 16 – February 2, 2018. A reception will be held on January 12th  from 6-8pm.

“As long as I can remember I have been involved in the visual arts. This started with drawing as a child, and has included sculpture, oil painting and film photography. Since 2003 my artistic passion has been photography,” writes Schwartz.

“Much of my work includes images that are converted from color to monochrome….the use of sepia tones for this exhibition seemed to fit best with the nations visited and the subject matter of the images. This exhibition includes images acquired in China and Tibet in 2007. Though China has, in recent years, emerged in many ways into modernity, I chose to focus on images that reminded me of that nation’s rich past.”

Before devoting himself fully to photographic art Tony was an academic veterinary surgeon and immunologist.  He has been on the faculties of several universities, most recently, the Tufts Cummings School of Veterinary Medicine in North Grafton, MA. There, he served as Professor and Chair of the Surgery Department and as an Associate Dean until retiring in 2005. He resides in Boston, MA and Peru, VT with his wife Claudia. Tony is represented by 3 Pears Gallery in Dorset VT. His work has been juried into many national exhibitions and has a permanent exhibition on view at Tufts Cummings School of Veterinary Medicine. Tony has had solo and two-person exhibitions at Southern Vermont Arts Center, Copley Society of Art, South Shore Arts Center, Dark Room Gallery, Gallery Seven, Photographic Resource Center, and the Museum of Fine Arts, Boston. He has produced two photobooks, Same Yet Different (2013) and Claudia’s Doll and Other Windows (2016).  For his photographic work, he has received awards from Boston Camera Club, Cape Cod Art Association, New England Camera Club Conference, and South Shore Arts Center.

Website

Delving into the past has long been a passion for photographer Ellen Toby Slotnick. It began with photographing on archaeological excavations, and then photographing the recovered artifacts. Years later, Slotnick is still photographing what has been left behind: abandoned churches, schools, farmhouses and the artifacts they hold. Fine art photographer, Slotnick started out as an archaeological photographer in Israel documenting excavations and photographing finds for publication. Her current work, Traces, reflects her early interest in what is left behind, in this case, in Rugby ND where individual farms are rapidly disappearing. Slotnick’s fascination with Rugby began in 2013 and called her back for the next three years.

Ellen Toby Slotnick’s  Traces will be featured in the Griffin @SoWa in Boston, MA, September 14 – November 12, 2017. The gallery is located at 530 Harrison Ave, Boston, MA. A reception will take place on First Friday as part of FlashPoint Boston, October 6, 2017 from 6 – 8 PM.

“Each vacated farmhouse, church or school I came upon was vacated for basically the same reason. Economics,” says Ellen Toby Slotnick. She goes on to say, “The business of farming has become such that it is far more cost-effective to farm square miles rather than square acres. So consortiums were formed and fields were planted where families had lived. The families moved into town. The remnants of the lives that inhabited the structures make each and every building tell its own story,” she says.

Ellen’s work is held at the Danforth Museum of Art, Newton-Wellesley Hospital and in private collections internationally. She is a 2016 Finalist in Critical Mass, an international portfolio online competition.

Ellen holds a BS degree in photography from Rochester Institute of Technology. She also holds an MBA from Simmons College in Boston.