Friday, March 12, 2010

Gallery Opening at Penn Camera Laurel – Stuart Gaines & Norman Paratore

Join us!
Gallery Opening for Photographers Stuart Gaines & Norman Paratore
Penn Camera Laurel
March 19th
5pm until 7pm

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Two photographers will be joining Penn Camera for a gallery opening on Friday March 19th - Stuart Gaines and Norman Paratore. All are welcome at this casual event where you can view their collection of images and enjoy light refreshments!

Stuart Gaines - Gallery Narrative

"Most of us intentionally or unintentionally record specific events or points in time as images that are reflective of our visual perception. Images could be identified as a point in time as viewed and recorded thru the eyes of photographer A. This of course implies that the event may be recorded as a different image by photographer B. However before the shutter opened the visual aspects of the event was governed by natural physical laws, that under identical physical conditions would be expected to produce a point in time common to each photographer. With the exception of medical, criminal or photojournalism the event or point in time is often subjected to human bias as the event is captured in the camera. Since the image post shooting can in the digital age be easily altered, discipline is required in order to record it with a certain degree of accuracy. We as humans can with this thing called emotions or mental filtering become a small or large variable with regard to our reaction to or interpretation of our environment, But physical laws remain as central control points that are the framers of accuracy, and reality. We as photographers often capture and manipulate images with varying degrees of accuracy, but do we actually alter an event or specific point in time? Would the final image of a specific event from camera A change what was actually occurring or captured at the same time by camera B? Cameras like all instruments are dependent for accuracy on the photographer's sub conscious or conscious effort to combine what actually existed at a point in time with concepts/ideas from our subjective creativity. Photographers strive to produce images that are good - acceptable - different - something that meets an emotional requirement. The manipulation of reality will always be the tools of artist. As recording instruments and software makes it easier to alter the image of a specific point in time, a central question remains. How can a photographer recognize the importance of reality, accuracy, the salient event as presented by the universal law of nature while continuing to strive for that subjective characteristic that will cause the final image to be emotionally satisfying?"

Norman Paratore - Biography

"I was born in...well that goes back a little too far. Let's just say I’m retired and I am what I call a serious amateur photographer who spends way too much money to not be making it a profession. While I have made a few bucks on photography, I have never made my living as a photographer. I have used Nikon cameras from 1964, with the exception of a few years with a Minolta. Have owned Bronica and Rolleiflex 120/220 cameras but I always staying in love with the 35mm due its versatility.

My first camera, as a kid, was a Kodak box camera that used roll film. While in the Air Force and stationed in Germany I found myself getting more serious about photography. I bought a Nikon Photomic FtN, 50mm f1.4, 105mm f.25, and a 300mm f4.5. Since I was in a photo reconnaissance outfit I had access to the photo equipment and developed and mounted my slides, developed and printed Black and White shots, and even bought bulk film and rolled my own cassettes.

When I returned to the US I worked in a retail photo store, made manager within three months, and finally supervised seven stores. But, my photography was limited to family photos. And, I traded in my big Nikon for a smaller Minolta SLR with through-the-lens metering.
Then about a decade or so ago my interest in photography was again rekindled. Bought a used F4s on eBay and then a new F5. But, wouldn’t you know that right after I bought the F5, Nikon introduced the D1. While I had played around with the swing-lens digital models (900 – 950), I was never satisfied with the results. So, now I had the F5 and the D1 in my camera bag. Didn’t take me long to realize that I invariably picked out the D1 to shoot with. Sold the F5 and I’ve been digital ever since."

Would you like to host your own Gallery at Penn? Highlight and exhibit your, or your student's finest artwork with a Gallery at a Penn Camera store. High School students, College students, Amateurs & Professionals welcomed. Email us for information.