Welcome to the Bob Carnie Gallery Print Shop!
When developing this idea, wanted to find more ways of how to support local and up and coming photo-based artists. Thanks to our good friend and collegue Vlad, we were able to have a few portfolio cases custom built to house selected works from artists both locally and internationally who answered our call for submissions.
All works are matted in 20x24 acid-free archival boards, and protected in plastic sleeving.
Please peruse the site, or drop in to see the pieces in person! If you are interested in purchasing a piece, please contact firstname.lastname@example.org.
In 2008, with her love for travel, seven cameras and a broken heart, Anthea set out on her first of many visits to India, which would ultimately shape her photographic work for the next 15 years. A fine art photographer in both solo presentations and collectives, Anthea specializes in limited edition medium format gelatin silver prints, experimental, architecture, still life and portraiture. Anthea regularly participates in CONTACT Photography Festival in Toronto and has extensive exhibition history in galleries, festivals, art fairs, off-sites and independent venues. Her images have been licenced for print and online publications, as well as film sets and staging. Collectors of Anthea's work include editors, authors, agents, art directors, media executives and other creative people with good taste.
I have a deep passion for hand crafted photography prints. I am primarily an analog photographer and shoot with medium and large format cameras. I print both silver gelatin and PtPd. Because of the dynamic range that PtPd yields, it gives me a three-dimensional appearance with endless shades of grey. Every print I make is challenging and exciting! Anticipation of how the print will look like as I pour the developer is beyond words and description!
& MARAKHOV CONSTANTINE
For more than ten years we have been engaged in analog black and white photography.
It is important for us to transmit our thoughts in an analog way.
We pay special attention to still life, as a genre, on the one hand, traditional, on the other hand, have a modern reading when things tell stories.
The couple have a studio located in Dnipro, Ukraine called Analog Photo Studio Nakomabo
The Oculus series captures the beauty found in everyday common elements. The image is reworked so that we can perceive and appreciate the colours, vibrancy, textures, patterns and symmetry. Thomas has shaped the surreal out of the real, making interpretation and perception the subjects of the image and not the actual still life or landscape source. Inconspicuous details become a singularity of beauty and truth in the eye of the beholder. Each piece is a self-reflection into the definition of our own personal aesthetics.
Printing my photographs using historic processes brings an emotive expression to my images. In my prints I intend to pique the imagination and reveal a sense of being rather than duplicate exactly what the camera captures. I print most often using cyanotype, gum bichromate, ziatype (palladium), and photopolymer gravure. At times printing each as a unique processes, but most often combining multiple processes together. I find these slow and often painstaking techniques force me to spend time enveloped my images allowing me to explore and build a more nuanced interpretation of my subject as each print evolves.
Bob Carnie is a Toronto-based photo-printmaker and photographer. Since graduating from the Fanshawe College’s photography program in 1976, Bob has not only continued his own photography practice but also garnered an international reputation for printing traditional and digital fine art. A master printer, he’s worked with many acclaimed photographers, printing for personal portfolios, private collections, gallery exhibitions and museum installations. Bob’s passion for photography is fuelled by this hands-on work in the darkroom, where he’s most in his element – a passion that’s evident in his own work. Using a combination of skills in historical and vintage processes, at times enhanced by contemporary technology, Bob’s combinations of skills, artistry and (hard-boiled) perceptiveness bring a unique richness to his work – from the early landscapes seen on this website, through to his current body of work which contemplates the value, beauty, and ephemerality of everyday objects.
We have both his personal works and pieces from his private collection of his printer proofs having worked with various photographers across the world available for sale.
My career began on the commercial side of the business, dealing with lighting, composition & all the logistics of creating images designed to sell products or services. But over the past 12 years, my work has morphed from a job to a passion, and with that change has come a new and different style of photography for me.
The results of this exploration are images that are, in my view, are pure, simple and reflect the beauty & variety everyday organic design. Working in this way makes me feel connected to the world around me, and capturing these types of images is one of my principal sources of joy and artistic satisfaction.
These images are what I refer to as ‘Roadworthy’ because they are the direct result of my spending so much time driving and walking the city streets in search of them.
James Hastur is a fine art and fashion photographer from New York and a graduate of Emory University.
Working through the medium of Ziatype prints, and taking inspiration from a wide variety of sources, ranging from philosophers and art movements to fashion photographers and designers, he imbues his work with a sense of melancholy and beauty.
MARLENE HILTON MOORE
Marlene Hilton Moore’s photographic work develops narratives based upon a woman, a dress, and a place. Visually weaving together encoded cultural messages that allude to personal social histories, Marlene creates a continuum of her investigation into identify formation in her photographic series of women. Hand crafted dresses and objects, combined with an individual space, expand reality into a dance of authenticity and vision.
This project, “Botanicals”, can be traced back to my education as a forester in the late 1970’s. Part of my forestry study required the ability to identify and correctly label many dozens of local plant and tree species. Often this learning process utilized plant samples that were pressed for preservation purposes.
Recently, I had the opportunity to view an exhibit of pressed plants in a local museum and I was struck by the shapes created by the process of pressing. This new way of looking at pressed plants led me to this project.
This project consists of a series of images made of pressed plants. The images often take a very delicate and flowing form through the pressing process.
These prints are handmade using the polymer photogravure process. The images are 6”x9” on 11”x15” Rives BFK paper.
Joanna Janisiewicz, originally from Poland, is a teacher in Akademia Anima Mundi, an arts organization basing its work on Plato’s Academy principles, with its core interest being the idea of Beauty.
Being strongly inspired by the Japanese art, in her work Joanna Janisiewicz aims to draw one’s attention to what is not-obvious, not-literal, in-visible, in-tangible, un-graspable, whether it is the shadow, the past, the myth, the human unconscious or the emptiness.
I was born in 1978 in Poland. I graduated from Technical High School of Photography in Kraków and from Painting at Academy of Fine Arts in Wroclaw. I do work as an art teacher in primary school and I teach basics of analog photography. I have had several solo and group exhibitions. I also do the commercial photo sessions for private and institutions.
In my daily work I take advantage of both- photography and painting means. I take my photographs with Pentax small format, with Mamiya 645 Super and with Linhof 4x5’.
Through photography I learn to see.
Photography has always played an interesting role in my life. It was a beautiful distraction when I needed to concentrate on filmmaking, but it also became a calming force when I didn’t have any movies to make.
Some curators call my collections “dark peace stills,” and I don’t disagree with that label.
My photographs heal my soul. They reflect the need for inner peace that contrasts greatly with the dynamic approach I take to my films. When I walk with my camera in hand, I don’t feel I need to fight for peace and social justice. I wish to be left alone to sniff the colors, shapes, sounds, and smells around me…
In her never ending search to capture the unstaged moments in daily life, Mira believes that you should never leave home without a camera. Life is a movie that you are the main character of.
I started my photographic journey as a B&W photographer, eventually working with a 4x5 camera. Alternative photography was always my passion and I started making platinum prints over 3 decades ago, with enlarged negatives. I have mastered just about every alternative process, including: cyanotype, platinum, chrysotype, carbon transfer, albumen, salt prints and of course gum bichromate. Currently doing a lot of research in improving gum bichromate methods in search of producing luminous water color like prints. Also experimenting with merging hand painted backgrounds with photography to create painterly effects and unique style.
Bryan studied art history and history of photography in both Canada and the United States. He has been actively using photographs in a variety of contexts from abstraction to documentary since he began working at the age of 14. Bryan does not consider himself to be a photograher, but is an explorer of photographs, apparatus, and process. He has also worked with computers and has programmed pieces or generated works from them that always came back at some point to the nature of the photograph. He has been active in running community projects that spanned directing a documentary sign project, organizing shows, and running an artist's space for the public which was built around instant photography. He is currently preparing another space here in Toronto dedicated to what he’d probably call “hacking”, but with a concentration on the oldest and in some cases forgotten processes from the very rich history of photographic image making.
Stephen McNeill is a Canadian artist who grew up in the small town of Oak Ridges near Toronto.
Influenced by his experiences in the graphic arts and theatre, McNeill pursued a photographic career in the early 1980s. He is known for his compelling black and white images of street life and the performing arts, and for his oﬀ beat photo compositions of small objects.
An accomplished darkroom specialist, McNeill has devoted much of his time in recent years to alternative printmaking studies – a passion that has remained with him from the age of 16 when he borrowed a camera for a night school course and was given a lesson on the solarisation technique.
McNeill continues to contribute work to private collections, exhibitions, performance artists, publications, and educational and charitable institutions.
Lau McVicar creates their work using a Minolta XE-7 35mm camera. They have a passion for finding the beauty in the landscape of their hometown, Toronto. This series explores integral parts of the city through new lenses and viewing the beauty in the mundane.
Laura Paterson Carnie is a photographer and former printer currently based in Toronto, Ontario.
Inspired by Ontario's natural landscape and culture, Laura aims to create visual observations of colour, movement, and moment.
Entirely shot on film, Laura's art practice involves the use of various cameras and film stocks, carefully chosen for whichever scene she seeks to render. Her photographic prints range from inkjet pigment prints on paper, to silver gelatin prints, to tri-colour gum bichromate prints.
What I like most about photography is uncertainty. The moment you press the camera shutter button, you don't know what will happen in the end. You wait for the film to develop, decide what to do next, what method you will use to print. You type (not always well), redo it, try something different and finally it works. And the result is quite unexpected. And I like all this uncertainty the most. Therefore, I chose alternative printing methods that do not have repetitions, where each print is unique. Today I own many printing techniques: such as oil print, cyanotype, callitypiya, gumbichromate print, humoil, carbon print, lith print and others.
My work is meant to be read on a symbolic level. There are frequently mythological references present. Formal similarities such as those of the tent and the mushroom serve to remind the viewer of our place within broader constructs ie society as shelter. I don't like to use words like god or divinity because I feel they cheapen the accomplishments of human ingenuity. But the concept of the creative spirit deserves celebration. We built the society that we live in, and invented gods to explain it, but the crises we are facing - climate change, violence, injustice, disease - can't be solved by gods. They can only be solved by recognizing that these are political problems and applying our will to reshape our social conditions. Art is the spell I cast on the world.
My work focuses on existential issues which I express in still-life compositions. Although I have always loved the work of the Surrealists, I don’t consider my work to be surreal. I would say that my work bares a closer affinity to that forerunner of Surrealism, known as Metaphysical art. Whereas the Surrealists were preoccupied with dream images, the Metaphysical artists were focused on the symbolism of everyday objects. By precise arrangement and juxtaposition of objects and materials, I charge my compositions with symbolism and meaning...
“No one but a vandal would print a landscape…in cyanotype.” Lyle Rexer... Well, I am a vandal! The history of the cyanotype process as both a means of documenting the physical world and a means of metaphoric expression appeals to me. After two decades of making inkjet prints, lightning struck when rereading Rebecca Solnit’s essay, “The Blue of Distance,” which initiated a deep dive into the cyanotype process. What ensued has been an obsessive “Exploration in Blue.” Christina Z. Anderson, Diana Bloomfield, John Dugdale and Mike Ware, and others set the standard for my contact printing work. Working from digital negatives, the goal is to infuse my prints with a sense of the everydayness of perception as filtered through my memories, associations, desires, and expectations. Some the prints are made from new photographs, some from my archive of images. All were made using the traditional cyanotype formula on Hahnemuehle Platinum Rag paper and exposed in a UV exposure unit.
Leszek Wyczolkowski was born in Poland. He received his first artistic training at an early age from his father. He attended the Academy of Fine Arts in Warsaw and continued his formal education at the Ontario College of Art and Design University. He attended self-directed residencies for painting and intaglio printmaking at The Banff Centre, Banff, Alberta. He has exhibited in over 200 solo and group shows in Austria, Belgium, Canada, France, Great Britain, Greece, Italy, Japan, Malaysia, the Netherlands, Poland, Sweden, and the United States. His works appear in museums, corporate, public, and private collections around the world.
“From youth I have held a desire to remember details and settings of things and places travelled in a very exacting manner which strongly influences my photographic expression. The foundation of my artistic practice is available light and a traditional approach to photography in preservation of the art form. This combines with a mandate to seek and highlight aestheticism that would normally be overlooked by a general glance. The macro lens allows me to capture texture, form, inherent design and emotive nuances that influence perception. My artistic goal is to encourage viewers to take a closer look at the world around us, to discover the beauty in minutiae.”
- Lynn Wyczolkowski
“The aquatints and etching from the leaves’ series embody an appreciation and respect of and for nature. It is an ode to the trees that offered their fibres as substance and leaves as inspiration.”
- Nadine Wyczolkowski