CPM UA R T ERLY

T h e N e w s letter f o r t h e C enter f o r P h o t o g rap h y at M a d i s o n Volume 12  j  No. 2  j SUMMER 2010

Inside this issue:

PRESIDENT’S LETTER  j  VSA arts of Wisconsin and CPM exhibit at Promega [2]
INTERVIEW WITH TED ORLAND [3]
PhotoMidwest Guest Photographers to Lecture in October [4]
Photo Exhibits Within a Day’s Drive [6]
Chicago trip planned  j CALL FOR ENTRIES [7]
Calendar  j member news [8]
CPM: The Beginnings [10]
Highlights of CPM at 12 [11]
Information on Photography Classes for 2010  j BRANCH, LEAF, BLOSSOM [12]
When You Live Alone, a poeM by richard wilberg [13]
Join CPM! Membership Form Inside [14]
Sullivan’s Tavern by Richard Quinney Map and Directions to CPM [15]
PRESIDENT’S LETTER
As we settle into the easy chairs in our new home
at 303 S. Paterson Street in Madison, Suite E2, we
want to express our gratitude to Bill Patterson,
who donated 15 boxes of books for the start of our
new library. Also, thank you to the volunteers
who helped transport these books to CPM on a
hot rainy Sunday afternoon: Tom Mish and his
wife Debbie Yoshihara, David Scadlock,
Dan Rich, and Bob Beaverson. We are happy
to announce that Dory Blobner has agreed to
be our Librarian.
Keep your eye on the weekly emails for an
announcement of a date to donate books for our
library and upcoming book sale.
Thanks also to all the members who submitted
images for our First Look photography book.
The photos will be on their way to the juror this
week. Our plan is to have it available by the 2010
Photomidwest.
It’s also well worth your time to visit Promega, to
see some of the photos from the VSA and CPM
collaboration.
And now for a brief introduction to the Center
for Photography at Madison. At CPM, we aspire
to help you go from beginner to accomplished
photographer, by providing classes, discussion
groups, and lectures by experts in their fields.
You may choose to start with the Plastic Camera,
Human Interest, Landscape, Nature, and/or Digital
Groups. Each will introduce you to the techniques
you need to take the images you want (whether black
and white or color). These groups will also connect
you with other folks who share your interests.
We put out a Quarterly newsletter, as well as Weekly
emails and a Website, all to inform you of where and
when you can find the tools you want. It may be an
outing with a professional photographer. Or maybe
a lighting class, or a philosophical discussion group.
Once you are ready, we work with many venues
to help you hang your work. We are starting to
hang shows with images submitted by multiple
photographers. If you have an image you are ready
to hang, bring it to one of our groups and introduce
a topic for a show. I think you will be surprised at
the result. We just took down a show on Sedona,
Arizona with multiple photographers: it received
great reviews.
The Board has changed recently; John Murray
Mason, Secretary for the last seven years, is
stepping down. Don Mendenhal is the newest
member of the board. When you see John and
Don, please thank them for their volunteer spirit.
Finally, we’d like to determine a time when CPM
may be open to the members and general public on
weekends for a few hours. Anyone who has time or
ideas, please contact any Board member or myself.
I always look forward to your calls and letters. Please
keep letting us know how we are doing.
Reece Donihi
CPM President
608-643-8326
ramphoto@verizon.net

VSA arts of Wisconsin and CPM exhibit at Promega

June 15 was the opening reception for the joint
VSA/CPM exhibit at Promega, 5445 E. Cheryl
Parkway, Fitchburg. It is open to the public 8 a.m.
to 4 p.m. M–F until the end of August.
This event was a huge success! The exhibit is the
culmination of classes taught by CPM volunteer
instructors for the VSA clients with disabilities.
were sold. While there were several notable guests
at the reception, one was from the VSA National
Headquarters in Washington DC, a partner
with the Kennedy Center for the Performing
Arts. She came specifically for this exhibit, and
was extremely impressed with the photos, the
program overall, and the partnership between
CPM and VSA.

Each student selected, edited and framed six images
for inclusion in the exhibit. The instructors Mark
Ambrose, Carl Bowser, Reece Donihi, Abby
Hood, Tracy Madison, Patrick Patterson,
Bill Pielsticker, Chris Spenser, Dorith
Steinberg and Kristin Sumbler, also
submitted works for the show.
The opening reception was attended by
approximately 200 people, and several reprints
At the end of the reception the guests were invited
Isaac Ehrhardt with his Eyes by Chris Spencer
to stay for a premiere showing of the film Shooting
Beauty. This is an award winning documentary
film about a fashion photographer in Boston who
put cameras in the hands of people with cerebral
palsy with amazing results.
If you are interested in participating in a future
class with VSA, please contact Reece Donihi or
Promega Opening with VSA and CPM participants
Chris Spencer.

2  ■  CPM Quarterly  ■  Volume 12, Number 2  ■ SUMMER 2010

INTERVIEW WITH TED ORLAND
Ted Orland talks about his work at 7 p.m., Oct. 28,
at this fall’s PhotoMidwest. He is also offering a
workshop, Embracing the Plastic Camera, 7–10 p.m.
Oct. 29, and 9 a.m.–4 p.m. Oct. 30: see PMW’s
website to register. Ted graciously consented to
an interview with CPM. Many thanks to Patricia
Delker for helping frame these questions.
1. You made a giant leap professionally when you
exchanged a large format camera on a tripod
for a Holga you carry everywhere. Do you see
the world differently, as a result?
I think that as artists we’d all like to
work with tools that feel like a natural
extension of our own spirit—that see
the world the way we do, so to speak.
That doesn’t always happen instantly
or easily—at least it didn’t in my case.
I jumped into photography by taking
an Ansel Adams Workshop, and not
surprisingly spent the next several
years making large-format B&W
Adamsonian landscapes. It took me
years to realize that I really don’t lead a
fine-grained life—that far more often
life was whooshing right past me while
I was trying to set up my tripod.
Discovering the Holga changed that
equation. You see an entirely different
world thru a plastic viewfinder than on a
4" × 5" ground glass. Where larger cameras
lead you to work carefully and precisely, Holgas
encourage you to shoot first and ask questions later.
And where view camera users embrace the clarity
and limitless detail of real things, Holga users revel
in the fuzzy ambiance of ephemeral moments. At
least metaphorically, the question to ask might be:
is your world filled with nouns, or verbs?
2. H
 as your work changed since you began
employing a scanner?
Every technical change brings artistic consequences,
revealing new possibilities even as it closes the
door on previously available options. In my case, I
closed my printing darkroom nearly ten years ago,
and since then have scanned all my new Holga
negatives into the computer to prepare them for
output digitally.
All things considered, the advantages of following
that technical pathway have vastly outweighed the
drawbacks. I continue to make pictures in the field
just as I always have, but now have a wonderful
range of new artistic options lining the way from
there to the finished print.
After thirty years as a B&W photographer, for
instance, I’m now able to work with color film
Tree, Merced River, Winter, #2 by Ted Orland
(a technology I previously avoided because of
its toxicity and expense). Likewise, I can now
make much larger (and better!) prints than I
ever could in the darkroom, and choose from a
vastly wider range of paper surfaces. I can also
montage individual frames and assemble intricate
multi-image panoramas—a feat that would be
utterly impossible (at least for me) to achieve in
the darkroom. And though it’s not a large part of
my work, I love having the option of manipulating
borders, adding type, and removing occasional
telephone poles from people’s heads.
3. W hat motivated you to write Art & Fear?
Can you tell us a bit about how you regard
art production now?
SUMMER 2010  ■  Volume 12, number 2  ■  CPM Quarterly  ■  3
About twenty years ago my friend David Bayles
invited me to collaborate with him on a project he
was initiating to write about the obstacles artists face
in trying to get their work done. David & I are both
working artists ourselves, and initially we viewed this
mainly as a way to clarify our thoughts on topics we
frequently engaged with students at photography
workshops. As a spinoff benefit it also provided a
fine excuse for getting together for spirited debates
over long dinners (and formidable quantities of cheap
zinfandel). Well, time passed, and eventually we
realized that we’d generated almost enough material
to call it a “book”—and indeed, three or four
years later Art & Fear rolled off the presses.
I don’t think a lot has changed for artists
since then (even though the photographic
marketplace and the number of
aspiring photographic artists has grown
dramatically). One thing that has changed,
however, is the overall awareness of the
challenges facing artists. When Art &
Fear appeared on the scene it was the only
book of its kind—in fact it was rejected
by the first two publishers we approached
because they couldn’t figure out where it
would possibly fit on bookstore shelves.
Now, however, there’s a whole category in
some bookstores devoted to “Creativity”.
4. Can you say something about the role
of photo clubs/support groups, and
their helpfulness to you, personally?
I’m a big fan of artists’ support groups. As a
generalization I think they’re often most valuable
to people who work in non-art-related fields and
would otherwise have little contact with the art world,
and to younger artists who have left school and feel
like they’ve stepped into an artistic vacuum. That
said, I do currently belong to three nearby artists
groups, each of which meets locally on a more-or-
less monthly basis. My own personal motivation
is mostly just to enjoy the comaraderie of kindred
spirits and to share stories with my fellow travelers
in photography. Simply put, being part of a group
keeps me engaged with the outside world—left
to myself I’d probably just curl up in a ball in my
studio and lead a completely hermit-like existence!
PhotoMidwest Guest Photographers to Lecture in October
This year’s line-up of guest speakers runs the gamut from a veteran National
Geographic photographer, to a husband and wife team who construct elaborate
scenes articulating the abused Earth’s anguish. See modified versions of their
official bios below. To learn more, and view images, go to www.photomidwest.org.

Giggle by Kelli Connell

“The events portrayed in these photographs look

believable, yet have never occurred.”
Kelli Connell on her work, Double Life

In her body of work Double Life, Kelli Connell photographs the

Photograph by Kevin Miyazaki
“My photographs act as evidence....”
Kevin Miyazaki
Kevin Miyazaki’s personal fine art work deals with issues of family history,
memory and public/private space. His Fast Food series documents restaurants in
states of abandonment and comments on the impact of corporate food design
on the urban landscape. A second series, Camp Home, documents the reuse
of buildings from the Tule Lake, World War II internment camp for Japanese
Americans, of which his father was one. In photographing their present usage,
he explores his own family history as well as that of the current building owners.
Work from Camp Home was recently exhibited at Rayko Photo Center, San
Francisco. A recent series, Within Reach, examines the environment at home,
including overlooked objects and spaces of our everyday existence.
Miyazaki began his career as staff photographer at the Cincinnati Enquirer,
then became photo director at Cincinnati Magazine. In 2000, he returned to
his hometown to work at Milwaukee Magazine. Today he pursues free lance
assignments focusing on portrait, food and travel. His images have been published
in the New York Times, Conde Nast Traveler, and the Wall Street Journal, among
others. He teaches part-time at the Milwaukee Institute of Art & Design (MIAD).
Additional images and commentary can be found at www.kevinmiyazaki.com.
Kevin Miyazaki lectures at 7 p.m., October 21, at CPM.
same model and using digital manipulation, creates the illusion that she
is two women involved in a relationship. The images are inspired by private
relationships she has experienced herself or witnessed in others. Double Life
has been included in numerous national and international exhibitions.
Connell holds an MFA from Texas Women’s University in Denton, TX.
Among other collections, her work can be seen at Microsoft; Los Angeles
County Museum of Art; and the Museum of Contemporary Photography,
Chicago. Recent publications of her work include Photo Art: The New World of
Photography, from Aperture. Connell teaches at Columbia College Chicago.
Additional images can be viewed at www.kelliconnell.com.
She has participated in the MP3: Midwest Photographers Project
(http://www.mocp.org/collections/mpp/). She will talk not only about
her work, but will provide an introduction to this program, which offers a
rotating collection of portfolios by prominent and emerging photographers
from Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Ohio
and Wisconsin.
Kelli Connell’s lecture will take place Thursday, Oct. 7 at 7 p.m. (site TBA).
The Scribe by Robert & Shana ParkeHarrison

4  ■  CPM Quarterly  ■  Volume 12, Number 2  ■ SUMMER 2010

“There is both hope and despair in these images.”
a curator’s comment on photographs by
Robert & Shana ParkeHarrison
The husband and wife team of Robert and Shana ParkeHarrison have
received international recognition for their fine art images that poetically
explore human influences on the environment. The photographs embody
aspects of theatre, sculpture, painting and photography. In addition to building
the objects featured in each image, their process to create finished prints utilizes
paper negatives, photo montage and hand-painting techniques.
The ParkeHarrison’s unique genre of photography has been featured in
over 18 solo exhibitions and more than 30 group exhibits world-wide, including
Japan, Canada, Italy and Ireland. In 2000, the monograph of their work, The
Architect’s Brother was named one of the 10 Best Photography Books of the
Year by the New York Times. Their allegorical works can be found in such
collections as the Los Angeles County Museum of Art, Whitney Museum
of American Art, Museum of Fine Arts-Houston, the National Museum of
American Art at the Smithsonian, and the George Eastman House.
Robert ParkeHarrison currently teaches at Holy Cross College in
Worcester, Massachusetts. He lectures at 7 p.m., October 13, site TBA.
A Pair of Exmoor Ponies on a Fog-Shrouded Moor by Sam Abell
“It was all about stepping into magic.”
Sam Abell, on learning to print photographs from his father
Sam Abell learned photography from his father while growing up in
northwest Ohio. For three decades his pursuit of the image took him all over
the globe as a National Geographic Society photographer, focusing on both
cultural and wilderness subjects. His photographs start as documentary, yet
remain open to interpretation on an artistic level.
His most recent book credits include The Life of a Photograph, which
completes a set of three volumes begun in 2000.
Since 1989 he has been associated with Santa Fe Workshops as a teacher
of photography and book publishing, and as part of the Workshops’ Mentor
program. His photographs have been exhibited internationally. Additional
work can be viewed at www.samabell-thephotographiclife.com.
Co-sponsored by Madison Museum of Contemporary Art, and brought
to Madison through the Canon Explorers of Light program, Sam Abell is the
PhotoMidwest 2010 keynote speaker.
His presentation will be Monday, October 4 at Lecture Hall of Madison
Museum of Contemporary Art (MMOCA), 227 State Street at 7 p.m.
What I Like About the 4th of July by Ted Orland
“My theory is that if you lead an interesting life, you’ll
make interesting art.”
Ted Orland
Enrolling in Ansel Adams’ Yosemite Photography Workshop in 1966,
Ted Orland became Adams’ assistant in the late 60’s and 70’s. He went on
to teach at the Yosemite Photography Workshop himself then at schools
nationally, including Maine Photography Workshops, leading master classes
in art production.
Orland is co-author of the classic artist’s survival guide, Art & Fear.
While once a large format photographer creating straight black &
white landscapes, he came to believe “life was whooshing right past me while
I was trying to set up my tripod”. Around 1990, he was ready to embrace
the Holga plastic toy camera and create the often fuzzy, quirky imagery
that he felt was more in tune with his views of the world. Today he carries
the Holga with him almost everywhere. He also uses a digital camera. His
computer and printer produce his pigment prints, which can be viewed at
www.tedorland.com.
Ted Orland will offer a lecture on Thursday, October 28 at 7 p.m. (site to
be determined) and will facilitate a workshop October 29–30.
SUMMER 2010  ■  Volume 12, number 2  ■  CPM Quarterly  ■  5
Photo Exhibits Within a Day’s Drive
WISCONSIN
HH Bennett Studio and Museum {Wisconsin
Dells, www.hhbennettstudio.org} HH Fast Forward:
Rephotographing the Work of Henry Hamilton
Bennett features 15 H.H. Bennett photographs
(1865–1908) along with Bill Pielsticker and
Tracy Madison’s photographs of the same
locations (2009). The exhibit will mark phase
one of a three-phase rephotography project. On
display though Aug. 8.
Chazen Museum of Art {www.chazen.wisc.edu}
Andy Warhol Photographic Studies Andy Warhol
relentlessly documented the people and places
around him. In addition to candid snapshots,
Warhol took thousands of color portraits—of
the famous and unknown alike—with Polaroid
cameras. The Chazen was one of 183 college
and university art museums to receive a curated
selection of more than 100 Polaroids and 50
black-and-white prints as part of the Andy Warhol
Photographic Legacy Program. This exhibition
will show a selection of the Chazen’s Polaroids
from Oct. 9 through Dec. 5.
EVP Coffee {1250 E. Washington Ave, Madison}
Annika by Robert Beaverson
6  ■  CPM Quarterly  ■  Volume 12, Number 2  ■ SUMMER 2010
Confirm dates and open hours with the venue before making the trip
Plastic Beasts, photographs by Lissa McLaughlin
from September 26 through November 7.
Lowell Conference Center {Lowell Center Lobby,
610 Langdon St, Madison} Movement and Shadow
by Reece Donihi. October 1 through November 30.
Overture Center’s Playhouse Gallery {Madison,
www.overturecenter.com } Landscapes and
Mindscapes, a show by John Riggs and
StarLight Tews team up to explore the dynamic
interrelationship between events of the mind and
vistas of the world as received through the eye.
By contrasting the subjective and objective, the
feminine and masculine, the inner vision with
the outer, the viewer is given an opportunity to
experience the possibility of apparently opposing
world views. July 2 through Sept. 30.
Paine Art Center and Gardens {Oshkosh, www.
thepaine.org} Seeing Ourselves: Masterpieces of
American Photography from George Eastman House
Collections Iconic images by ANSEL ADAMS,
ALFRED STIEGLITZ, EDWARD WESTON, RICHARD
AVEDON, DOROTHEA LANGE, LEWIS HINE and
others. Through Oct. 11.
Sharon Lynne Wilson Center for the Arts
{Brookfield, www.wilson-center.com} Coalition
of Photographic Arts Exhibition images by
members of the Coalition of Photographic
Arts (CoPA). Through July 30.
ILLINOIS
Catherine Edelman Gallery {Chicago, www.
edelmangallery.com} Proof, a group show
featuring images by Shelby Lee Adams,
Julie Blackmon, Keith Carter, Clark
& Pougnaud, Kelli Connell, Terry
Evans, Ron Gordon, Greg Gorman, Jill
Greenberg, Todd Hido, Michelle Keim
and many others. July 16 through Sept. 9.
Museum of Contemporary Photography
{Chicago, www.mocp.org} John Baldessari:
A Print Retrospective From The Collections
of Jordan D. Schnitzer and His Family
Foundation Artwork on display from July 2
through September 26.
Birdwatching by photographer Paula McCartney.
Showing July 2 through September 26.
Art Institute of Chicago {Chicago, www.artic.edu}
Henri Cartier-Bresson: The Modern Century A
retrospective collection featuring nearly 300 images
by influential photographer Henri Cartier-
Bresson. July 25 through October 3.
Looking After Louis Sullivan. In the 1950s, the
photographers John Szarkowski, Aaron
Siskind, and Richard Nickel embarked on
in-depth photographic explorations of structures
designed by the renowned architect Louis Sullivan.
This collection explores how these photographers
employed the camera to document and interpret
Sullivan’s architecture and, in the process, helped
shape his legacy. Through December 12.
IOWA
Cedar Rapids Museum of Art {Cedar Rapids,
www.crma.org} China: Insights New Documentary
Photography from the People’s Republic brings
together the work of seven photographers from
mainland China, each of whom have undertaken
the creation of a long-term documentation of one
or more aspects of Chinese culture that he or she
feels reflects something new about China now—
whether that is something emerging or something
vanishing. Oct. 9–Dec. 31.
MINNESOTA
Walker Art Center {Minneapolis, www.
walkerart.org} From Here to There: Alec Soth’s
America featuring more than 100 of Alec Soth’s
photographs made between1994 and the present.
On display Sept. 12 through Jan. 16.
Minneapolis Institute of Arts {Minneapolis, www.
artsmia.org} Robert Bergman: Portraits, 1986–1995.
A provocative collection of 30 color portraits by
Robert Bergman, on display through August 22.
Embarrassment of Riches: Picturing Global Wealth
A collection of images that explore themes such as:
Imagining the Social: Tina Barney, Martin
Parr, Cindy Sherman; New/Old Cities:
Andreas Gursky and Sze Tsung Leong;
and Objects to Consume: Andreas Gursky,
Abelardo Morell and Jacqueline Hassink.

OHIO
Cincinnati Art Museum {Cincinnati, www.
cincinnatiartmuseum.org} Decade by Decade,
iconic images spanning five decades of Walker
Evans’ career. The exhibition begins with images
taken during the Great Depression, then moves
to rare prints from a trips to Tahiti and Cuba,
followed by photos created for the Museum of
Modern Art’s 1935 exhibition: African Negro Art,
and concludes with Evans’ early 1970’s work with
the Polaroid SX-70.

CHICAGO TRIP
CPM is planning a coach trip to Chicago to visit
the Henri Cartier-Bresson: The Modern Century
exhibit. The trip will be on Saturday 25th September
and we envisage leaving Madison around 7:30 a.m.
to allow a full day to take in the exhibition and
allow some free time to enjoy the delights of this
wonderful city. We will plan to leave Chicago
around 4:30 p.m. to arrive back around 7 p.m. Patriotic Balloon by Donald Chell

This exhibition of nearly 300 images is the first

full retrospective devoted to Cartier-Bresson
in three decades. It includes both his formally
groundbreaking early images and his historically
significant post war work—in India and Indonesia
during struggles for independence, in China during
the revolution, in the Soviet Union following Stalin’s
death—that redefined the field of photojournalism.
CALL FOR ENTRIES
Gathering Waters Conservancy encourages photographers statewide to lend your talent to our mission—
help us protect Wisconsin’s special places. We’re looking for images of Wisconsin landscapes and the
people who enjoy them. We’re interested in what you find beautiful—sweeping landscapes, close-ups, and
people at work and at play in the outdoor places that make us love Wisconsin. We are especially excited
about images from lands protected by Wisconsin land trusts.

More details to follow, including pricing, but this
will be on a first come first served basis until the
bus is full. CPM members will have priority and
a preferential subsidised rate. Each member will
be allowed one guest at the same rate.
Winners Will Receive: Cash: $200 for overall winner: $100 for winners in each category; Fame: we’ll
post winning photos on our website and print them in our newsletter; Lasting appreciation: the winning
photographs will be printed, framed, and given as the awards at the 2010 Land Conservation Leadership
Awards Celebration on September 30, 2010 in Madison. A toast: all winners will receive complementary
registration to that Awards Celebration.

If you would like to pre register please email
Becky McKenzie at becky@mckenziefam.com.
We hope you will be able to participate and enjoy
what promises to be a wonderful exhibition and
a fun day. We also plan to arrange a very pleasant
group lunch at the famous Berghoff restaurant
for those interested.
Judging: Images will be judged on overall impact and connection to Gathering Waters Conservancy’s
mission, technical excellence, composition and artistic merit. The judges GWC staff under the guidance
of Award-Winning designer Kristin Redman and National Geographic Magazine Senior Photo Editor,
Sadie Quarrier.
DEADLINE: Sept. 1, 2010. Complete Info and Entry Info at: http://gatheringwaters.org/aboutus_
photocontest.php

SUMMER 2010  ■  Volume 12, number 2  ■  CPM Quarterly  ■  7

Calendar [SUMMER 2010]
CPM Photographer of the Month
After a couple of months off for summer activities
and hopefully lots of time to make photos, the
Photographer of the Month program begins again
in September. The following are the exhibits and
gallery talks scheduled for the remainder of the year:
September: Young at Heart, the American Girl
Exhibit coordinated by Becky McKenzie opening
gallery talk on Thursday September 2 at 7 p.m.
October: PhotoMidwest lecture by Kelli
Connell on Thursday October 7 at 7 p.m. Exhibit
to be announced
November: Irish Eyes, Patricia Delker, Anne
Conner, Angela Johnson, et al., opening gallery
talk on Thursday November 4 at 7 p.m.
December: Mike Lougee opening on Thursday
December 2 at 7 p.m.
The 2011 calendar is now open for CPM members,
classes, or special interest groups to exhibit their
work. Please contact one of the PoM exhibit co-
chairs to sign up or further information: Tom
Miller at miller1950@sbcglobal.net or 273-1501;
Wayne Brabender at wayne.brabender@ces.uwex.
edu or 577-3300.
Third Thursday Programs
September 16: Shooting Beauty:
Everyone deserves a shot Join Dana
Slowiak, VSA (Very Special Arts)
Wisconsin Program Director, and Reece
Donihi, CPM President, for a viewing
of Shooting Beauty: Everyone deserves a
shot. This program and movie presentation
highlights the amazing story of a project in
the Boston area which helped people with
disabilities learn digital photography, and
is similar to the Photo Town experience,
where seven CPM photographers joined
with volunteers from American Girl to help
some VSA clients go from learning about
Photograph by Kevin Miyazaki
the camera to the final show at Promega.
8  ■  CPM Quarterly  ■  Volume 12, Number 2  ■ SUMMER 2010
October 21: Kevin Miyazaki “My photographs
act as evidence....” As an up-and-coming
internationally-renown photographer at 43, and
brought to Madison as part of PhotoMidwest
festivities, Kevin Miyazaki will be sure to present a
fascinating and entertaining program. While sought
after as a freelance editorial photographer, Kevin’s
personal fine art work deals with issues of family
history, memory and public/private space, and
explores themes ranging from WWII internment
camps to the impact of corporate fast food on the
urban landscape. To learn more, visit his website at
www.kevinmiyazaki.com and attend this meeting.
November 18: Photographing the Moon and
the Wisconsin State Capitol Dome John Rummel,
who last year wowed us with his photography of
the Milky Way, will return to present a program
on capturing a dramatic photograph of the full
moon rise alongside - or behind - the capitol dome.
His 5+ year odyssey to do so required detailed
studies of the behavior of the moon, site selection,
weather forecasting and even the rediscovery of
some ancient knowledge known to the builders
of Stonehenge (4,000 years ago), but forgotten by
most modern photographers.
SPECIAL INTEREST GROUPS
PLASTIC CAMERA GROUP
The Plastic Camera Group meets the first Tuesday
of every month at 7 p.m. at CPM, and is open to
all who may be interested in plastic/toy camera
images. Contact Patricia at pcurtindelker@gmail.
com for more information.
HUMAN INTEREST GROUP
The Human Interest Group explores the human
element in photography. The group meets the
first Wednesday of each month at 7 p.m. at CPM.
For more information, contact Dave Peterson at
davpeterson@charter.net
NATURE GROUP
All those interested in wildlife and nature images
are welcome to attend meetings on the second
Wednesday of each month. For more information,
contact Gordon at olson99@tds.net or Milt Friend
at 271-7862.
DIGITAL PHOTOGRAPHY GROUP
Steve Walsten offers Photoshop tips for beginning
to advanced users, and all participants are
encouraged to bring new work to share their
vision, including how they use digital tools. The
Group meets at 7 p.m. on the second Thursday of
each month. Contact Steve Walsten at 237-6330
for more info.
LANDSCAPE GROUP
The Landscape group meets on the fourth
Thursday of each month at 7 p.m. A diverse
group that meets to share images of landscape
photographs and emphasizes different themes
or approaches each month. More information
is available online at http://www.
scribd.com/doc/13706603/landscape-
topics-200
MEMBER NEWS
HH Bennett Studio and
Museum {Wisconsin Dells, www.
hhbennettstudio.org} HH Fast Forward:
Rephotographing the Work of Henry
Hamilton Bennett features 15 H.H.
Bennett photographs (1865–1908)
along with Bill Pielsticker and
Tracy Madison’s photographs of
the same locations (2009). The exhibit
 Meetings begin at 7 p.m. at CPM, 303 S. Paterson St., unless otherwise noted.
“Gallery talks” are first Thursdays of the month except where noted.

Photograph by Don Sylvester

Photograph by Don Sylvester

Photograph by Tom Miller Photograph by Bill Pielsticker

will mark phase one of a three-phase rephotography
project. On display though Aug. 8.
EVP Coffee {1250 E. Washington Ave,
Madison} Plastic Beasts, photographs by Lissa
McLaughlin from Sept. 26 through Nov. 7.
Overture Center’s Playhouse Gallery {Madison,
www.overturecenter.com} Landscapes and
Mindscapes, a show by John Riggs and
StarLight Tews team up to explore the
dynamic interrelationship between events of the
mind and vistas of the world as received through
the eye. By contrasting the subjective and objective,
the feminine and masculine, the inner vision with
the outer, the viewer is given an opportunity to
experience the possibility of apparently opposing
world views. July 2 through Sept. 30.
Lowell Conference Center Lobby We have received
a tremendous response to the CPM photo exhibits in
the Lowell Center Lobby, 610 Langdon St., on the
UW-Madison campus. You’ll want to check them out!
The exhibits change every two months. The lobby is
open 24 hours a day, unless the Center is closed for
a holiday. Just call the lobby front desk at 256-2621.
The lobby is currently booked with CPM exhibitors
through September 2011. You will be alerted through
the CPM weekly update if an exhibitor has a formal
opening or reception for a new show. Otherwise,
just drop in anytime to see an exhibit. If you want
to add your name to this impressive exhibitor list,
e-mail Wayne Brabender at wayne.brabender@ces.
uwex.edu or call 608-577-3300.
August 1, 2010: Carl Bowser, Venetian Fragments
(B&W)
October 1, 2010: Reece Donihi, Movement and
Shadows (B&W)
December 1, 2010: Angela Johnson, Nature
February 1, 2011:Ya-Ling Tsai, Abstracts or Food
Images
April 1, 2011: Tom Miller, People, Travel and
Landscapes
June 1, 2011: Robert Griesel, Gelatin Silver Prints
August 1, 2011: Richard Glasrud, Abstract Window
Scapes or People/Children

SUMMER 2010  ■  Volume 12, number 2  ■  CPM Quarterly  ■  9

 CPM: The Beginnings
It all started with a persistent feeling of
“wanting something more.”
That feeling was first experienced by Carol
Chase Bjerke when she moved from a small town in
Michigan to Madison in 1993. Expecting to find a
vibrant photography culture in a university town, she
set about finding like-minded photography artists,
and instead found a traditional camera club, only one
gallery that would consider handling photography
(which closed after a short life), and other dead-ends
or avenues of limited entry. During her quest she did
make inroads by consigning work to the short-lived
gallery, and by teaching for UW Union mini-courses
and School of the Arts at Rhinelander. She also
began to interact with other photographers who
also wished for “something more.”
By 1995, she was ready to explore starting her
own photography center. Discussions with Madison
art leaders were met with mixed responses when she
outlined her goals. In the meantime, she kept meeting
photographers, and began exhibiting with a collective
of women called PhotograpHERS. She took a small
business class. In 1996 she identified a space for lease
on Johnson Street and was about to put four walls
around her idea, but a series of events—the first being
the realization of what she might be giving up in
creating art by making this major commitment to full
time arts administration, caused her to hesitate about
signing a lease. Soon after, a diagnosis of colorectal
cancer shifted her focus and energy.
The idea, though now dormant, still lingered.
In summer 1997, Ralph Russo (photographer and
School of the Arts colleague) nudged it back to the
forefront by saying to Carol, “Remember when
you were talking about starting a photo center?”
Suddenly she realized there were others who might
be willing to work for the same goals—to create
a community education space which would be
supportive of art based photographic enquiry that
would not be hampered or driven by departmental
politics, egos, self-interest, and conventional
expectations of the medium.
Certainly this was a tall order, but in August
1997, in a room on the fifth floor of the UW Memorial
Union, the first organizational meeting was held.
Carol recalls, “Ralph brought Bill Patterson and
Howard Schwartz... I brought Dede Bangs and Jan
Krieger from PhotograpHERS. Jan brought Kim
Sholly... at subsequent meetings, Dede brought Amy
10  ■  CPM Quarterly  ■  Volume 12, Number 2  ■ SUMMER 2010
Arntson, and I brought Claire Ruzicka.
“The nine of us met frequently at the Union
to hash out our dreams and plans. “ Following a
meeting with Wisconsin Arts Board representatives
to talk about pros and cons of being non-profit, in
early 1998, the group met with attorney Randall
Nye at Michael, Best and Friedrich, to draw up
articles of incorporation. Shortly thereafter an
application for non-profit status was made.
The “something more” now officially became
The Center for Photography at Madison. The first
CPM programs were held in the summer of 1998
at MATC-Truax, and in the Fall they moved to
rooms at MATC downtown. From Jan. 1999 to
Dec. 2000, CPM rented space from Jim Wildeman
at his Paterson Street Studio at 303 S. Paterson.
The same time CPM was getting up and
running, another Madison photography group
was facing difficulties. The Madison Photography
Club, a venerable camera club active since the 1940’s
had learned its meeting space and darkroom on
Fairchild Street was no longer available to them; it
would eventually be demolished to make room for
the Overture Center. The group was now faced with
disbanding as burned out camera club volunteers
left no one to search for a new space or continue
camera club traditions.
In 1998 the CPM Board of Directors, after
considerable discussion, decided to approach the
Madison Photography Club about merging with
CPM. More debate ensued as the two groups worked
out a merger, mediated by Paul Boeck, a member
of both groups. CPM’s proposal was eventually
favorably voted on by the Photo Club. It called for
the transfer of the Club’s paid memberships to CPM,
the gradual transfer of the Club’s treasury, and their
darkroom equipment to CPM. In return, CPM
agreed to provide a regular schedule of monthly
meetings and to set up a darkroom.
While classes, meetings and the yearly GALA
fund-raiser continued at Paterson Street Studio,
CPM began to search for its own space, for the sake
of identity and to fulfill the promise of a darkroom,
both for members’ use and teaching purposes. The
small committee investigating options was coming
up with great spaces but they all demanded more
rent than CPM was capable of undertaking. Finally,
because of an offer from a commercial photo studio
to sub-lease a studio space, and a membership vote
to raise the annual dues, CPM moved to a building
on Cottonwood Dr. in January 2001.
This was the beginning, but 12 years later, CPM
has accomplished much of what was dreamed about
and has an enviable history of accomplishments
(see “Highlights of CPM at 12” starting on page
11). This would not have been possible without the
hard work of early Board members and volunteers.
What started as ideas, dreams, and a desire for
“something more” has grown and flourished. Many
thanks to those who were there at the beginning
and those who have continued to share the vision
and work to see that it goes on.
j PATRICIA DELKER
Spirit Deer by Paul McMahon
 Park by Robert Beaverson
Highlights of CPM at 12
First CPM Board of Directors were: Carol
Chase Bjerke (Pres.), Paul Boeck (V-P), Howard
Schwartz (Treas.), Ralph Russo, Amy Arntson, Dede
Bangs, Bill Patterson (Sec), Jan Krieger, Kim Sholly;
May 1998: Madison Photography Club votes to
merge with CPM; Summer 1998: the Landscape
Group, CPM’s first special interest group started
by Jamie Young & Jacob Stockinger. Followed by
Plastic Camera (2003), a short-lived Excursion
Group, Nature (2005), Human Interest (2006),
Digital (2007); Fall 1998: first CPM newsletter
(no photos) published; Winter 1998/99: first
newsletter with photographs; 1998: First classes
offered by CPM (Fundamentals of Photography, The
Unofficial History of Photography, Photographing
the Human Form and Extending the Image). Since
then CPM has offered over 100 classes, and ten
workshops; October 24, 1998: first CPM
fund-raising GALA. Since then, Galas, Pho-ho-
ho graphy Celebrations, Hearts & Dollars have
been held. In addition to members’ photographs,
auctions have featured images by David Plowden,
Robert Farber, Keith Carter, Doug Beasley, Jerry
Uelsman, Michael Kienitz, Beth Moon, Tom
Jones, Archie Lieberman, and Patrick Nagatani;
March 1999: first annual membership exhibit,
Madison Civic Center, 3rd floor Crossroads Gallery.
Held annually until Civic Center closed, then at
Commonwealth Gallery, Fyfe’s Bistro, WI Arts
Board galleries and University Hospital; March
2000: First Photofest (re-named PhotoMidwest
in 2004) offered 40 exhibits and presentation on
Ralph Eugene Meatyard by James Rhem. Becoming
a biennial event, in 2002, Photofest featured nearly
60 exhibits, keynote speaker Keith Carter. In 2004,
PhotoMidwest moved to October, with two speakers,
two workshops & 65 exhibits. PhotoMidwest 2006
featured three speakers, two workshops & nearly 80
exhibits. PhotoMidwest 2008 featured five speakers,
two workshops, portfolio review opportunity;
January 2001: CPM moves from shared facilities
on S. Paterson to Cottonwood Dr. & constructed
a five station darkroom; November 2002: First
CPM sponsored Photo Tour. Nine members and
tour organizer, Patricia Delker, spend four days in
New Orleans. (October 2003, second photo tour
takes 16 to Ireland for seven days); August 21,
2003: Photographer of the Month initiated to add
photography to CPM’s walls. First photographer
is Paula Bunch & images from Cuba; 2004: Our
first juried exhibit, Photography Midwest: A Seven
State Art Competition, with the Wisconsin Union
Directorate Art Committee in conjunction with
PhotoMidwest; Juror: Keith Carter. Subsequent
jurors Catherine Edelman (Edelman Gallery-
Chicago) and Lisa Hostetler (Milwaukee Art
Museum); Fall 2005: CPM exhibits at new
Overture Center Galleries with Classic Black &
SUMMER 2010  ■  Volume 12, number 2  ■  CPM Quarterly  ■  11
White, a juried members exhibit. Followed in 2007
with Kingdom of Animals; 2008: contracted with
Wisconsin Academy of Arts and Sciences to utilize
Steenbock Gallery for photography exhibits.
CPM has applied for/ received over $18,000 in grant
funding, primarily from Dane County Cultural
Affairs, American Society of Media Photographers
(ASMP), Overture Center and Wisconsin Center
for the Book. In 2003, we received a $5,000
anonymous donation; CPM has worked
with or co-sponsored events/projects
with: SNAPP, South Metropolitan Planning
Council, Madison Arts Center, Angel’s Wish, Big
Brothers/Big Sisters, Wisconsin Union Directorate,
Madison Songwriters and Mind’s Eye Radio; CPM
has sponsored the following major
photographers, educators, curators
for lectures and/or workshops: Keith
Carter (2000 & 2002), David Plowden (2002),
Archie Lieberman (2003), Jerry Uelsmann and
Bea Nettles (2002) ,Catherine Edelman (2002
& 2004), Doug Beasley (2004 & 2006), Linda
Butler (2005), Jill Freedman, Martina Lopez, Alec
Soth and Deborah Riley (2006), Danny Wilcox
Frazier, Beth Moon, Virginia Lee Hunter, Elizabeth
Opalenik and Patrick Nagatani (2008).
j PATRICIA DELKER
Information on Photography Classes for 2010
The CPM education program was very successful
this past semester. Seven formal classes covering
“Introductory Digital Photography”, “Moving
from Snapshots to Photographs”, “The Philosophy
of Photography”, “The Black and White Image:
Developing a Workf low”, “Minimalist Digital
Flash Photography”, and “Introduction to
Outdoor Photography” were taught between
February 1 and April 27 to 33 non-members and
13 CPM members who collectively registered
63 class times.
We thank Sarah Stonefoot, Bill Pielsticker,
Tracy Madison, Patricia Delker, Carl
Bowser, John Lorimer, Milt Friend, Kevin
Hoag and Dan Rich for their strong and creative
efforts to teach these classes. During the summer,
two additional sessions of “Day in the Field with a
CPM Photographer” were held. Don Mendenhall
led his “FieldDay” group to Farmer’s Market on the
Capitol Square and then down State Street to the
UW Union to create images that illustrate some
aspect of current Madison life. Two weeks later,
Milt Friend led a group on his FieldDay to the
Goose Pond area to explore Nature photography.
In September the CPM Education Committee
will present a series of new digital photography
classes. Classes on other aspects of photography
will be presented during November–December.
Most of October will be devoted to events
surrounding PhotoMidwest.
The detailed schedule for Photography Classes this
September is still being organized as we go to press,
but classes in “Introduction to dSLR Photography”,
“Specialized Techniques in Digital Photography”,
and intermediate to advanced classes in Elements
of Design, Composition, and Magic Light will be
taught. One workshop to photograph Fall Colors
is also on the agenda. Those interested in receiving
information as it is developed can email Dan Rich
at cpm_classes@me.com
Also, members of the Education Committee,
and especially Clint Thayer, are hard at work
developing a new CPM web module to support the
educational program. An education web module is
being constructed from the ground-up to announce,
advertise, download class information, and register
students for classes. We hope to have this web site
fully functional by about August 1.
In any case, if you have questions about current
educational activities or suggestions for future
classes, feel free to contact Dan Rich at cpm_
classes@me.com

BRANCH, LEAF, BLOSSOM

Branch, Leaf, Blossom is a juried exhibition sponsored by CPM that will hang
at Steinhauer Trust Gallery at the UW Arboretum, from Jan. 2 through Feb.
27, 2011. The exhibit is open for members and non-members alike to enter with
tree images photographed in the Arboretum, Madison and/or Wisconsin. The
images can range from any season, and from a full forest to the smallest detail
such as a flower petal, leaf or seed.

The juror is William Guion, who has photographed trees for more than 30
years, mentored under Morley Baer and published two books. His website:
www.williamguion.com. The full prospectus with details will be available Aug.
1 and entries will be accepted from Sept. 1 through Oct. 15, which one or more
images can be entered. If you have questions please contact Becky McKenzie
at becky@mckenziefam.com.

• Volunteers Needed •

If you would like to assist with CPM

p r o g r a m min g , e du c a ti o n, this n e w sle t te r,

publicity or photographer of the month,

call Reece at 608-643-8326

At the Rodeo by Reece Donihi

12  ■  CPM Quarterly  ■  Volume 12, Number 2  ■ SUMMER 2010

When You Live Alone A POEM by Richard Wilberg

She: How are you doing?

He: Not well. I’m going to Kansas to bury my mother.
She: Oh, I’m sorry for your loss…
He: Thank you. My problem was finding someone to
care for my cats. It’s hard to be away when you
live alone.
She: Was her death unexpected?
He: Mom lived alone since the divorce. I moved to
Arizona years ago. Just last week I had to take
them to the vet. They are much better now. It’s
hard to care for cats when you live alone.
She: Did you see your mother often?
He: I used to drive sixteen hours to Kansas without
a rest until I sideswiped a guardrail. I take the
train now. My brother is looking in on the cats
while I’m away.
She: Will your family be at the funeral?
He: Mom didn’t want any special arrangements.
She didn’t like to fuss. Raindrop is the oldest,
then Fluffy, Tiger and Felix. I miss the cats
already. It’s hard to be away from them when
When You Live Alone by Richard Wilberg
you live alone.

Under the Lights by Reece Donihi

SUMMER 2010  ■  Volume 12, number 2  ■  CPM Quarterly  ■  13

 Magdalena Longhorn by Eleanor White

Bench by Robert Beaverson

14  ■  CPM Quarterly  ■  Volume 12, Number 2  ■ SUMMER 2010

CPM Member Registration FORM
to join the center for photography at madison, fill out and
mail this form, along with your membership dues, to:
The Center for Photography at Madison • P.O. Box 56022 • Madison, WI 53705-9322
Choose One: ❏ New Membership ❏ Renewal
Why JOIN?
as a member you will enjoy attendance at our programs,
participation in portfolio reviews and member exhibition,
special member rates on classes, discounts at participating
photography merchants, and a quarterly newsletter.

Name (please print):

Address:

City: State: Zip:

Phone (day): Phone (eve): E-mail Address (please print clearly):

Choose Membership Option:

❏ $36 Student* ❏ $50 Senior† ❏ $80 Senior household† ❏ $70 Individual ❏ $100 Household ❏ $30 Friend of CPM
❏ $360 Key Member (Contract required, call 608-287-1182 for more information)‡ ❏ $250 Sponsor (Minimum contribution, Corporate or Individual)

Are you interested in volunteering in any capacity?  ❏  Yes    ❏  No    If yes, areas of interest: ________________________________________________________

How did you hear about CPM?__________________________________________________________________________________________________________

* Student: under 18 or with proof of college ID; † Senior: 62 or older; ‡ Available in ½ year installments.
✁
The Center for Photography at Madison
P.O. Box 56022 ■ Madison, WI 53705-9322 Map and Directions to CPM
608-287-1182 ■ cpmad@yahoo.com ■ www.cpmad.org
From the West Side of Madison: Take Johnson Street across the Isthmus,
CPM Quarterly is published four times a year and is free to all members. Articles,
and turn RIGHT onto Paterson Street. Cross E. Washington Avenue, Main Street,
comments, suggestions and address changes can be sent to CPM.
and two sets of railroad tracks. 303 S. Paterson is on the LEFT side.

Next Newsletter Deadline: September 1, 2010

From the East/Northeast side of Madison: From either Gorham
IMAGE SUBMISSIONS: Photographs can be emailed to ramphoto@verizon.net.
Street or E. Washington Avenue, turn LEFT at the Paterson Street light. Cross E.
Please send grayscale, maximum-quality JPEGs, 5" × 7" @ 300 DPI. Please use
Washington Avenue (if you were on Gorham Street), Main Street, and two sets of
your last name and the name of the photograph as the file name.
railroad tracks. 303 S. Paterson is on the LEFT side.
advertising RATES for 2010
Ad Size Width × Height Price From the Monona area: Get onto Williamson Street inbound towards the
Full Page 8.375" × 5.75" $260 Capitol. Turn RIGHT onto Paterson Street, take the second driveway on the right.
1/2 Page vertical 4.0625" × 5.75" $130
CPM is at 303 South Paterson Street, Ste E2; Madison, WI 53703
1/3 Page vertical 2.625" × 5.75" $85
Business Card 3.5" × 2" $25
N
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at

Advertising submissions should be sent directly to ramphoto@verizon.net

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Dav id Peterson [dav peterson@cha r ter.net] ■ Bi l l Pielsticker [bi l l@

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pielstickerphotos.com] ■ Mark Bunge [mark.bunge@gmail.com] ■ Trevor

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Don Mendenha l [essencephotography@charter.net] ■ Beck y McKenzie

[ bjmackie@gmail.com] ■ Chris Spencer [cwsphoto@charter.net]
DES I G N B Y G R E G O R Y P A R K E R [ park e r @ o n e f o u r n i n e d e s ig n . com ]

SUMMER 2010  ■  Volume 12, number 2  ■  CPM Quarterly  ■  15

P.O. BOX 56022
MADISON, WI 53705-9322

Yaak River, Montana by Dave Peterson