“This was a wonderful experience for our family. Maundy is an incredibly talented photographer. This was not your ordinary portrait session. Very professional. We were extremely happy with the results. We have a bunch of family shots, headshots of each of us and an awesome collection of senior portraits of our son. Maundy is the photographer to go to!” – Susan MacDonald
This year, give a gift they can look forward to – a magazine-style photo session at Maundy Mitchell Photography. It’s a day of pampering in my beautiful studio, with professional hair and makeup styling and guidance throughout. They can enjoy this experience on their own, with their partner, mother, daughter, sister or a best friend.
Whether they would like to celebrate the holiday, or a milestone, or perhaps they could use a boost in confidence, treat your loved one to a portrait experience and an heirloom folio collection.
Like a trip, the planning is part of the fun! Once we choose a date, we will create an online mood board together. We’ll talk about styling and how they would like to look in their new portraits. It’s a lovely thing to look forward to.
About two weeks after their session, they’ll return to the studio to choose their portraits. They will leave that day with the portraits they love, portraits that will be cherished by them and those who love them for generations.
This winter, I’m taking a very limited number of bookings, with Covid-prevention measures in place. (The lucky recipient of your gift could even schedule their session for spring).
To give this gift or to find out more, email firstname.lastname@example.org
Mackenzie wanted senior photos with a strong fashion influence from casual to formal. She is smart, progressive, beautiful, and kind. She’s an actor, a student, and an activist. She’s also very creative. Her ideas helped me to design a completely different kind of senior photo shoot, one that included her grandparents and a special recreation… I am grateful to have photographed Mackenzie at this stage in her life.
Her day began with professional hair and makeup styling.
It’s easy to see that Mackenzie has a wonderful relationship with her grandparents, Brenda and John. They are a very close family, so she asked them to join her for some family portraits.
Another special thing Mackenzie wanted to do was to recreate her grandmother Brenda’s senior photo from 1968. When I took this photo, I asked Brenda to stand by my right shoulder so they would always know that Mackenzie was looking at her in this portrait.
“By far one of the best days ever! Thank you, Maundy!” – Mackenzie
“We had a wonderful relaxing day of bonding. [Before this session] I was opposed to having my pictures taken. Maundy made everyone so relaxed and comfortable. We had a hard time choosing our finished photos! My granddaughter now has a keepsake [folio box], class picture, and headshots. Fabulous! If you are considering doing portraits, don’t hesitate.” – Brenda
My studio is growing again! For the past two months, I’ve been learning wet plate collodion (tintype) photography from Gary Samson in his Manchester, NH studio. You can read more about that here: https://maundymitchell.com/a-random-act-of-kindness/
A tintype, also called a ferrotype, is a photograph made by creating a direct positive on a thin sheet of black-enameled metal, which has been coated with chemicals to sensitize it to light immediately before exposure. Tintypes were invented in 1851 and used widely until about 1870 when other, easier, forms of photography became more popular.
One of the things I like the most about tintypes is that they are handmade and one of a kind. When you see a tintype of of someone, you know that this actual tintype was present in the room when this person was photographed. They may have even watched their image appear in the developing process. In the early days, this was often the first photograph they had seen of themselves.
After the very first day of learning how to do this, I knew this was something I wanted to do more. I decided to set up my own tintype studio by renting another room in my building.
I’ve been in my current studio for five years, and I seem to add a room each year! (You can take a video tour here: https://maundymitchell.com/the-portrait-experience/). In addition to the main shooting space, styling room, work room, client lounge, and dressing room, I have a new tintype studio. I’ve been spending time renovating this room, fixing holes in the walls, painting, and replacing the flooring.
One of the most interesting things about the new room is that my darkroom will be in an old bank vault! I love this building, which was a bank from the early- to mid-1900s. I’m working on the darkroom vault, building shelving and countertops, installing safelights, and gathering all of the tools I need to process these photos – everything from chemicals to trays and tanks.
In the meantime, I was able to acquire a special camera and lens for making tintypes. This is a Deardorff camera, which I got from restorer Tom Lazaroff, of Photolaz Wood and Brass, in Ohio. He got the camera in Chicago, where it was used to make many of the photos in the old Sears & Roebuck catalogs for many years. Research leads me to believe it was made in the 1920s.
The lens is also special – it’s a Dallmeyer brass portrait lens, made in London around 1897. It should make beautifully soft portraits, and I can’t wait to use it.
I expect to be set up and working in this room in the next couple of weeks. This winter, I’ll practice a lot in order to perfect my technique, and I hope to incorporate tintypes into my portrait work soon. There is still work to do, but here’s a peek!
Often the inspiration for my portraits comes from art books or online research. Sometimes it comes from a shared mood board. Tristan in an artist and an equestrian. This portrait came together from our mood board. He was drawn to this painting by Henri Latour called “Portrait of Leon Maitre” from 1886. I had been researching work by photographer Edward Weston for another project when I came across this mid-1800s etching of a different Edward (Payson) Weston called “The Pedestrian” (artist unknown). I like this antique style, so I added it to our mood board. I drew elements from both the painting and the etching, and we incorporated Tristan’s wonderfully stoic gaze.
It has been a busy month for the Protest Portraits. We moved the large-scale outdoor art exhibit from Holderness School to Plymouth State University, where it was installed for ten days. Next, we installed it at New Hampton School for two weeks. Teachers and professors at each school incorporated the exhibit into their curriculum.
Amy Wilson, Chair of the Visual and Performing Arts Department at New Hampton School designed lessons around the exhibit. The School’s Diversity Club coordinated an opening reception, and there was much discussion.
Then we moved the exhibit to storage for the winter. Special thanks to the NH Master Chorale for sponsoring the storage unit until spring. Several institutions are interested in displaying Protest Portraits in the spring. Please email email@example.com if you’re interested in having this exhibit at your institution.
Thank you again to the many volunteers, donors, participants, and community for supporting this movement and this exhibit.
In addition to the large-scale exhibit, several of the Protest Portraits were chosen for other exhibits, both online and in person. The online exhibits include “Us: What Divides Us and What Unites Us?” (group) international juried exhibit, Protest Portrait: Nakiya #1, Touchstone Gallery, Washington, DC, online, September 18-November 3, 2020. www.touchstonegallery.com and “See My Color” (group) a national, juried social justice exhibition by the Women’s Caucus for Art of Greater Washington, DC, online, September 30–November 30, 2020. https://www.wcadc.org/seemycolor
Three framed Protest Portraits are also currently on exhibit at the Reece Museum at East Tennessee State University, Johnson City, TN, “The 2020 FL3TCH3R Exhibit” (group), international juried exhibit, Protest Portraits: Francois #2, Protest Portraits: Taejah #1, Protest Portraits: Trysten #1, October 5 – December 11, 2020. https://www.fl3tch3rexhibit.com
Early last month, I had an art opening at Kimball Jenkins School of Art. It was “lightly attended,” so I spent a lot of the time eating cookies and talking with executive director Julianne Gadoury. I told her that I had been wanting to learn a particular historic photographic technique called wet plate collodion. This is a very early tintype photographic process invented in the mid 1800s. It involves creating metal (or glass) photographic plates with some of the oldest darkroom procedures and equipment. I told her that I had enrolled in a wet-plate collodion workshop in London last year, but it was cancelled because of the pandemic.
A few days later, I received a message from esteemed photographer Gary Samson, who is a former Artist Laureate of New Hampshire. Gary said that he been to Kimball Jenkins to see my exhibit and had been told by Julianne that I was interested in learning about the wet plate collodion process. He told me about his wet plate collodion studio in Manchester, NH, and invited me to come learn about the process.
I was thrilled to spend an entire day learning this process. I was grateful and a little unbelieving. Gary said that many people have reached out to him over the years to help him in extraordinary and unexpected ways. He believes in “paying it forward with random acts of kindness.”
Gary is a great teacher, having taught since nationally and internationally since 1981. In 2001, he became Chair of the Photography Department at the New Hampshire Institute of Art in Manchester, NH. He has won many awards for his portrait, cultural, and documentary work, and he served as the New Hampshire Artist Laureate from 2017 – 2019. Currently, Gary is working on a project called “New Hampshire 2020,” involving more than 40 photographers. The project will culminate with seven exhibits around the state, as well as a book.
These are cell phone photos of the process. The first day, Gary showed me the entire wet plate collodion process and I even prepared one of the plates. There are many, careful steps to prepare.
One of the cameras Gary uses for this process is an 8×10, Agfa Ansco field camera, made in the 1930s.
The first subject was me. Gary made two plates and I got to see how the portraits were created, start to finish.
At the end of the first day, Gary offered to take me on as a mentor so I can perfect the wet plate collodion techniques. The second day in his studio, I created a still life, and poured and processed four plates of it. Gary stood nearby to guide me the entire time. I worked in the darkroom by myself (with an occasional grumble when I made a mistake).
I’m grateful for this opportunity to learn the wet plate collodion process from Gary Samson. I’m looking into creating a darkroom in my own studio to be able to practice more and eventually to incorporate it into my portrait work.
I was so happy to welcome this beautiful family to the studio recently. Diana and her husband, Bobby, wanted some personal branding images for a new venture. Their daughter, Belle, needed new images for acting. The family also wanted to have some casual as well as more formal portraits, individually and together.
They love their new collection of images. Here are some of their favorites.
When Michael saw this business portrait of himself, he said “Whoah! I have a portrait of my grandfather and I look just like him here!” I love those connections.
Michael is an MBA student at Dartmouth College. He’s a husband and father, an Army veteran, and a motorcycle enthusiast. He came to the studio recently for a mix a modern-formal and casual business portraits and headshots.
Is it time to update your own business portraits and headshots? Email me to book a session: firstname.lastname@example.org
Reece Museum, East Tennessee State University
October 5 – December 11
I’m pleased to announce that three of my works from the Protest Portraits series have been selected for an international, juried exhibit called “The FL3TCH3R Exhibit,” at East Tennessee State University.
Sept. 11, 2020
Contacts: Barbara H. & M. Wayne Dyer
2020 ‘FL3TCH3R Exhibit to offer gallery, virtual options
JOHNSON CITY, TN – The year 2020 has been a year of social, political and health-related statements of many kinds. The annual “FL3TCH3R Exhibit: Social & Politically Engaged Art” at East Tennessee State University’s Reece Museum is a visual art forum inspired by and tailored for just that kind of expression.
Fittingly, the 2020 exhibition will be a hybrid, part in person and part virtual. “We believe the hybrid, virtual way in which the exhibit will function this year conforms with its basis – reflecting social and political effects of how we are living through the 2020 pandemic,” say “FL3TCH3R Exhibit” co-directors Wayne, Barb and Carrie Dyer.
Established in 2013, in memory of ETSU graphic design student Fletcher Dyer, son of attorney Barb Dyer and now-emeritus ETSU Art & Design professor Wayne Dyer, “FL3TCH3R” has become an international juried exhibit with 249 entries this year from nearly 100 artists from around the world.
Selections for this year’s exhibit – which runs Monday, Oct. 5-Friday, Dec. 11 – were made by juror Carlton Wilkinson, a Nashville photographer, gallery proprietor and international speaker and lecturer. Entries for the exhibit run the gamut of visual art forms: fiber, jewelry/metals, painting, photography, digital, sculpture, printmaking, video, graphic design, ceramics and 2D and 3D mixed media.
The “FL3TCH3R Exhibit”is always an indicator of artists’ social and political concerns, says Reece Museum Exhibition Coordinator Spenser Brenner. “As artist participation has increased since the first exhibition in 2013, so has the scope of issues being addressed,” Brenner observes. “Considering the current state of national and global politics, coupled with social justice issues and the ongoing pandemic, I’m sure artists have a lot to communicate.”
The 2020 entries and selections, “more than ever before,” says Barb Dyer, “reflected key prevalent issues surrounding the 2020 election and the present administration, as well as concerns of people worldwide.”
Entries illustrated a range of subjects, including Black Lives Matter and systemic racism, police brutality toward people of color, protests, the COVID-19 pandemic, first-responder heroes, the 2016 election result, oppression, slavery and the environment.
“The entries submitted were some of the strongest and most powerful visual narratives of social/politically engaged artworks ever received by the exhibit,” says Fletcher’s sister Carrie Dyer, a graphic designer and design professor at High Point University, N.C.
This year, the exhibit co-directors are making their own statement, adding an award for artwork focusing on Black Lives Matter.
Other awards, include the best-in-show awards and memorial awards, established in memory of former ETSU Art & Design Chair Jack Schrader; former ETSU Vice President of Academic Affairs and arts supporter Robert J. Alfonso; Dorothy Carson, mother of graphic designer David Carson; and the Sammie L. Nicely Appalachian Award in memory of the beloved regional artist.
In addition, former “FL3TCH3R” juror, physician and visual artist Dr. Eric Avery, supports the Avery Healthcare and the Arts Award, while a portion of the entry fees also funds the Fletcher Hancock Dyer BFA Graphic Design Scholarship Award given annually to an ETSU Art & Design student.
While the 2020 exhibit can be viewed in person during the museum’s operating hours, this year’s awards ceremony will be recorded on Nov. 5 by the Dyers and Reece Museum staff and posted on the Reece Museum website and social media platforms.
Also this year, because of the pandemic, the juror’s talk by Wilkinson will be virtual, recorded Nov. 5 and posted at www.etsu.edu/reece. The talk will include a walk-through of the exhibit with Wilkinson’s commentary.
Visitation to the exhibition, however, will not go virtual, opening to the public Oct. 5 at the museum on Stout Drive on ETSU’s campus. “The Reece has implemented a number of measures to keep visitors, students and staff safe during the COVID-19 pandemic,” says Reece Director Randy Sanders. “These measures include wearing a face covering, a one-way system of navigating the museum’s galleries and hallways, having hand sanitizer available at the front entrance and maintaining social distancing guidelines.”
Museum hours are 9 a.m. to 4:30 p.m. Monday-Friday. “We encourage visitors to call 423-439-4392 or email us at email@example.com to plan a visit ahead of time,” Sanders says. “This will help museum staff maintain social distance guidelines.”
The virtual events will not only keep patrons and artists safer, but they also open up new possibilities in the reach of the “FL3TCH3R” legacy. “In many ways, the exhibit may be accessible to more people than usual due to efforts by the Reece Museum staff to share the exhibit and events online,” Wayne Dyer says. “We hope that these plans add strength and awareness of the wonderful works accepted this year.
“We are confident that this year’s exhibit will be powerful.”
For more information about Fletcher Dyer, visit http://fletcherdyer.com/about.html. For more information about the exhibit, visit http://www.FL3TCH3Rexhibit.com and for Reece Museum, visit www.etsu.edu/reece or call 423-439-4392.
For more information on Mary B. Martin School of the Arts, visit www.etsu.edu/martin or call 423-439-TKTS (8587). For disability accommodations, call the ETSU Office of Disability Services at 423-439-8346.
2020 Accepted Artists
Anonymous*, Armin Amirian, Robert Arbogast, Sheldon Bachus, Brandin Baron, Martin Beck, Diego Bonilla, Charlotte Brindley, Art Brown, Dongsoo Choi, Sean Clark, Anita Cooke, Claudia Dean, Erik Deerly, Matt Drissell, Jason Flack, Tracie Fracasso, Joel Gibbs, Shanna Glawson, Celine Gobert, Wesam Mazhar Haddad, George Hughes, Robert Hunter, Daniel Hustwit, Lindsay Johnson, Patricia Kabore, Kim Klabe, Sara Koppel, Andrew Lawson, Kirk M., William Major, Crystal Marshall, Meredith Mays Espino, Maundy Mitchell, Michael Owens, Susan Pearcy, Dawn Peterson, Mark Ray, Gigi Salij, Miguel Saludes, Heath Schultz, Alyssa Sciortino, Denise Shaw, Susan Shie, Sarah Sipling, Stuart South, Michael Spillers, Michael Stevens, Stuart Tessler, Nic Tisdale, Patricia Anderson Turner, Lisa Whittington, Beau Wild, Aaron Wilder, Gary Zak, Abby Zeciroski, Alexander Zimmerman.
*Anonymous, is used as requested by artist in the above to protect the artist from governmental reprisal.