I am a part-time Nature Photographer who works full time as a Postdoctoral Scholar at Stanford University. For as long as I can remember I have had a passion to explore nature. It was this passion, along with my hopes to share my experiences with others that ultimately brought photography into my life. Over time, photography has become more than just a tool to share my passion for the outdoors; photography has become an artistic outlet with which to communicate something about myself. My portfolio captures what I feel is the beauty and essence of nature in its most dramatic form. Using a combination of both film and digital media, I have captured a diverse range of images, many of which I feel exemplify nature at its best, and many of which I would like to think convey something beyond nature. My prints are created using digital enlargement followed by printing using archival photographic paper and chemistry.


For more art by Gregory A. Cope, click here.

Daniel Newman’s work utilizes, in abstract and expressionistic forms, various fragments of the urban landscape of his birthplace, San Francisco. He grew up immersed in a world of avant-garde art, jazz, and world music in the home. Daniel developed his creative vision surrounded by the works of artists such as John Chamberlain, Jay de Feo, Roy De Forest, and Alfred Jensen. His artistic approach evolved to include visual art, music, and often the intersection between them. Daniel’s photographic process involves a persistent scouring of the San Francisco urban industrial landscape for: the uniquely unseen; compelling moments of light, texture, and form; and, often times decaying elements in the constructed environment. His works are attempts to extract and synthesize the less seen, yet strangely elegant fragments of the cityscape in order to reconstruct a neo-vintage, urban aesthetic. Daniel sees industrial monuments and the processes of time as beautiful sources, resonating with strong form and textural interest. His works often combine multiple photographic layers of urban imagery forming resonant compositions much like the musical timbres of a jazz quartet. He has been showing his photographic works in Bay Area galleries, and commercial venues, and in galleries in New York City and Philadelphia, Additionally, his works are held in numerous private collections.


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This is an exploration of urban decay in America and of the elusive stories of hope buried in these intense settings. These are corners rich with evidence of their histories, and I sift through them late at night in an attempt to revive the past and to tell their tale in subtle yet dramatic ways. To draw out these stories, I bring lights and colored gels which I use to light these scenes as theatrical sets. For years I feared I would become homeless, as had several members of my family, including my father and brother. I would look at these alleys and abandoned buildings as places of refuge – a safe place to go and hide when one is without a home. And with this mind-set I would forge crazy strategies, preparing for life on the street. While staring at these desolate places I would think to myself, “It won’t be so bad, I can always live there.” And so it is that I dig for stories in the hopes of finding riveting tales of human struggle and triumph. In so doing I transform these forlorn locations into uplifting and powerful scenes. With the city humming in the background, I look for inspiration where there shouldn’t be any. It is a gripping quest in often dangerous places – I try to bring friends. I’ve run from street gangs and I’m often questioned by the police, who can’t believe my story. Yet, ironically, in the alleys I find moments of peace in a hectic life.


For more art by Xavier Nuez, click here.

My artistic process begins with collecting salvaged colloquial objects, photographs, scraps of text, and dismantled remnants of previous works. Each object is carefully selected for its unconventional beauty and quality of mystery when separated from its conventional context. I find a coffee stain on a discarded playbill or the wear on the fold of an old map both intriguing and exquisite. I am fascinated by how ordinary words manifest a divergent visceral impact when translated into alternative type styles and languages. I find creating harmony between these inherently disharmonious objects a fascinating practice. Their connection may actually be their seeming disconnection. It is my challenge to find a relationship among them, and then place these objects in a way that gives them a new purpose. In reconstructing the objects' significance or former collective meaning I am walking backwards on sacred ground. The result may be unsettling, but that is my work's greatest potential and promise; a new way to view the world. I admittedly feel an enormous pressure to explore every facet of what can be done with each object, thought, or photograph, and allow it to speak, sometimes even shout, a fresh significance. Old world meet the new.


For more art by Janna Stern, click here.