By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
All of these photos were posthumously printed under the direction of Partridge, Cunningham's son, a noteworthy photographer in his own right. In the 1930s, he worked as an apprentice for Dorothea Lange and later for Ansel Adams. He then embarked on a fifty-year-long career as a commercial photographer; his work has appeared in Time, Life and Fortune magazines. Retiring in the 1980s, Partridge dedicated himself to creating fine-art photos.
The earliest Partridge photos at Camera Obscura date back to the 1930s, but most are ones he's created since retiring. Stylistically, his work is akin to Cunningham's and, like his mom, he likes to capture the abstract quality of a single object, in particular, flowers. "My Magnolia," from 1999, could easily be mistaken for a Cunningham -- except for its recent date.
A special feature of Years Together & Years Apart is that everything is a platinum palladium print. Partridge enlisted accomplished platinum printers Richard Lohmann and Pradip Malde to make the prints. Ironically, one of Cunningham's claims to fame was her development of a lead salt substitute for platinum printing, a task no doubt assisted by her background in chemistry. According to gallery director Hal Gould, the platinum method is the best way to print black-and-white images. "The gradations in tonality are impossible to achieve in any other way," he says. "You certainly can't get the same effect using gel-covered photographic paper, like so many of them do today."
Years Together & Years Apart
Through April 23
Camera Obscura Gallery, 1309 Bannock Street
Camera Obscura is the first American gallery to present this exhibit, but it premiered last year in Germany. It continues Gould's decades-long tradition of presenting the world's greatest photographers in intimate and intelligent little shows.