All images copyright by the individual photographers

	Fayoum Camp, by Andrea Gluckman, 21x31-in, $275 (Print Only $140). Andrea continues her Visiting Artist exhibits with this wonderful series of photos from a recent art residency in Cairo.  Not showing the more “touristy” photographs of the pyramids and tombs, she provides the viewer with an entirely different feeling. The Fayoum area is 1-2 hours outside of the hustle and bustle of Cairo... there are no traffic jams nor honking horns here, only serenity.  It is a beautiful place.  Andrea uses a wonderful expression in her introduction:  “offering a sense of presence in absence”. This photograph is a perfect example of this idea.  The tent is surrounded by an almost unworldly sky, the eternal sands of the desert.  A powerful example of minimalism....not showing either too much or two little...just right.  The color palette has been beautifully selected; the colors of the tent and the sand are almost a single subject, contrasted against a marvelous sky.  Andrea has positioned the tent in the photograph so that it is shifted to the right, from center ...this allows the viewer to look beyond the tent into the vast desert landscape.  Pulling the viewer deeper into.   It makes the entire image organic, not just a snapshot of a tent but a complete composition.  Even the finish and framing is well done…..the absence of a mat and use of a black frame doesn’t offer any distractions to admiring this photograph… the viewer  an  visually lock into the image and can let their sense of fascination soar. This is a wonderful photograph which should adorn someone's wall! By Steve Levinson
	Gladiolus Study 2, by Judy Riales, 9x9-in, $55 Gladiolus Study 2 is a Gallery Pick created by Judy Riales. Judy’s image focuses on the intimate and delicate essence of a singular gladiolus flower. It is part of a series of similar skillfully framed images within mats with simple, yet elegant frames that complement the subtle and soft color tones of the floral images, enhancing each photo’s sense of tranquility and focus. The composition of Gladiolus Study 2 draws attention to the inner parts of the gladiolus, with a soft focus that gently blurs the edges and background, ensuring that the viewer’s gaze is centered on the flower’s structure and color gradations. The lighting enhances the sensual curves of the flower’s petals, with the gradient from warm yellow to deep oranges, creating a glowing effect that brings the image to life. Judy has captured not just the physical likeness of the gladiolus but also the transient beauty of the subject. Her study may provoke contemplation about nature’s intricate forms and the temporal elegance of flora. Judy chose to use a substantial white mat border, which creates a sense of space and importance around the photograph itself, similar to a visual pause that allows the viewer to mentally prepare before engaging with the art. Congratulations to Judy for showcasing the subtlety of floral photography, revealing the understated grandeur of a botanical subject while using the power of art to transform a simple subject into a profound visual experience. By Marie Costanza
	The Family Photo, by John Stuhlman, 18x24-in, $400 If you're seeking tranquility and respite from the vivid and explosive RED compositions, take a moment to behold John Stuhlman's two photos and become enveloped in the serene beauty of nature. One of the compositional elements that immediately captivated me was the multitude of triangles formed by the trees. Each tree, as well as different subsections of the group, contributes to this triangular arrangement, a technique frequently employed by photographers. Early artists recognized the pleasing effect of an odd number of elements, making the triangle one of the simplest yet most effective compositional components to utilize. The background pines are delicately shaded and blurred, enhancing the three-dimensional sense of depth along the ribbon of water behind the trees. Along the foreground, a short expanse of green, yellow, and pale red vegetation signals the transition from fall to winter, also serving as a subtle vignette that draws focus to the stand of trees. The white trees are particularly intriguing, likely adorned with hoarfrost, which effectively accentuates their branches, contrasting vividly against the dark background and muted colors of the foreground vegetation. The presence of red leaves in the right clump adds a delightful touch. Reflecting on John's metaphor, one might envision the white trees as grandparents, with the grandmother adorned elegantly and the grandfather slightly stooped with age. The father is proudly positioned in the center, tallest, and with arms outstretched—a symbolic testament to family and history. The rest of the family, including the children and perhaps grandchildren, are depicted in front and to his right. Perhaps I delve too deeply into interpretation. What do you perceive? Thank you, John, for presenting us with a captivating photograph that narrates multiple stories and imparts the tranquil essence of a forest stroll. By Dick Bennett