Page 142 - Spring Book 2020: Finding Peace in a Restless World
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 skills that helped me enjoy photography and the obser- vation of the environment for many years after. I had the privilege of being included in the first PhotoCentral ex- hibition in 1988 and have participated in some activity, be it classes, workshops or exhibitions, every year after. For many years the emphasis of my photography was on infrared black and white film photography. Along the way I have experimented with many other forms of pho- tography. The latest adventure is in transferring photo- graphs on to wood vessels I turn on a lathe.
The more Important benefit of being associated with
Arnold Clayton Henderson
Arnold Clayton Henderson has had mixed careers in university teaching and in technical editing (environ- mental/engineering). He began his serious photogra- phy in the 1960s in Berkeley as a staff member of the Studio. Now back in the San Francisco Bay Area, he is gathering years of photos and poetry into web-pub- lished books (blurb.com/bookstore).
Arnold’s work is held by the Bibliothèque Nationale de France, the Architectural Museum (Ljubljana, Slove- nia), MIT, and private collections. His photos appear
 Once, when I was about 9 or 10, I struck up a conversation with this old guy at the beach....He said, “You can look at something, but you don’t necessarily see it.” Years later, while watching a documentary on photography and printing, I heard that voice! That “old guy” I had run into as a kid was Ansel Adams.
 PhotoCentral is social contact; the occasional meeting of fellow photographers and guests at various events to life-long friendships Juanita and I have made.
Thank you, PhotoCentral. Thank you, Kate and Geir.
Juanita Hemanes
– Tom Hicks
in such journals as Aperture, B&W, Camera 35, The New Mexico Photo-Grapher, Photography Annual, and Salann (all U.S.), Camera (Switzerland), Clichés (France), Foto (Belgium),The Structurist (Canada), and in the books The History of the Nude in Photography (Arthur Goldsmith), Nouveaux nues (Paris), Meta- physical Presence (Ljubljana), La Photographie fan- tastique (Paris), Fantastic Photographs (New York), Fantastic Photography in the USA (Barcelona), New Jersey Photographers, and by a bizarre happenstance, the Japanese edition (only!) of The Life Library of Pho- tography: The Great Themes (Tokyo).
Tom Hicks
I was born in San Mateo and raised on the coast in Half Moon Bay. We lived 1⁄4 mile from the beach. There was lots of open space around our house, and I spent as much time as I could running wild and free. Once, when I was about 9 or 10, I struck up a conversation with this old guy at the beach. He talked to me about looking and seeing and knowing what the difference was. He said, “You can look at something, but you don’t necessarily see it.” Years later, while watching a documentary on photography and printing, I heard that voice! That “old guy” I had run into as a kid was Ansel Adams.
Later, when I was still in my teens, my Dad gave me an ancient Argus 35 mm. I used it extensively through the years guessing distances and exposures, as the camera
My first exposure to serious photography was when I went on PhotoCentral workshops with my husband, Glenn. The wonderful scenery and social contacts were invigorating. I didn’t participate as a photographer un- til I had attended a few workshops. Then the bug bit. I started by using Agfachrome 1000 slide film and hav- ing Ilfochrome prints made. When that film was no lon- ger available I switched to manipulating Polaroid SX70 prints. When that medium disappeared I switched to encaustic painting and occasionally combined that with photography. In search for something more related to photography I decided to combine my interest in col- lecting small seashells with photography. I x-rayed the shells and made enlarged gelatin silver prints from the x-ray. To see and exhibit these images, showing the internal structure of the shells, was extremely exciting.
Some of the more memorable events over the years were: attending the Women’s Workshops given by PhotoCentral, “Flora,” the dual exhibition I did with Sandra Frank at PhotoCentral and the two dual exhibi- tions with Glenn at the Pacific Grove Art Association.
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