Here are some links to various blogs and other publications, appearing either online and/or in print form, about my work. So check them out!
"Is there anything more quintessentially New England than the sea? It is a picture perfect subject for the inaugural photography exhibit at Panopticon Gallery in Boston’s Kenmore Square, newly owned by Paul Sneyd (Panopticon Imaging) and newly directed by Kat Kiernan (Don’t Take Picturesmagazine). At Sea celebrates the gallery’s new voyage with an enticing variety of mostly handmade photographs by nine photographers, on view through October 31st, 2017."
Kat Kiernan, formerly owner of a photography gallery in Lexington, VA, and still editor of the magazine Don’t Take Pictures, has now become Director of Panopticon Gallery, on Commonwealth Avenue, in Boston, MA.
Her first show as Director of the Gallery is a group show entitled At Sea . . .
And you can read more about it here.
I am happy to have my image, Annalee/Dancer, a cyanotype over platinum/palladium print shown in the April 2017 UK-published Black+White Photography Magazine. The feature advertises the exhibit, Poetics of Light:Pinhole Photography, which includes 200 images from Eric Renner's and Nancy Spencer's Pinhole Resource Collection, since 2012 part of the permanent collection of the New Mexico History Museum, and now traveling to the National Media Museum, in Bradford England, from March through June 2017.
And you can check out the Museum website here.
Video put together by Blue Mitchell, all about artists and their hand-crafted photographic processes; you can heck it out HERE!
The water ran in an endless trickle. Slowly the layer of chemicals and pigment began change its visual surface. What was once solid blue now showed signs of something different emerging – the image of a lone flower. Other papers sharing the rinse-water tray sported a cat, an ocean and a microscopic flower.
Photographer Diana Bloomfield peeked at her student’s work . . .
and you can read the rest here.
All the work in the City Gallery in Charleston has been created through what are sometimes called "alternative processes,” techniques which demonstrate the satisfaction and aesthetic power to be derived from a hands-on approach to crafting a photograph from start to finish.
A newspaper article about Altered Narratives, now on exhibit at the City Gallery at Waterfront Park, in Charleston, SC, was written in the Charleston City Paper, by Amy Mercer. Dated March 16, 2016, you can read the entire article here
. . . Featuring artwork from Eadie, Bloomfield, and eight other artists, Altered Narratives at the City Gallery at Waterfront Park is the culmination of the duo's efforts to highlight these traditional methods. Eadie, who lives in Charleston, did the "heavy lifting," while Bloomfield, who has curated shows before and lives in North Carolina, selected the other artists. "They are all accomplished, serious artists who do such beautiful, heartfelt, honest work. In all the myriad ways these artists choose to work, they are vested in and connected to their imagery, and the meaning behind their imagery," says Bloomfield . . .
Thrilled that my image, Handmask, made the December 2015 cover of The Sun Magazine
Thanks to Tim Anderson, of Shadow & Light Magazine.
Blurring the Lines: Alchemical Ensemble show focuses on obscure processes, review by Amy Wilder.
" . . . The practice of alchemy was centered on transforming materials. These photographers paint with light and transform the page with chemistry and keep the mystery and awe of photography and the illusory visual world alive in their work.
Photography is a mysterious process, even after centuries of use and practice, even after a transmutation to pixels, ones and zeros. The challenge and mystery of the work draws some artists like moths; the best of these create haunting, seemingly haunted, work."
And you can read the entire review here.
South x Southeast (SxSE) Photo Magazine. September/October 2015.
I grew up at the North Carolina foothills. Although we were geographically closer to the mountains than to the ocean, our family spent two weeks of every summer in Morehead City, North Carolina, each year renting the same small cottage, “Breezy Cliff,” that overlooked Bogue Sound . . .
Read the rest and view the accompanying images here.
Check out the recent press for The Light Factory's 7th Annuale here and also here: Light Factory's 7th Annuale: Focus on Quiet Moments.
The current exhibition at Plaza Midwood’s Light Factory, their 7th Annuale (running through June 6), juried by their former chief curator Dennis Kiel, features photography that does an impeccable job of capturing that quiet moment in time, where our connection as humans to the world around us is reduced to the simple daydream . . .
And you can read the rest of this April 28, 2015 article in the Charlotte Viewpoint here.
Do You Copy? exhibit's artists push boundaries, by Neil Thrun, Kansas City Star, February 1, 2015
“Do You Copy?” at Missouri Western State University’s Potter Gallery of Art features the art of 35 local, national and international artists whose work explores printmaking, photography and other reproductive mediums.
The exhibition is curated by The Hand Magazine editors Adam Finkelston and James Meara; issue No. 7 of the mag features the same artists and works.
The exhibition is joined together mostly by shared mediums and not shared themes, but many of the artists push the boundaries of reproductive mediums in interesting ways . . .
- And you can read the rest of Neil Thrun's review of 'Do You Copy?' here.
George School Exhibit
Released October 18, 2014
My exhibit, Altered Narratives, at the George School, which ran from November 6 through December 19 was beautifully displayed in their Mollie Dodd Anderson Library, Class of 1956 Gallery. Lovely space, perfectly lit, and wonderfully hospitable people!
What a stunningly beautiful campus.
And you can read a little more about the exhibit here.
Released June 14, 2014
Guest Editor and photographer, Kat Kiernan, shares the work of photographers working in alternative processes . . .
" . . Last year, I visited Diana H. Bloomfield's Raleigh studio to learn the gum bichromate process. I had exhibited Diana's work in the past and was thrilled to be able to learn from her and observe her methods . . . "
And you can read the rest here.
Gum Bichromate printing workshop with Diana Bloomfield: Blog post by Elizabeth Galecke, released May 13, 2014
" . . . I am seriously the most inspired I have been in a long time with photography, I can barely contain myself! I ran into Diana Bloomfield . . . "
Read the rest of her post here: Elizabeth Galecke: A Photographer's Journal
Diana Bloomfield doesn’t like working in a darkroom.
For most photographers who started taking photos in the early 1980s, this might have been a career-ending problem. But for Bloomfield, a Reidsville native, that realization turned out to be career-defining . . .
Read the entire article here: Through a Pinhole
And more here: The Southern Photographer
Pixxler Visual Art, released January 14, 2014
Diana Bloomfield takes a very unique and personal approach to her photography. In particular, she has produced some truly wonderful, dreamlike pinhole images. Like a number of current pinhole photographers, she uses the long exposure times of the medium to capture movement and change within a still image. But like the other greats among the current generation of pinhole photographers, she accomplishes this effect in her own unique and distinctive way . . .
Read more here: Diana Bloomfield: A Profile
The Kiernan Gallery Blog, Released May 28, 2013
Interview with Diana H. Bloomfield
This month we are exhibiting the work of Diana H. Bloomfield in conjunction with Open Water. We were first introduced to Bloomfield's work when she showed in our Illusion and Chemistry exhibition in February 2011. We fell in love with her work and curated Vignettes, a solo exhibition of her work. Bloomfield has granted us an interview about her work and process . . .
Read the interview here: The Kiernan Gallery Blog
The Southern Photographer by John Wall, released April 30, 2013
Picture Perfect, review by Kelsey Havens, Phoenix New Times, released September 1, 2011
Your overused Hipstamatic app doesn’t have anything on Diana H. Bloomfield. Sure, that picture of your dog may look hella vintage with a blue tint and extra grain, but imagine the possibilities of altering that photo with your own hands . . .
Read the rest of the review here:
Raleigh-based photographer Diana Bloomfield is having a show of her alternative process work at the Tilt Gallery, at 919 West Fillmore Street, in Phoenix, AZ, opening September 2nd and up through September 30th, 2011.
Diana is a long-time specialist in traditional and alternative process work. She is a master of pinhole photography and of printing using gum bichromate, platinum/palladium; and cyanotype processing . . .
Read the rest here: Diana Bloomfield at Tilt Gallery; The Southern Photographer
Diana Bloomfield's pinhole and alternative-process photography endows her subjects with a hyperrealism. Many of the images are the result of a multicolor gum bichromate process that dates to the 1850s and produces a unique print. This process—which can take days—is similar to offset printing. She brushes an emulsion containing watercolor pigment onto paper, exposes it with a separation negative, develops it and then does it again, layering a different color . . .
Diana Bloomfield interview & images on Chris Keeney's blog, by Chris Keeney, released December 7, 2010
Diana Bloomfield is an artist living in Raleigh, North Carolina (NC) and she is the December and last pinhole photographer feature for the year 2010. It is a pleasure and a honor to be able to have her part of this ongoing series. I hope everyone enjoys her photos like I do. So here we go . . .
Read the interview and see the pinhole photos here:
Portfolio: Diana Bloomfield, published in Magnachrom, released September 25, 2008
My very first photography class, back in 1981, was titled “Large-Format Photography,” offered at Bucks County Community College, in Newtown, Pennsylvania. At the time, I didn’t have a clue what “large-format” meant, but going on the bigger-is-better theory, I immediately registered for it. Knowing as little as I did actually turned out to be a good thing . . .
Read the rest of the interview here: Magnachrom