Reid Callanan has a deep passion for photography and has spent his entire adult life focused on it, especially as a photographic educator – the past twenty-eight years as Director of the world-renowned Santa Fe Photographic Workshops and before that working at Maine Photographic Workshops.  Well known for his workshop “Cameras Don’t Take Pictures” he also makes time to photograph every day and for his ongoing projects.

David Michael Kennedy has a body of work spanning over 40 years which is held in both private and museum collections including The National Portrait Gallery, The Smithsonian Institution and The Harwood Museum.  His body of work includes iconic portraits of musicians, actors and artists. Leaving New York and commercial photography in 1986, David Michael Kennedy moved to New Mexico and focused on his fine art photography. His images are materialized through the traditional analogue technique of Platinum/Palladium printing, of which he is widely considered to be one of the best in the world.

Holly Roberts’ first national exposure came in 1989 with the publication of the monograph, Holly Roberts, from the Untitled Series published by the Friends of Photography.  Although her work has always been based on the photograph, it was the inclusion of paint that made it so distinct.  As David Featherstone says in his introduction, “Roberts is a painter, yet it is the photograph underlying the paint, even when it can scarcely be seen, that gives the work its intriguing, mysterious power.  Drawing from the iconography of primitive art, particularly that of the Native American, Mexican and Hispanic cultures of the Southwest, where she lives, she creates paintings that address a broad range of human emotions. While it is Roberts’ evolving interaction with the photograph that takes her to her finished work, it is the existence of the underlying photographic image—even when it is obscured by paint—that gives the work its powerful qualities and sets up the emotional challenge for the viewer”.

Her work has continued to evolve, but she has reversed her original process of heavily overpainting the black and white silver print.  She now works on top of a painted surface, developing a narrative scene with collaged photographic elements.  Where earlier pieces reflected psychological or emotional undercurrents, newer works make use of familiar or iconic stories to address tougher questions about man’s effect on the land and the animals that inhabit it.

In 1990, Nazraeli Press published Holly Roberts:  Works 1989-1999, and in 2009  Holly Roberts:  Works 2000-2009.  The Griffin Museum of Photography in Winchester, Massachusetts published an extensive catalog of her work in 2018 to go with her retrospective at the Museum. A dedicated teacher as well as a prolific artist, she has had a profound effect on a community of artists around the country. She continues to live and work in the Southwest.

Robert Stivers is an American photographer whose work has been collected and exhibited internationally. Best known for his captivating images and darkroom technique, The New Yorker describes his work as “Ghostly black-and-white images whose theatricality smartly complements their mystery. He has six published monographs, starting with the eponymous Robert Stivers: Photographs (1997) and continuing on with Listening to Cement (2002), Sestina (2003), Sanctum (2006) The Art of Ruin (2015) and staging pictures: early polaroids by Robert Stivers (2017/2018). His work is in major collections such as the Bibliothèque nationale (Paris, France), the Getty Museum (Los Angeles, CA), The Metropolitan Museum of Art (New York, NY), Museum Ludwig (Cologne, Germany), and the Victoria and Albert Museum (London, United Kingdom). He currently lives and works in Santa Fe, New Mexico and Los Angeles, California.