Tony Zinnanti Photography :: Shows

2010 Last Days of Summer Art Expo, Labor Day Weekend

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This Labor Day weekend, the 2010 Last Days of Summer Art Expo will be hosted at William S. Hart Hall at the historic William S. Hart Ranch in Newhall, California. The show will be open September 4TH through 6TH, each day 10:00am to 6:00pm.

The 2010 Last Days of Summer Art Expo is a mixed media show featuring the best in regional photography, painting, lithography and three dimensional art. The featured artwork includes the nationally renowned collodion wet plate work of Will Dunniway and the traditional and alternative photographic work of the staff of Freestyle Photo of Hollywood, California.

Dunniway will present several of his works featuring the Crow Agency Native American of Little Big Horn executed in period collodion wet plate photography (Civil War era). These awaited works have never before been on display. Dunniway, as a teacher and artist, is a major force in the preservation of American Civil War era photographic methodology.

The work of the Freestyle Photo staff includes stunning metallic prints, lithography and chromoskedasic printing, as well as works in traditional gelatin silver. Freestyle Photo is the nation's hub for the preservation of film photography and the advancement of new and refined alternative photographic and printing methods.

Additionally, the suburban art rebellion of show co-producers, Proxart Magazine, will be on display. This highly talented group of young people will soon celebrate the release of their third edition of Proxart Magazine. Proxart and its artists are gaining serious "art-traction" as was recently featured in extended coverage by the Los Angeles Daily News.

Other featured talents include photographer and writer, David Green; the award winning photography of Rick Russell; photographer and CalArts graduate, Christopher Velasco; the portrait photography of Keri Kilgo; and, the traditional photography of show co-producer, Tony Zinnanti. The best of the Santa Clarita Artists' Association and Chatsworth Fine Arts Council will also be presenting. A total of 36 artists will present over 120 works.

Admission and parking are free. William S. Hart Park features sprawling grounds, a souvenir kiosk and plenty of activities for children.

William S. Hart Hall and Park is off the 14 Freeway north, via the San Fernando Road/Newhall Avenue exit. Head northwest on San Fernando Road/Newhall Avenue for approximately two miles to the park entrance.

This production was made possible by the generous support of the City of Santa Clarita Arts & Events Office and the Los Angeles County Department of Parks and Recreation. 

Contact: Tony Zinnanti; (661) 313-2223 or This e-mail address is being protected from spambots. You need JavaScript enabled to view it

 

2010 Participating Art Shows

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Tony Zinnanti will be displaying work at the following art shows between April and June:

April 16 2010, 6:00pm - Barnes & Noble, Valencia, CA  Community Photography Installation Fund Raiser
23630 Valencia Blvd., Santa Clarita, CA 9135; Admission free; The work from 20 photographers in the
Santa Clarita Valley area will be presented as a fundraiser for a special needs athletic team.

April 24 - 25, 2010, 10am - 6:00pm - Downtown Burbank Arts Festival, Magnolia and San Fernando Road,
Burbank, CA 91501; Produced by West Coast Artists; Juried art show; Admission is free; Dozens
of booths presenting fine art work. 

June 13, 2010, 10am to 5:00pm - Chatsworth Annual Depot Art Show, 10046 Old Depot Plaza Road,
Chatsworth, CA; Produced by
Chatsworth Fine Arts Council; Juried art show; Fine art booths

 

The Signal - "Photos captured with 100-year-old camera"

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Tony Zinnanti offers fine photography exhibit in Valencia and at ‘Exposures 2009’ in Hart Hall

By Michele E. Buttelman
Signal Features Editor
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Posted: Nov. 18, 2009  8:37 p.m.
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2 Images

One of the familiar faces of the Santa Clarita Valley, Tony Zinnanti has moved from the practice of law to the practice of art.

For the month of November, the Santa Clarita Center for Photography will feature "Silver Prints: A Survey of Traditional and Antique Photography" by Zinnanti.

The installation features prints created from a variety of photographic techniques, including dry plate formulas from the 1800s and negatives produced with Zinnanti's 100-year-old 8x10 camera.

Zinnanti's personal darkroom is a satellite element of the photo center. The installation, which consists of 12 hand- printed black and white photos, features scenes from throughout the SCV, including haunting images of Mentryville cast from glass plate negatives, Bouquet Falls and various SCV landscapes.

"Each print is on a gelatin silver emulsion, fiber based paper," said Zinnanti. "For those new to traditional printing, each work was hand printed with an enlarger, or contact printed, and ‘stewed' through the chemical development process."

Zinnanti said guests should make note of the dry plate prints, "Jailhouse Ruins" and "Settler's Wagon."

"I wasn't seeking a dry plate documentary feel, but rather the ethereal textures achieved with wet plate photography," he said. "Ginny" and "Passing Fancy" are contact prints from 8x10 negatives.

"The mere process of shooting the negatives is an event. People love my 100-year-old 8x10 Gundlach that I produce these negatives with," Zinnanti said.

"Given its limits and weight, each negative is the product of considerable forethought. The negatives are tray developed; the images gently rocked into being in complete darkness and only through the feel of correct time, chemical agitation and handling.

The resulting contact prints are virtually grainless and with deep blacks and impeccable tonality.

In addition to the exhibit at the Santa Clarita Center for Photography, Zinnanti's work will be shown Saturday and Sunday in "Exposures 2009 Photography Exhibition" at Hart Hall, adjacent to William S. Hart Park in Newhall.

The two-day show is free and Hart Hall will be open during park hours, 9 a.m. to 5 p.m. A variety of photo exhibits and demonstrations will be offered.

The Santa Clarita Center for Photography, 28368 Constellation Road, Suite 340, Valencia, is open for viewing during regular business hours, on weekends and by appointment. Phone number, (661) 904-2092.

"Exposures 2009 Photography Exhibition" will run 9 a.m. to 5 p.m. Saturday and Sunday at Hart Hall adjacent to William S. Hart Park, 24151 Newhall Ave., Newhall. The exhibit is free.

 

 

Silver Prints: A Survey of Traditional and Antique Photographic Technique

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Silver Prints: A Survey of Traditional and Antique Photographic Technique will be on display at the Santa Clarita Valley Center for Photography throughout the month of November 2009.The SCV Center for Photography is open daily, during business hours, weekends and by appointment.

The Santa Clarita Valley Center for Photography is located at 28368 Constellation Road, Suite 340, Santa Clarita, California in the Rye Canyon Business Park.

This installation of twelve gelatin silver prints demonstrates a variety of photographic techniques ranging from "home brewed" dry plate emulsions to 8x10 contact prints to 35mm, 6x6 and 4x5 enlargements.Below are several snapshots of the installation. 

Tony Zinnanti Silver Prints: A Survey of Traditional and Antique Photographic Technique

 Tony Zinnanti Silver Prints Dry Plate Work Jailhouse Ruins

Tony Zinnanti Silver Prints Bouquet Falls

Photographer's Statement:

The installation is less academic than it sounds. It’s part adventure and part accident distilled into twelve chosen prints. Each print is on a gelatin silver emulsion, fiber based paper. For those new to traditional printing, each work was hand printed with an enlarger (or contact printed) and stewed through the chemical development process.

A variety of photographic techniques are in play, each giving way to its own subtlety. The most conspicuous works are the dry plate prints, Jailhouse Ruins and Settler’s Wagon. I wasn’t seeking a dry plate documentary feel, but rather the ethereal textures achieved with wet plate photography. I poured the emulsion cold; taking a risk with running and clumping, but seeking the effects of an uneven emulsion. After being exposed, each plate was gently slipped into a Dektol 1:1 solution, chilled to 50F so as to hold the emulsion together. In printing, I was seeking something bold and lamenting of inevitable ruin and impermanence.

Spring Silhouette was an accident. I’ve interpreted and re-interpreted this negative. The negative has a tumultuous sky that had been a constant source of trouble in printing. One day, I accidentally underexposed it, enhancing the strip of light in the foreground and leaving a huge negative space in the sky. It worked. A bleach soak in 0.5% potassium ferrocyanide bled the leaves into the sky and enhanced the overall contrast.

Ginny and Passing Fancy are contact prints from 8x10 negatives. The mere process of shooting the negatives is an event. People love my 100 year old 8x10 Gundlach that I produce these negatives with. Given its limits and weight, each negative is the product of considerable forethought. The negatives are tray developed; the images gently rocked into being in complete darkness and only through the feel of correct time, chemical agitation and handling. The resulting contact prints are virtually grainless and with deep blacks and impeccable tonality.

Reflections is a unique instance of lomography; the art of photography through a light leaky plastic camera and plastic lens. The negative is 6x6 Ilford Delta 3200 that snapped perfectly under the gloomy conditions. The image is a somber reminder of war reflecting the images of the living. Likewise, Keq’ Chikal Girl, a 35mm negative, takes in a moment of solace in post-war Guatemala. The images are metaphoric of renewal and perseverance.

Conversely, Once a Farm comments on the plight of the American farm and family; nothingness but ruins ascending into a deep black sky. But, then there are the American landscapes of Tuolumne Meadows, Bouquet Falls and Silent Boardwalk, all of which are reminders of great moments and places in this country.

Finally, Eyes of the Machine #1 is part of an essay dedicated to the turn of the century mechanical arcades and the human eyes that engaged arcade goers; aspects of entertainment now replaced by artificial imagery of other sorts.

So, this is a glimpse of my documentary photography through film, dry plates and emulsions on paper. Regardless of the medium, it attempts to be (as should all photography) an exploration of the truth of the subject, and the creation of images that go beyond the four corners of the printed photograph.