All images copyright by the individual photographers

	Black is... Beautiful Adam Eaton Art Adam Eaton is awarded a Gallery Pick for his photography celebrating the beauty of Black people and honoring the community that shaped him. In a departure from our usual practice of highlighting a single photograph by a guest artist, I wish to recognize how Adam has orchestrated a collection that is greater than the sum of its parts. The consistent presentation—white mats within black frames—establishes a visual rhythm throughout the exhibition. Soft lighting envelops the subjects without overpowering them, directing our attention to what Adam wishes us to see. At times, shadow plays an equally important note. Negative space reinforces the subtle illumination of the subject, allowing details to emerge that might be lost under fuller lighting. The collection spans generations, from babies in utero to an elder statesman of the Rochester community. Like the varied movements of a symphony, the photographs range from an intimate study of a face—one full eye accompanied by portions of the nose, cheek, eyebrow, and a strand of hair—to wider portraits revealing more of each person and groupings composed as silhouettes. The individuals and couples offer a range of expressions and gestures. Some look directly into the camera, others gaze into the distance, while still others close their eyes in quiet contemplation. Each portrait contributes its own voice, yet together they form a harmonious and vibrant celebration of community, created with love and honesty and reflecting beauty. Through this carefully composed ensemble, Adam affirms the central belief of his practice: “You’re beautiful. You’re a work of art.” Dick Bennett
	Sahara Desert by Steve Dent Sahara Desert by Steve Dent immediately draws me in, not only because of its rich color and landscape, but because it tells a story. The line of camels moving across the dunes, led by a lone figure, makes me wonder where they have come from and where they are headed. Perhaps they are setting out on a long journey across the desert, carrying supplies from one village to another, or returning home after a day of travel. Photographically, I especially like the strong diagonal created by the caravan as it moves across the dune. The warm orange tones of the sand contrast beautifully with the cooler blue sky, while the low light brings out the texture and patterns in the desert. The careful composition gives the image depth and leads your eye naturally through the scene. Steve’s image is part of a collection of photographs he captured during his travels in Africa. They give us a glimpse into the landscapes, people and experiences he encountered along the way. Congratulations to Steve on Sahara Desert being chosen as a Gallery Pick that allows us to imagine the story unfolding. By Marie Costanza
	Perfect Arc By Dana Emery Dana has captured a strong, atmospheric black-and-white photograph. It has a sense of isolation and menace that goes beyond simply documenting an interchange. The sweeping curve is the photograph’s great strength. The elevated roadway enters from the upper left and arcs dramatically toward the right. That curve gives the image movement and pulls the eye through the frame. The smaller roadway and cars reinforce that directional flow. Dana has used negative space exceptionally well. The enormous black sky and deep shadows underneath the bridge create a feeling of emptiness. Rather than being dead space, the darkness becomes part of the subject. It makes the concrete structures feel imposing. The two massive vertical supports anchor the image. Their verticality contrasts beautifully with the sweeping horizontal/diagonal roadway. The left column also creates a kind of doorway into the dark space beneath the bridge. The small cluster of approaching headlights are important. Dana chose to keep them because without them, the photograph could feel almost completely static. They provide scale, human presence, and a tiny point of brightness deep in the composition. The photograph succeeds because the bridge isn’t merely the subject; the darkness, scale, geometry, and emptiness turn the infrastructure into a metaphor for isolation. By Don Menges
	Silver Notes in the Dark by Tom Knauss Tom Knauss’s Gallery Pick, Silver Notes in the Dark, is part of Tom’s display called Every Photograph is Unique, a collection that explores how the same subject can be photographed in different and creative ways. This portrait of a young girl playing the flute immediately drew me in. The darkness surrounding her allows the silver flute, her hands and the soft highlights in her hair to emerge almost as if they are coming out of the shadows. There is a quiet intimacy to the photography––it feels less like we are simply looking at a portrait and more like we have been invited into a private moment between the musician and her music. Photographs like this can also connect with us through our own memories and relationships. For me, it brings to mind my granddaughter, who plays the flute, and the personal association gives the image an added emotional dimension. Others may be reminded of a musical performance or perhaps their own experience learning how to play an instrument. This is part of what makes portrait photography so powerful. The person in the photograph may be unfamiliar, yet something about the gesture, the mood, or the story can feel familiar. Tom has created lovely portraits that leave room for viewers to bring a little of their own stories to the photographs. Congratulations, Tom! By Marie Costanza
	Solitude by Michael Shoemaker Solitude is the work’s greatest strength. By presenting a single arrangement of flowers against a neutral background, Mike removes every distraction and allows the subject to occupy the viewer’s full attention. The pared-down composition reads as an exercise in essentialism where every element earns its place and nothing competes for meaning. The photograph’s muted palette amplifies the photograph’s contemplative mood. Soft greens, off‑whites, and gentle earth tones sit harmoniously against the neutral backdrop, creating a tonal unity that soothes rather than startles. The subdued colors emphasize texture and form over chromatic drama, which deepens the sense of calm and introspection. The intentional symmetry of the vase and flowers placed at the center of the frame gives the image a measured stillness. That central axis stabilizes the composition and reads as a visual metaphor for balance in solitude. The symmetry is not rigid or clinical; it feels quietly human, as if the arrangement were composed with care and respect for the subject’s presence. Everything in the photograph reinforces the title Solitude. The isolated subject, the soft palette, and the centered composition together create a feeling of dignified aloneness rather than loneliness. The image suggests a peaceful retreat into observation where solitude becomes a space for clarity and quiet appreciation. Technically the photograph is confident. The neutral background is rendered with subtle texture that prevents flatness while still keeping the focus on the flowers. Lighting is controlled and even, revealing delicate details in petals and ceramic glaze without harsh contrasts. The framing and negative space are used economically and effectively. Solitude is a refined study in restraint. Through simple composition, a muted color scheme, and careful symmetry, Shoemaker crafts an image that is both visually elegant and emotionally resonant. It is a photograph that rewards patience and quiet looking. By Steve Levinson
	Morning Light By d dargan teska Morning Light reads as a quietly confident study in contrast and restraint. The photograph invites a slow look, rewarding patience with subtle shifts in tone and texture that reveal themselves the longer you linger. Its calm, measured mood feels intentional and complete. The composition is admirably balanced, built around a strong central axis that gives the frame a sense of order and calm. The arch provides a natural symmetry that organizes the visual field and creates a pleasing rhythm between foreground and background. That symmetry is not rigid; small variations in texture and shadow keep the image from feeling static. Placing three small subjects on the ledge is a smart compositional choice that guides the eye across the frame. The two rounded forms flanking a taller central plant create a visual cadence that reads like a quiet conversation between shapes. Because the subjects are modest in scale, the viewer is encouraged to step closer and appreciate the delicate differences in silhouette and surface. The old stone structure does more than contain the scene; it frames and unifies it. The rough, tactile blocks contrast beautifully with the smoother, organic plant forms, and the archway acts as a stage that focuses attention while adding historical weight. The masonry’s texture and the way light grazes its surfaces tie the elements together, giving the photograph a cohesive, timeless quality. Morning Light succeeds as a contemplative image that uses light, form, and architectural context to turn a simple moment into something resonant. It rewards close looking and demonstrates how photographic choices about tone, symmetry, and framing can transform ordinary details into a harmonious whole. By Steve Levinson