20. November 2016 · · Categories: All, Exhibitions

First Exhibit of Los Angeles Downtown Pedestrians Project
2017n001_11, Kindnessbus, Downtown Los Angeles

2017n039_7_Woman Standing Tall In High Heels_002009560006

V2_Front_8.5x5.5_Dazzle of Day Mailer_Southwestern


Installation Views (Craig Carlson), Southwestern Art Gallery, “The Dazzle of Day”

  The photographs being exhibited by Craig Carlson in The Dazzle of Day, is a project started in April of 2016. His “Pedestrian Project“ looks at the issues of pedestrians and their street behavior and dislocation; which includes homelessness, age, isolation in thought, imagined dreams, street gestures (movement), environment, clothing and social status. The project was photographed in four different film formats: 35mm, medium format in 21/4×21/4 inches, 6x9cm and in large format,4×5 inches. The “Pedestrian Project“ was shot within a grid pattern from S. Figueroa Street to Los Angeles Street and from W. 9th Street To W. 3rd Street in downtown Los Angeles.

All Content ©Copyright Craig Carlson 2016-2017 All Rights Reserved

“A Photograph is as personal as a name, a fingerprint, a kiss. 
It concerns me intimately and passionately. I am not ashamed of that.”
–– Sid Grossman

Man In Wheel Chair With-Styrofoam Cup

Man In Wheel Chair With Styrofoam Cup, Downtown Los Angeles


 A Flâneur
“The crowd is his element, as the air is that of birds and water of fishes. His passion and his profession are to become one flesh with the crowd. For the perfect flâneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and the infinite.”
– Charles Baudelaire


40×40″ Grid Print (Below)
“Pedestrians, From S. Figueroa Street To Los Angeles Street,
From W. 9th Street To W. Third Street, Downtown Los Angeles.”
7x7_Large Panel_V7_06-09-2017
Street Work Gallery, Downtown Los Angeles, April 2016 – June 2017

  All Content ©Copyright Craig Carlson 2016-2017 All Rights Reserved

11. October 2015 · · Categories: All, Exhibitions


Exhibit Panorama / Grossmont HYDE Gallery / Grossmont Community College

Exhibit Panorama / Grossmont HYDE Gallery / Grossmont Community College 

   A 15 year retrospective of San Diego photographer Craig Carlson, whose exhibit work focuses primarily on black-and-white documentary-style images of small communities throughout the United States, will be on display Oct. 5–Nov. 5, 2015 at the Hyde Art Gallery at Grossmont College. An artist’s reception is set for 5-7 p.m. Tuesday, Oct. 13, followed at 7p.m. by a gallery talk by the artist. Carlson has taught photography at San Diego State University’s School of Art, Design, and Art History of over twenty-years. He began exhibiting his photographs in 1970 and his work is included in numerous corporate and private collections. One of Carlson’s images from his “Sunset Boulevard” project, was recently published in the photo book, “Both Sides of Sunset: Photographing Los Angeles.”

  Hyde Art Gallery, located in Building 25, is open 10 a.m. to 6 p.m., Monday through Thursday, with the exception of legal holidays. Admission is free and open to the public. Free parking is available on reception days. On all other days, visitor parking permits are available from the vending machine in Parking Lot 1, section F.
                          All Content ©Copyright Craig Carlson 2015 All Rights Reserved
18. January 2014 · · Categories: All, Exhibitions

Sunset Boulevard
Personal Narratives 12.28.2013 – 04.28.2014 SDSU Downtown Gallery @ Broadway/Kettner

  •   My Sunset Boulevard Triptych will be on display until April 28, 2014 at the SDSU Downtown Gallery. Sunset Boulevard consist of three panels each holding a grid of 30 images and was shot in 2012 on Sunset Boulevard in Los Angeles, California.
  •   Sunset Boulevard is a four-lane ribbon of asphalt which connects diverse cultures and neighborhoods together. Sunset starts in the Barrio as East Cesar Chavez Avenue (Old Sunset), then northward to the bourgeoisie enclaves of coffee shops and boutiques. And after a dogleg bend in its path, boutiques are replaced with skyscrapers casting shadows on the street-life below; until the ribbon of Broken Dreams finishes with the glamor of ”The Strip.“ 

    Craig Carlson, Sunset Boulevard


    Installation, SDSU Downtown Gallery

  •   Accompanying the Sunset Boulevard piece at SDSU Downtown Gallery is a 24 page folio which carries my blogs and selected images from my website while shooting in 2012. The folio has additional photography which I shot in 2013 while preparing the publication and was printed by Emagine Digital, http://emaginedigital.com. I want to thank Katie Stapko for help with design and typography and March Aguilera, of Emagine Digital for guiding the Sunset Boulevard folio through prepress and printing on the Indigo press (Emagine is an amazing and dynamic printing business placing graphics and images on any substrate imaginable).
  • Boarder_Sunset-BoulevardSunset Boulevard by Craig Carlson PDF Download
  • 2013N042_Echoes-Under-Sunset

    “Echoes Under Sunset,” Near Reservoir & Glendale Boulevard

  • All Content ©Copyright Craig Carlson 2014 All Rights Reserved
23. December 2012 · · Categories: All, Exhibitions

The Journal of San Diego History
University of San Diego
Jack London, Photographer, An exhibition at the Maritime Museum of San Diego
(Through December 3, 2012)

Reviewed by Craig Carlson, Lecturer, School of Art Design & Art History, San Diego State University

     If Jack London had a calling card it probably would have been emblazoned with the photojournalistic code “f/8 and be there.” f/8 is the aperture in a lens with the greatest optical sharpness, and – like Henri Cartier-Bresson would do with his career – London had an acute awareness of being at the right place at the right conflicts of his time. The camera (as opposed to the sensationalist yellow journalism being simultaneously practiced during the turn of 20th century) is the great truth detector. Photographs never lie; people do.
    To situate London’s work as a photographer, one must understand that he was an early pioneer at the turn of the 20th century using the first hand-held cameras using flexible roll film (made for amateur use) as opposed to the heavy, large glass plate cameras (tripod required) often used by professional photographers of the era. Film emulsions and lenses were slow to collect light and a steady hand was needed to shoot dynamic, changing events in the streets (later called “spot news” by photographers).

No 3A Folding Pocket Kodak

No 3A Folding Pocket Kodak

    London certainly had the “right stuff” to be a photojournalist. One requirement was not minding working around starving orphaned children or with open saddle sores, or for that matter, being arrested for taking a snapshot of a Japanese blacksmith during the Russo-Japanese War. One also needed an ability to tolerate the obligatory boredom. What matters with Jack London’s photography is not his style, but the very content of his photographs. I agree with Philip Adam on the notion that making photographs is a two-step process: first looking for and understanding your subject, and then seeing it with the camera eye.
Adam lent his hand in the darkroom and made the prints from London’s vintage negatives for the beautifully printed volume that bears the same name as this exhibit. I assume there were some difficult nights for Adam while printing London’s out-of-focus and often under- and overexposed negatives. However, by far the most difficult part must have been staring into the abyss of human suffering that scored most of London’s early photojournalism bound for content in American papers and his imagined self-published books.

Court Yard Salvation Army Barracks Morning Rush–men who had dad tickets given them during the night for free Breakfast, London, 1902

Court Yard Salvation Army Barracks Morning Rush–men who had had tickets given them during the night for free Breakfast, London, 1902

    Arriving in England in 1902 en route to cover the Boer War for the Hearst newspapers (only to find out the war had ended), he stayed on in the nation’s capital to experience the impoverished citizens of London’s East End. Photographers are voyeurs at heart and London’s early work in the East End shows how the progressive movement (London’s political left) had moved on from the issue of slavery to England’s workhouses of the early 20th century.
    London’s camera accompanied him and his wife, Charmian, to the South Pacific on his custom built ship, The Snark. The content of these photographs changed dramatically from street documentary (London’s East End) and war reportage (Russo-Japanese War) to a much lighter, vacation-snapshot style. These particular photographs are those of a tourist with an ethnographic gaze, where photographer and South Pacific islanders are strangers in a primitive headhunter, non-white world. On a trip to an island market, Charmian is photographed packing a small caliber side arm. London, hoping to use the photograph for publication, must later defend the snapshot of his wife to publishers who do not believe the photograph is of good taste for western consumption. London reprimands his publisher, explaining that his photographs and his writings have only one purpose: to reveal the truth. By the end of his written rant, he shouts to his publisher that, “he [London] is glad he is in the South Pacific; and his publisher in North America.”

Ernest Darling, “Nature Man,” by Jack London

Ernest Darling, “Nature Man,” by Jack London

   Another example of London’s desire to present an unvarnished account of the South Seas for western consumption is a beautiful, full-length portrait of “Nature Man” Ernest Darling. Darling as described by London “was an inspiring though defeated figure.” Darling’s portrait, if covered only to reveal his face, reminds me of a “hippie” type figure of the late sixties and early seventies. I am sure Darling would have been as comfortable walking around “Haight-Ashbury” in San Francisco as he was on the South Pacific island of Tahiti in 1907.

    The exhibit of fifty of London’s photographs is presented by the Maritime Museum of San Diego, and is hung down in the lower hold of The Star of India. The digital prints made for the exhibit have more contrast and are a bit sharper than the prints reproduced in the book. London’s camera work is professionally hung and lit with ample text for viewers to understand how “f/8 and being there” is the essence of the craft of photography.

                               All Content ©Copyrighted 2012 Craig Carlson All Right Reserved

27. December 2011 · · Categories: All, Exhibitions

My work was exhibited at San Diego State University and ends on Friday, December 30th.

Installation, San Diego State University Downtown Gallery, San Diego, California