Published Work - Dottie Campbell Photography

Published Work

National Geographic Magazine

Photo by Dottie Campbell

Landscape Winner - United States

"This year's landscape winner is a surprising composition of a scene in Moab, Utah. The photographer, a resident of Baltimore, Maryland, captured a swirl of spring cottonwood trees and other shapes reflected in a shiny black Buick.  The judges were impressed with how the image stretches the definition of landscape photography and departs from the traditional and the predictable.  They hailed the photographer's sophisticated eye, her ability to mix color and texture, and her skill in arranging the elements in a creative and imaginative way. She turned the car into a camera lens, its curves reflecting the landscape. A mundane scene is made extraordinary by the photographer's willingness to look beyond the expected."

---http://www.nationalgeographic.com


Dottie Campbell was selected as first-place winner of both the English language and International versions of the National Geographic Photography Contest in 2007. Dottie’s photograph, Black Buick Cottonwood, was selected from about 150,000 entries as the winner in the Landscape category. The photograph has been published in 31 foreign-language versions of the National Geographic and appeared in the May 2008 issue of this country’s English-language version of the magazine.

WJZ Channel 13 News

Ron Matz Interview National Geographic Prize



Critic’s Residency Program / Maryland Art Place / Exhibition Catalogue

"Dottie Campbell has an eye for the details of everyday life – details that usually go unseen.


Campbell is a photographer, but her photographs feel right at home among the abstract paintings of the other artists. Campbell’s photographs usually involve reflections in water and ice, captured from the fleeting moments in which the subjects appear in nature.


Reflections are a prominent element in these photographs. The reflection is in water, which, unlike the metal in Campbell’s Iridic Impression, has depth to it. That depth adds another layer to the experience of really seeing.” There is usually a leaf, or a twig, touching the surface of the water. It reminds you that this is the surface of the water, but beyond that surface is a disoriented space made of a reflection superimposed upon the bottom of the water.


In life, when we encounter a real object, not a photograph, we place it in our minds as an object. We name it. That is a tree. That is a truck. We determine its utility to us in the moment, become aware of its presence, and move on. Often we do not truly consider what it looks like.


In a photograph, we may be tempted to do the same thing, but Campbell’s photographs won’t let us name what we see, so we can’t move on; we’re trapped. She stresses the importance of “really looking” and adds, “I want people to really look at it. I want to make people stop, consider: what is it made of?” At first glance, her images may not appear to be photographs at all, since they don’t always depict a recognizable object. These photographs can be considered abstract for that reason. They are about color, and field, and form, like a painting. Recognition of the object takes time, the way it can take time to recall a dream or to make sense of it. It is an image, and it is something familiar, but it can’t quite be identified, or dismissed. The experience forces the viewer to look hard, to look again, to ask “what do I see?” and to look in new ways.


In all of these photographs, that object recognition becomes relatively straightforward, with patience, in much the same way that the organic forms in Rybicki’s paintings make clear associations. Campbell’s Iridic Impression is an exception to that rule. It is the most challenging of her photographs here. There is no clear figure or ground. There is nothing in the composition that suggests a space or an object, except for the fact that the image depicts the surface of an object. Which object? In an example of what Campbell calls a patina painting, the subject is the rusty metal body of a decaying automobile. However, you may not be able to determine that from the image. This indeterminate quality is what makes it the most successfully abstract image of the group.


The effect of all of these photographs is to keep you really looking until you can identify the objects before you, and then to continue looking, to recall that feeling of recognition."


--Dylan Kinnett


New York art critic, Vincent Katz, selected Dottie Campbell’s work for the Critics’ Residency Program at Maryland Art Place in Baltimore, Maryland. The yearlong program included an exhibition, a catalogue with a critical review, and a forum open to the public.


ArtAscent, Art and Literature Journal, April 2014 Issue


Dottie Campbell was selected as Silver Winner of the international art call themed ”Blue”. Her photography was featured in the ArtAscent journal with an accompanying professional review and profile, as well as additional publication and exposure on the ArtAscent website and social media.


Artists Circle Fine Art Blog

Dottie Campbell’s Waterworlds series of pond surfaces combine botanical imagery with reflections distorted by the water’s surface, all in rich color and sharp focus. From a distance, the photos can almost be taken as colorful abstraction, only revealing their representational details when you’re inevitably drawn in for a closer look.


In a wholly different series, Dottie Campbell takes full-frame captures of the effects of rust on painted metal surfaces. Brightly painted boat hulls ravaged by oxidation turn into a spelling blend of abstractions when brought into this close focus. The way Mother Nature manipulates the surfaces is so pronounced in its natural artistry that Campbell has dubbed this series Patina Paintings.


--http://artcfa.com/news/2012/11/13/charm-city-pncs-baltimore-headquarters/


Twelve of Dottie Campbell’s large-scale photographs were selected by Artists Circle Fine Art for the new Greater Maryland headquarters of PNC Financial Services Group, Inc. The building is located at 1 East Pratt Street in Baltimore, Maryland


Night Light Exhibition Catalogue

Darkroom Gallery, Essex Junction, Vermont

Juror Linda Rutenberg

“Night and day, dark and light - one implies the absence of the other. But like yin yang, each has a bit of the other.” --Linda Rutenberg.

Dottie Campbell Photograph, Abandoned in Darkness


Texas Photographic Society

26th Annual Members' Only Show 2013 Exhibition Catalogue

Islander Art Gallery, Texas A&M University, Corpus Christi, Texas

Juror Elizabeth Krist, Senior Photo Editor National Geographic Magazine

The juror selected images that depicted "the familiar" photographed "in a way that utterly transforms it..."--Elizabeth Krist

Dottie Campbell Photograph Romeo and Juliet


All images and content of this site © 2017 Dottie Campbell

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