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Photography. Education. Community.
—
On view at #FilterSpace: [color/shift], Wind and Other Dangers, & On the Shelf

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👀 Here’s a sneak peek of the work that went up on the walls at #FilterSpace this week.

Join us tomorrow, October 16th from 5–8 PM as we celebrate the opening of [color/shift] by Travis Shaffer (@there.there.now) with the artist!

Using the #Risograph machine, Shaffer works with contemporary photographers to transform their images into new variations. Featured artists include Hannah Altman, Jorge Ariel Escobar, Odette England, Aspen Mays, Shane Rocheleau, Anastasia Samoylova, Sara J. Winston, Jaclyn Wright, and many more! taken in Filter Photo by @filterphoto

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#FilterPhotoTakeover x @there.there.now

Join me this Fri 10.16, 5–8 pm for the opening reception of [color/shift]. I’ll have a short run of exhibition zines, printed in light teal and fluorescent pink, that pull the whole project into one place. They’re a takeaway, not a catalog: grab one or more, pass them on.

Thank you to @filterphoto for hosting this presentation, and to each of the photographers who have let me version their work, for this project and the ones before it. And thank you for following for my takeover.

For those of you who can’t make it: push your phone into your face. Smell the ink.

Details from: Melissa Catanese (THE LOTTERY); Sara J. Winston, Chase Barnes, Shane Rocheleau and Jorge Ariel Escobar (COLOR STUDIES); Jasmine Clarke (TAKE IT FROM HERE); Mercedes Dorame (UNSEEN CALIFORNIA).

[color/shift] · opening reception with the artist Fri 10.16, 5–8 pm
Filter Space · 1821 W Hubbard St, Suite 207, Chicago · through 11.21
shift.theretherenow.com

#risograph #colorshifthub #riso photography by @filterphoto

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#FilterPhotoTakeover x @there.there.now

For decades, Shirley was the literal standard.

Kodak’s “Shirley” cards were reference images used by photo labs to calibrate color: to establish what “normal” skin tone, exposure and color reproduction should look like. The card took its name from its first subject, Kodak employee Shirley Page. Every Shirley that followed was also a white woman.

Materiality in photography is never neutral. Film chemistry and lab printers were tuned to Shirley, and darker skin was routinely rendered muddy, underexposed or lost in shadow. The Shirley card may be the clearest example of what [color/shift] is about: a standard presented as neutral, quietly deciding whose image counts as correct.

BE YOUR OWN SHIRLEY exaggerates the visual language of the calibration image and replaces the subject with the printer-operator. In this show, the BE YOUR OWN SHIRLEY calibration set appears as four large-scale risograph prints. But the real work is the set itself: a flat-pack studio built to travel between exhibitions, so visitors can sit in Shirley’s place and be photographed as their own reference. It is a playful refusal of the singular systems of calibration imposed, invisibly, by the apparatus.

[color/shift] wants you to be your own Shirley.

[color/shift] opens Fri 10.16, 5–8 pm
Filter Space · 1821 W Hubbard St, Suite 207, Chicago · through 11.21
shift.theretherenow.com

#risograph #colorshifthub #cmykinda by @filterphoto

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#FilterPhotoTakeover x @there.there.now

[color/shift] as an “artwork” is a largely web-based project composed of data, files, and systems of transmission.

In preparation for the forthcoming book, I have been producing THE COLOR STUDIES, a series of one-off prints made in collaboration with contemporary photographers. This exhibition presents a selection of 24 of those works. (Caption continues ➡️)

Each study begins as a conversation. Together, the photographer and I discuss and negotiate the shift: which image, paper, ink colors, and screening. Sometimes that palette is self-evident and pulled from the picture (or larger project) itself; sometimes it means pushing the image somewhere it has never been or couldn’t otherwise go.

These photographs are then reconstructed through custom-separated spot colors, using new or existing measured [color/shift] profiles and other variables specific to the possibilities of riso output.

The results are often quite unlike their parent images. Each one is a version, not a reproduction, exchanging precise replication for a kind of surface, atmosphere, and tone.

As a version-printer, I do not correct for infidelity—I wield it. The gesture of printing opens a gap, and what arrives in print is the consequence of a shared act of handing off. Every print is a situated consequence toward an end that is aesthetic, but also more than that.

This is what [color/shift] looks like when the tools leave the screen: not a catalog of accurate copies, but an encounter with the photograph as negotiated through an unlikely means of coming into the world. Images that feel familiar and estranged at once.

Come see them in person.

Prints on view by: Hannah Altman, Emily Barresi, Anaïs Boileau, Noah Doely, Odette England, Jorge Ariel Escobar, Daniel Everett, Danielle Ezzo, Jeremy August Haik, Kylee Isom, Ina Jang, Kaishui Yakai Liu, Emily Margarit Mason, Aspen Mays, Julianne Nash, Shane Rocheleau, Anastasia Samoylova, Angela Shaffer, Travis Shaffer, Anastasia Sierra, Brea Souders, Hannah Whitaker, Nicole White, Sara J. Winston, Jaclyn Wright.

[color/shift] opens Fri 10.16, 5–8 pm
Filter Space · 1821 W Hubbard St, Suite 207, Chicago · through by @filterphoto

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#FilterPhotoTakeover x @there.there.now

Before [color/shift] had a name, it was a position in formation: every theretherenow book was building toward this show.

It started in earnest with the THERE, THERE quarterly: over three years, I produced 8 issues in collaboration with 24 photographers. Each issue paired three artists with a bespoke color condition: metallic gold, black and fluorescent pink for issue one; two passes of black and white for issue two; aqua, fluorescent pink, yellow and midnight for issue five.

The project was an experiment in image mutability and adjacency. How will photographs adapt to a new condition: new color, new format, new scale, new neighbors? It also cemented a dependence on relationships formed (and occasionally sustained) across geography, as the name suggests: two places, shared time.

theretherenow takes seriously the tenuous status of ownership burdening photography, capitalism and, by extension, photographic art practice. Rather than reinforce it or simply labor to tear it down, my practice as a publisher centers the ongoing negotiation of the apparatuses at play: society, market, photographer, image, culture, printer, industry, science and publisher.

That, more than anything, is the conversation at the heart of [color/shift].

[color/shift] opens Fri 10.16, 5–8 pm
Filter Space · 1821 W Hubbard St, Suite 207, Chicago · through 11.21
shift.theretherenow.com

#risograph #photobook #artistbooks #colorshifthub

the THERE, THERE quarterly featured:
Zora J Murff, Cian Oba-Smith, Terrance Purdy, Aspen Mays, Drew Nikonowicz, John Mann, Anastasia Samoylova, John Lehr, John MacLean, Birthe Piontek, Hannah Altman, Elaine Bezold, Ina Jang, Csilla Klenyanszki, Jessica Eaton, Lorena Lohr, Guen Fiore, Kadiya Qasem, Widline Cadet, Keisha Scarville, Rory Hamovit, Ed Panar, ML Casteel and Will Steacey by @filterphoto

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#FilterPhotoTakeover x @there.there.now

The photographic image, once captured, is latent—recorded but lying in wait.

In the lexicon for the forthcoming book [color/shift], I define “latent photographs” as hallucinations of the camera waiting to be realized (often in print).

It is in this hesitation, between capture and release, that the stakes of printing and photography are located.
In 1903, Alfred Stieglitz opened Camera Work with an apology for the failures of photographic reproduction in print, and Richard Benson reminds us to consider “…whether the person doing the reproduction or the technology itself is in charge.”

This hesitation gap gets filled by collaboration with systems, others, and technologies → to print out is to hand off.

When the perceived value of images is built around scarcity, authenticity, and singularity, the gesture (of printing) becomes a threat to be managed.

[color/shift] emphasizes RISO as the wrong tool for the right job. It pushes back against both scarcity and master-printer control. Its prints are doomed to “failure,” even in the most controlled circumstances. Their value lies in their ability to move laterally, not hierarchically. Every print is a situated consequence built around the imperative of an image to circulate—to form or meet a new public.
Through RISO, [color/shift] asserts the value of the version over the original, because the version, regardless of fidelity, contributes to (not challenges) the life and social value of its antecedent. Infidelity is not a fault but a consequence in favor of mobility.

Sorry. Not sorry.

Images: Käsebier in riso; Käsebier scan via Getty; Stieglitz quote from Camera Work; Käsebier photograph from Camera Work; Hannah Altman (@hannahaltman) detail and Richard Benson quote; Käsebier in riso and Benson quote; Kadiya Qasem (@kadiya_qasem) from THERE, THERE and Benson quote; Widline Cadet (@widline_) from THERE, THERE; and Vilém Flusser quote.

[color/shift] opens Fri 10.16, 5–8 pm
Filter Space · 1821 W Hubbard St, Suite 207, Chicago · through 11.21
shift.theretherenow.com

#colorshifthub #risograph #cmykinda by @filterphoto

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Join MoCP, Filter Photo, Latitude Chicago, and other photography organizations for the Photography Guild at Arts in the Dark, Chicago’s annual Halloween parade celebrating the city’s vibrant arts and cultural community.

Photographers of all ages and experience levels are welcome to join the festivities. Just bring a camera of any kind and be part of the parade!

This event is free and open to all.

Artists, friends, patrons, and students transform into a group of mobile paparazzi, decorated with lights, to create suites of photographs from inside the parade and along the route engaging with the many spectators watching the artists' Halloween. Here are some photos from Arts in the Dark 2025 Digital Exhibition, to see more check out our digital exhibition page https://bit.ly/4i8FHi4

To learn more, or participate, please visit mocp.org.
To register, visit https://www.eventbrite.com/e/arts-in-the-dark-tickets-2002633064405

Photo courtesy of:
Second Slide - Micheal Zajakowski
Third Slide - Christopher Bonds
Fourth Slide - Alec Adriano by @filterphoto

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Up next at #FilterSpace: [color/shift], an exhibition by Travis Shaffer, also known as @there.there.now.

Using a #Risograph Printer, [color/shift] explores what happens when photographic color is built rather than inherited, considering photographic reproduction as an act of translation and versioning.

Opening next Friday, October 16th, the artist will be joining us for a reception from 5–8 PM and will share brief remarks about the work that evening. We hope to see you there! taken in Filter Photo by @filterphoto

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We are thrilled to announce the artists and curators who will be a part of the 2027–2028 exhibition cycle at #FilterSpace in Chicago:

• Jack Latham, curated by Sofia Krysiak
• Natalie Krick
• Ashley Michelle Hannah
• Antone Dolezal + Lara Shipley
• Aspen Mays + Nelson Chan
• Daniel Hartmann
• Miguel Limon
• Jo Kim + James Baroz, curated by Sheridyn Villarreal

Congratulations to all! 👏 We look forward to hosting this exciting roster of artists and curators and can’t wait to share more about their work as their exhibitions approach. taken in Filter Photo by @filterphoto

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Join us at #FilterSpace this Thursday, October 8th for the next session of Photography Studies Club, hosted by Kristie Kahns (@kristiekahns).

The theme for this month is L’Amour Fou: Surrealism and Photography, with special guests Jeremy Biles and Holly Murkerson. This event is free to attend but RSVP is required. Link in bio 💫 taken in Filter Photo by @filterphoto

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✋ Raise your hand if you miss the 2026 #FilterPhotoFestival?! Grateful for the memories and everyone who joined us and made our 18th annual Festival so special. ♥️ by @filterphoto

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