Although he was already well schooled in the subject, Durr said that was the moment he felt his “true” interest in art finally clicked. There, Durr mused at the paintings he saw, strolling through the works of such greats as Robert Grant Smith, regarded by many as the American master. “It wasn’t until I was going though flight school back in 1984 down in Pensacola and visited the National Museum of Naval Aviation that I saw there really was such a thing as a bona fide aviation artist.” “I’ve always kind of been like a closet aviation artist,” confessed Durr. Although he was now airborne, he still felt something was missing. There, he trained as a fighter pilot, flying the F-4 Phantom and the F-18 Hornet. “Before I really got serious about it, I took a one-hour lesson at a nearby airport and was satisfied that flying was something I could live with.”ĭurr graduated with a fine arts degree in studio art from Florida State University and promptly entered the Marine Corps. “I knew I wanted to go into the military after school and the flying part seemed pretty neat,” he explained. On the other hand, Durr wasn’t opposed to the idea. “But I don’t know if there really was any defining moment that made me think it was my destiny to become a pilot.” “My mom always said that every time an airplane would fly over, I would sit and stare and watch,” said Durr from his home in Fort Worth, Texas. While it would be many years before he would be able to understand the significance of that moment, Durr just knew that he was pleased with his work.īorn and reared in sunny Miami, Durr always had an interest in aviation, but admits it’s more a love for the machine than of flying itself, despite the fact he’s both an accomplished Marine aviator and commercial pilot. When 10-year-old Alex Durr won a fifth-grade art contest, his reward was the opportunity to draw whatever he wanted. “I did stuff like that and also worked on some documentaries here and there.A flight of two F-86 Sabres buzz a 1957 Chevy Belair along Route 66. “I directed commercials for the PGA Tour, Dish Network and Air Force,” Scheer said. Scheer grew up in Steamboat Springs, and graduated from Steamboat Springs High School in 2002, before pursuing a 20-year career in commercial photography, and documentary film production that took him away from the Yampa Valley to places like Los Angles, Austin, San Francisco and Denver. Get the top stories in your inbox every morning. “The chemicals react differently, and a lot of the developing is done by feeling as there are not set times in the darkroom.” “Every tintype is unique in many ways,” Scheer explains. The entire process has to be done very quickly in a period of roughly 15 to 20 minutes, and creates a one-of-a-kind image. Scheer uses the camera and lens as part of a process where he coats a tin plate with Collodion and is then dipped in silver nitrate, the tin is then placed in the camera and exposed to light before being rushed to his nearby darkroom to be developed. He then scans tintype and sells a limited number of prints of each image. He used a process from the 1800s, and a camera dating back to 1907 to create a tintype plate using the wet plate process. Photographer Ryan Scheer made this image “Cowgirl” by building a diorama that included vintage western toys. He’s kind of protecting and maintaining a very historic process, artistically, and he’s figured out a way to help maintain the legacy of the historic photographic process.” ![]() “Ryan is using an analog camera and lens from the 1800s and it is such a rare thing. He is really challenging what a Western aesthetic can feel like, by curating and developing these compositions in his studio,” said Dustin Posiak-Trider, who owns the Standard Art Gallery. “In the two years that we’ve been out there we have worked on bringing in unique artists like Ryan. Scheer’s images are currently featured locally at The Standard Art Galley, 907 Lincoln Ave. The camera can control the perspective that adds to his images’ depth, and while shallow depth of field is challenging, that’s what gives Scheer’s images a unique, throwback feel all its own. that is armed with a vintage Dallmeyer lens that was crafted in 1886. The centerpiece of the studio, however, is a 1907 analog Century Studio Camera made by the Eastman Kodak Co. ![]() “I hope my frames will tell the story, and I hope when somebody looks at it, they can develop their own story, and interpret it in their own way.” “I just want to tell stories, and that’s the main thing,” Scheer said.
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