Before there were pixels and iPhones, back when photography required film, darkrooms and chemicals, almost every American city had a camera club. Most members were hobbyists who wanted to learn how to make pretty pictures. The Lexington Camera Club was different.
From its founding in 1936, Lexington Camera Club members, who included doctors, lawyers and businessmen, were unusually serious about developing their craft and exploring artistic expression.
By the time the club disbanded in 1972, it had produced two major figures in art photography and many more accomplished photographers.
James Birchfield, the retired special-collections curator of rare books at the University of Kentucky, will give a free lecture about this remarkable camera club at 2 p.m. Sunday in the President's Room of UK's Singletary Center for the Arts.
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"It was not a provincial outlook," Birchfield said of the club. "It was a big vision of the history of photography and what contemporary photography was doing. This particular cluster of people seemed to generate an extraordinary flowering of fine photography."
Birchfield's lecture is in conjunction with an exhibit at The Art Museum at the University of Kentucky that includes prints from an impressive photography collection it has assembled since the 1990s, thanks to one of the camera club's members.
When Robert C. May died in 1993, he left the museum 1,200 of his own photographs and his collection of original prints from some of photography's greatest names. He also left a substantial bequest so the museum could buy more photography and create an annual lecture series that brings major photographers to UK's campus. Eugene Richards, a noted documentary photographer, spoke Friday.
The museum exhibit, Wide Angle: American Photographs, runs through April 27 and includes prints by famous photographers including Ansel Adams, Elliott Erwitt, Edward Weston, Lewis Hine, Walker Evans, Harry Callahan, Russell Lee, Doris Ulmann, Robert Frank, Andy Warhol and Cindy Sherman.
The exhibit also has nine photographs by Lexington Camera Club members, including its two biggest stars: Ralph Eugene Meatyard (1925-1972) and Van Deren Coke (1921-2004).
The club began in 1936 with monthly meetings that included formal critiques of each member's prints. Guest speakers included Adams, America's most celebrated landscape photographer.
Many early club members were interested in landscape and travel photography. Others focused on historical and documentary pictures. Among the documentarians was lawyer and historian J. Winston Coleman, who photographed throughout Kentucky and collected nearly 6,300 historical images that are now at Transylvania University.
The club took an artistic turn under the leadership of Coke, who was then president of his family's business, Van Deren Hardware Co. on Main Street. Coke's early photographs of Lexington scenes soon gave way to abstract, artistic images.
Coke got to know many celebrated photographers and became one himself. After graduate school, he went on to be photography curator at the San Francisco Museum of Modern Art and director of the International Museum of Photography at the George Eastman House in Rochester, N.Y. He taught for many years at the University of New Mexico and started its art museum.
Meatyard was an optician who joined the club in 1954. He became famous for his unusual photographs, which often involved people wearing masks or posing in abandoned Central Kentucky farmhouses.
Over the years, his images were acclaimed for their unique expression. He also was a major influence on other club members who became well-known photographers, including May, James Baker Hall and Guy Mendes.
Meatyard was president of the club when he died of cancer at age 46 in 1972. The club disbanded within a few months.
"Meatyard fostered exploration and discovery within the Camera Club," May wrote in a 1989 essay. "As photographers, the members did not look just for new things but for new ways of seeing."
Meatyard's photographs are still published frequently in books, and his prints command hefty prices at galleries and auctions. As recently as 2005, the International Center of Photography in New York mounted a major retrospective of his work.
Mendes was one of the club's youngest members when he joined in 1968. Now a retired producer for Kentucky Educational Television, he remains an active photographer.
In an interview last week, he recalled that writer Wendell Berry introduced him to Meatyard.
"Gene was something else," Mendes said, adding that Berry's young son told him: "He makes really strange pictures."
Mendes accompanied Meatyard and May on weekend photography outings in the countryside around Lexington. He said they and other club members showed him how photography could do more than record reality; it could express feelings and be a medium for artistic experimentation.
"They taught me lessons I still use today," Mendes said. "For all of the changes photography has gone through, the basics are still the same."