A. Aubrey Bodine – two silver gelatin prints coming soon to auction in Baltimore

A. Aubrey Bodine, Tyson Street, silver gelatin print
A. Aubrey Bodine, Tyson Street, silver gelatin print

There aren’t a handful of American photographers whom I admire as much as I admire Baltimore’s A. Aubrey Bodine. The man was a genius who worked magic in tones of blacks, greys, and stark whites long before we imagined Photoshop or any form of digital image manipulation.

Yet he did many of the same critical, artistic adjustments to his prints, with the same precision, alone in a dark room. Enlarging, dodging, burning, scattering, blending, vignetting, toning, masking—Bodine did it all. He and Ansel Adams had much in common with regard to their vision, workflow, and results.

As a photographer for the Sun Papers, his work became the world’s view of the mid-Atlantic, Baltimore, our streets, our people, our farmlands, and our waterways. He shared our oyster industry like no other—some of my favorite Bodine images are of oyster fishermen and their catch.

Bodine signature, fountain pen

On December 7th two of Bodine’s signed silver gelatin prints go on the auction block at Alex Cooper Auctioneers in Towson.

The first up is his magnificent, 17 1/4 x 14 inch, Tyson St. and it’s a favorite of mine. The other is his stunning, 17 x 13 3/4 inch, oceanscape, Ocean City Sunrise. Both are offered framed—to my eye the frames and glazing should probably be updated.

Detail: A. Aubrey Bodine, Ocean City Sunrise

Bodine was by all accounts a class act. An artist I wish I’d been born early enough to meet—possibly to learn from. I’ve been thrilled to become acquainted with his daughter, Jennifer Bodine, who keeps the magic alive at www.aaubreybodine.com.

Bodine, the man at work (is it just me or did Bodine have more than just a little resemblance to F. Scott Fitzgerald?):

Bodine, French cuffs, retouching. 


By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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