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<\/a>12AM by Kelly Green<\/p><\/div>\n
You can almost hear the \u201cMission Impossible\u201d theme song in the background when you learn about the assignment proposed to 24 Utah photographers:\u00a0Your mission, should you choose to accept it . . .<\/em><\/p>\n The letter from Alpine Art curator Matt Chiodo went to the 24 artists in mid-December, barely three weeks before the \u201cmission.\u201d Each photographer was invited to pick one of the first 24 hours in 2012 and chronicle that hour (local time, wherever they might be), using only available light, and submit only one photograph for exhibition. Additional parameters regarding the size of the photograph and framing were designed to ensure a cohesive exhibit. Alpine Art will show the resulting 24 photographs from February 17 to March 31, in an exhibit it calls\u00a024 x 24<\/em>.<\/p>\n The hours, from 12 a.m. to midnight on January 1, 2012, were assigned on a first-come, first-served basis.<\/p>\n 11AM by Amanda Moore<\/p><\/div>\n Partying, or hung over (or not), someone had to take that first hour of 2012. Kelly Green picked it. She knew she\u2019d be in Portland, at a club where her boyfriend would be playing bass in a band. \u201cI went to the club earlier that day to check out the space and the lighting,\u201d she says. Spying a balcony above and to the side of the stage area, she decided to begin photographing there, hoping to capture the band, the crowd, and a burst of exuberant celebration as the clock turned to 2012. She even handed out the New Year party \u201ccrackers\u201d to the crowd. With camera anchored to her tripod and a railing, she was ready to shoot. \u201cI was hoping there would be more of a New Year celebration happening, but there wasn\u2019t,\u201d says Green. The stuff spewing from the crackers just didn\u2019t show well in the available light. But, Green says, \u201cIt was fun to play around with the colors, lights, and long exposures.\u201d<\/p>\n Anne Cummings-Anderson responded late to Chiodo’s invitation. With few hours to choose from, she selected 11 p.m. \u201cIt was a little challenging and I didn\u2019t have a lot of time to pre-visualize,\u201d she says. \u201cBut I had been thinking for a while about hopes for the New Year, from a political point of view. So I took that as my concept and played with it.\u201d She sketched out the composition she had in mind and scouted the location for the shoot. Even with all that preparation, there are usually unexpected challenges. Life isn\u2019t perfect. But that was fine with Cummings-Anderson, who enjoys working with imperfection and not spending too much time over-shooting to perfect an image. After all, she says, \u201cThe message within my picture is about imperfection and the world we live in today.\u201d<\/p>\n Gerry Johnson was packing for a holiday trip to Hawaii when he received his invitation to participate. He selected the hour between 6 and 7 a.m. The friend he was staying with on the Big Island is a former photojournalist who was excited to suggest places for the shoot and go along for the fun of it. They planned to travel to the island\u2019s volcano park, but the weather turned rainy, so they went to the black sand beach instead. \u201cIt was absolutely fantastic,\u201d says Johnson. \u201cI love being up early in the morning. I thought it was a cool way to do things and to welcome the New Year.\u201d<\/p>\n 6AM by Gerry Johnson<\/p><\/div>\n While New Year\u2019s day was winding down most people where probably heading to bed. But Shalee Cooper had a 9 p.m. photo shoot for the Alpine show. Cooper likes to document things; not just things, but color. \u201cI decided to shoot in my living room with the play of light on the walls,\u201d says Cooper. Her abstract color field photographs are well known; will this follow that concept? You\u2019ll have to see the show to find out.<\/p>\n Michael Slade picked the evening hour from 6 to 7; not his first choice, but close. \u201cIt\u2019s neat to see what you come up with when you\u2019re not in control,\u201d he says. He shot his photograph on the Great Salt Lake as part of his multi-year documentation of the lake at various times of the year. \u201cI wanted to do something different,\u201d says Slade. So he worked with a new direct-positive paper made in England. It\u2019s a bit like a Polaroid in that the image is captured on the paper in his 8 x 10 inch view camera. But the image is then developed back in the studio. Since the assignment was to produce a 16 x 20, or 16 x 16, image, Slade shot a sequence of four 8 x 10s to assemble into the required size. \u201cThis is a little different from most photographs,\u201d he says. \u201cThere\u2019s no negative so this image cannot be reproduced.\u201d It\u2019s one of a kind.<\/p>\n 6PM “Lee Creek 4 Panel Positive” by Michael Slade<\/p><\/div>\n Cat Palmer, mother of two young children, one teething, is often up in the middle of the night, so why not take the 4 a.m. assignment, she thought. Her strategy was to explore her world, inside her toy-strewn house, to find her best option. What caught her sleep filled eyes after the alarm went off at 4:00 on New Year\u2019s morning was the jack-in-the-box her little boy got for his birthday. Palmer is excited to be among the participating artists, even though conforming to the framing guidelines for the show is contrary to her well-known style of mounting photographs on metal and incorporating mixed media in the presentation.<\/p>\n<\/a><\/a><\/a>