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Former 'C* exhibits By Nancy Young Gamecock Staff Writor Russell Jeffcoat, a former (iamecock photographer, and Beth Marcil, a Columbia College graduate, are holding an exhibition oi pnoiograpns this week at Columbia Photo Supply. Jeffeoat graduated in 1976 with a degree in Journalism and Media Arts and is presently a professional freelancer in Columbia. Marcil has a degree in advertising design and is currently employed as a graphic artist in Charleston. In possessing such a unique i style. Jeffeoat picked up the trade 1 ranidlv "I'ntil I not t/* f?r?U??cir? i 1 - ?j ^ * f~?v'v l,/ vvl,vbv? 4 didn't know what a camera was. Most of what I learned about photography 1 picked up working at the Gamecock." He first got interested in photography when he entered a photograph contest sponsored by the Gamecock and won. He was then asked to join the staff as a photographer "1 never went into a dark room before." He nliinlrl.. 1 ? ijuicniy ifin new nit* i ran and became photo editor. One photograph that remained in his mind while working on the ' Gamecock was a photograph depicting a UFO. "I used a frisbee." Presently. Jeffeoat's work consists of commercial accounts as well as individual promotions. j Ponnln -i ro Vne I . mv. m.-i I ? \ V/l I It ^UUJCC'lrt , and he captures the moods of his subjects with sensitivity. Jeffcoat said, "When I photograph someone. I try to fall in love with something about them." He added that the eyes are most important because they create the mood whieh the whole composition i follows. The eyes in the portrait of Beth Marcil are used effectively in j creating cool assuredness: this is a j portrait of an independent, selfconfident woman. The black background projects her fact and hand, which exhibits an expressiveness of its own. The photograph of a fireman at the Finley House reminded me of Snowden's photograph of a patient in an insane asylum because of the ! position of the subject with his j head buried in his arms. Here, Jeffcoat displays his talent for ! photojournalism for the photo provokes many responses with just ^ one scene. The displays from the Workshop plays, Equus and The j Philadelphia Story did not arouse much response. They lack the j spontaneity and sincerity of the ' others. Jeffcoat's talent lies in photographing unrehearsed subjects. "I like to make the person feel a? ease when i photograph them. I try to find nuiiiumius Miicit'siin^ auoui | them." He has the ability to make I his subject provocative. This is also true of Beth Marcil. j Her style is free and natural. She said, "I like to just let my l imagination go and see what j happens." The result is a cross of j total honesty in feeling and a subtle if.-;: 1| |?|^B& \ \ :';V if^'\ , :':V';-:'\ WiMWM Jeff coat's photo of Beth Marcil a. 9 nmecock p works in ( restraint in the over-all compositions or her nude photographs. Her interest in the mood of a photo has led to experiments in hand coloring photos. This lends itself well to landscape photography, but I prefer her black and white photos of people over the hand colored ones. They are more mysterious and stimulating. Marcil's philosophy of photography is interesting: "The photographs don't have a particular message to convey, but are intended to tug at your imagination and allow yours. HJ|B123^ ALL SEP a^iw.i.u^.iiwiva $2 THE WNOK-FM MIDNIGHT MOVI FRI. & SAT. AT 12:' UNCUT & UNCENSORED! "RICHARD PRYOR IN CONCERT" HsSffiH't 2009 Gr< j Friday & t Eric Quit Sorry we missei Di if ? %A UU t uui VVIIII FREE DR t on wed. &Thi Plus on wed. Our HAPPY HOUR Tuesdav Dick Coi own .t His Jazz Russell Jeffcoat hoto editor Columbia to pick up where mine leaves off." With this in mind I found a new way of looking at photography as a means to continue the image in my mind, rather than letting the photograph be an end in itself. The exhibition continues through this week-end. Both artists show talent, and I hope to see more exhibits of their work. 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