The gamecock. (Columbia, S.C.) 1908-2006, February 01, 1980, Page Page 10, Image 10
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
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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&
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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
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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. My only
complaint is that this exhibition
does not show enough photographs
to really show these artists' objectives,
but it only gives a taste of
their artistic abilities.
as B|p
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