Photographer 'can't leave the material alone'

Sometimes it's difficult to believe that William Loeb's experimental photos began inside a camera. His black-and-white print "Manuscript," which looks hand-drawn, zooms in on a microscopic section of a chandelier's reflection on a Grand Central Station window.

Loeb does manipulate his shots with shading, cropping and "deciding what slice of the world the camera is focused on to create what's inside the frame," he says. "I take it to an extreme, so maybe it's not exactly photography. It could be something else."

At first glance, a shot of the Churchill Downs racetrack in his home state of Kentucky seems like a nightfall crowd scene, but the ominous sky is disproportionately huge.

"I can't leave the material alone because it never captures the thing that I want," he says. "I only know what I want after tinkering with it for hours."

Prominent photos hanging in his house include a colorization of the iconic coin-operated binocular found at tourist locations and a street scene. But several enigmatic works feature white markings against black backgrounds.

Loeb, who arrived in Beacon more than a year ago after splitting time between Brooklyn and Columbia County, is one of four local photographers participating in an exhibit, Work in Decay: The Renaissance of Beacon, Then and Now, that opens April 19 at the Howland Cultural Center. It will focus on photos taken by Patrick Prosser in 1982 and donated to the Beacon Historical Society, paired with modern updates by Loeb, Michael Goldfarb, Pierce Johnston and Tony Cenicola.

"Age"

"Gaslight"

"Harbinger"

"Iphigenia"

"Manuscript"

"Unseen"

Loeb climbed Mount Beacon to shoot the incline railroad's rusting gear house and promises to avoid surrealism when processing the final images. In darkroom days, he viewed photos as the beginning of a process that required interacting with instruments. All those instruments are now digital, such as Topaz, software Loeb relies on to "de-noise, play with the visible spectrum, sharpen smaller images within the photo and upscale the detail."

In a photo of an abandoned industrial site in Wilkes-Barre, Pennsylvania, nearly all the 400 windows look individually hand-tinted. For one favored behind-the-lens technique, he shakes the camera with intent, which turned photos of Manhattan buildings after dark into "Surveillance State." Its intertwined, squiggly lines look like they were etched with a stylus.

Another quasi-political photo, shot in Greenwood Cemetery during the pandemic, depicts a vague Manhattan skyline looming beyond the graves and mausoleums to represent the plague subsuming the city.

"I'm trying to see the world beyond the world - to throw the viewer off-balance and enliven, entertain and create unsettling perceptions," Loeb says. "Where does the digital art begin and the photos end? No matter what you call it, there is a camera involved, but I also live inside Photoshop."

The Howland Cultural Center, at 477 Main St., is open Saturday and Sunday from 1 to 5 p.m. "Work in Decay" begins with a reception from 1 to 3 p.m. on April 19 and continues through July 21.