Pete Checchia - Checchia's new body of work "Dreamscapes", are created intuitively, inspired by fragments of memory and remembrances of dreams. They are a montage of figurative, architectural and landscape forms.  The elements involved in the pieces are from collaborative sessions with models. These sessions focus mostly on nude studies often with an  emphasis on conceptual ideas that are appealing to both Checchia and the models.  These photographs are Checchia's attempt at uncovering unconscious psychological feelings inextricably linked to the soul.  A fair amount of chance operations are employed when constructing these works, allowing himself the opportunity to discover juxtapositions in a fresh and personally exciting way. Pete Checchia has a diverse career both as a highly esteemed freelance photographer as well as an acclaimed multi-disciplinary exhibiting visual artist. He has found his niche as one of the leading photographers of the classical music world. He serves as a primary house photographer for Carnegie Hall, and has been the principal photographer at the prestigious Marlboro Music Festival for the past 20 years. He includes among his regular clients the Philadelphia Orchestra, Curtis Institute of Music, the Marilyn Horne Foundation and the Philadelphia Chamber Music Society.

Benjamin Long - Long's new series of photographs were taken with a 4x5 view camera on obsolete Polaroid film.  The film yields both a black & white positive print and a negative. In this case,  the negative was scanned and printed.  The nudes featured in his photos where created by Long himself from doll parts.  Benjamin experimented with poses by trying different limb combinations,  he then cleaned up the parts, glued them together and painted them, similar to the way any scale model kits are created. Long is respected among the contemporary art world. He has shown his work nationally and belongs to numerous private collections.

David Miles - Miles photographs are quiet, they imply everything that’s not present in two dimensions: the smell, the touch, the sound. Doing this while placing the viewer in the same moment the photographs were happening, he pulls the viewer into the mood of that moment. Miles likes to think of his photography as a way of making an instantaneous drawing, but a drawing that’s finished in a way that a drawing cannot be. Miles is a philosopher and self-taught photographer.