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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Elizabeth Bourne
Elizabeth Bourne
Elizabeth Bourne

Elizabeth Bourne

Country: United States
Birth: 1964

I describe myself as an artist using a camera rather than as a photographer since I am more concerned with creating an emotional connection with the viewer rather than technical perfection. After living most of my life in the Pacific Northwest, I went to Greenland in 2017 and everything changed. I fell in love with the high arctic. In 2018 I had artist residencies in both Svalbard and Iceland. In 2019, at a time when most people my age are thinking about retirement and grandchildren, I packed seven suitcases, and moved to Longyearbyen. Now I live in the world's northernmost town on the archipelago of Svalbard. I work almost exclusively in the arctic. My work, both painting and photography, have been exhibited nationally and internationally. In 2019 I was honored to receive the Vision Excellence Award from the Miami Photography Center during Art Basel Miami for best work in a series. Svalbard: Land without Borders which is an ongoing project. My work has been collected by Adobe, Corel Draw, and the City of Seattle.

About the work:
In the arctic, glaciers ten thousand years old rise in shimmering cliffs of light. These ice rivers calve towering icebergs with life spans of only two years. The paleocrystic beauty of the high arctic is as rich as any Tahitian sunset. There is a struggle between those who would exploit the arctic, and those who would preserve it. I have chosen to document these changes in Svalbard, the last land without borders on our planet.

My goal is to engage a heart-felt reaction in the viewer. I believe the artist must have a passion for her subject, and a core need to communicate that passion. My hope is that my work will show the arctic's beauty so that people will choose to preserve it. We need the ice. Not just for environmental reasons, but also to maintain the last truly wild, untouched place on our crowded planet.

Website

www.philotera.com

 

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More Great Photographers To Discover

Alicia Savage
Alicia Savage
United States
Alicia Savage is a self-portrait photographer based in Boston, Massachusetts. Her fine art photography is very much a documentation of her life and mind as a 29-year-old woman exploring life; inspired by her surroundings and recent travels. "Photography has opened my mind and heart to understand myself and the world beyond what is assumed; to always be inspired by my curiosity and imagination of what is and could be."
Gertrude Käsebier
Gertrude Käsebier
United States
1852 | † 1934
Gertrude Käsebier was an American photographer. She was well-known for her images of motherhood, portraits of Native Americans, and promotion of photography as a career for women. Käsebier was born Gertrude Stanton on May 18, 1852, in Fort Des Moines (now Des Moines, Iowa). Her mother was Muncy Boone Stanton and her father was John W. Stanton. He brought a sawmill to Golden, Colorado, at the start of the Pike's Peak Gold Rush in 1859, and he profited from the building boom that followed. Stanton, then eight years old, traveled to Colorado with her mother and younger brother to join her father. That same year, her father was elected as the first mayor of Golden, Colorado Territory's capital at the time. After her father died unexpectedly in 1864, the family relocated to Brooklyn, New York, where her mother, Muncy Boone Stanton, opened a boarding house to support the family. Stanton lived in Bethlehem, Pennsylvania, with her maternal grandmother from 1866 to 1870, and she attended the Bethlehem Female Seminary (later called Moravian College). Little else is known about her childhood. She married twenty-eight-year-old Eduard Käsebier, a financially secure and socially well-placed businessman in Brooklyn, on her twenty-second birthday in 1874. Frederick William, Gertrude Elizabeth, and Hermine Mathilde were the couple's three children. In 1884, they relocated to a farm in New Durham, New Jersey, in search of a healthier environment for their children to grow up in. Flying Hawk, American Indian, c. 1900, U.S. Flying Hawk, American Indian, c. 1900, U.S. Library of Congress © Gertrude Käsebier Gertrude Käsebier later wrote that she was unhappy for the majority of her marriage. She stated, "If my husband has gone to Heaven, I want to go to Hell. He was terrible... Nothing was ever good enough for him." Divorce was considered scandalous at the time, so the couple remained married while living separate lives after 1880. This unhappy situation later inspired one of her most strikingly titled photographs, Yoked and Muzzled – Marriage (c. 1915), which depicts two constrained oxen. Despite their differences, her husband financially supported her when she began art school at the age of 37, at a time when most women of her generation were well-established in their social positions. Käsebier never explained why she chose to study art, but she did so wholeheartedly. Over her husband's objections, she relocated the family to Brooklyn in 1889 to attend the newly established Pratt Institute of Art and Design full-time. Arthur Wesley Dow, a highly influential artist and art educator, was one of her teachers there. He later assisted in advancing her career by writing about it and introducing her to other photographers and patrons. The key to artistic photography is to work out your own thoughts, by yourselves. Imitation leads to certain disaster. New ideas are always antagonized. Do not mind that. If a thing is good it will survive. -- Gertrude Käsebier Gertrude Käsebier studied the theories of Friedrich Fröbel, a nineteenth-century scholar whose ideas about learning, play, and education inspired the creation of the first kindergarten. Käsebier was greatly influenced by his ideas about the importance of motherhood in child development, and many of her later photographs emphasized the bond between mother and child. The Arts and Crafts movement also had an impact on her. She studied drawing and painting in school, but she quickly became obsessed with photography. Käsebier, like many other art students at the time, decided to travel to Europe to further her education. She began 1894 by studying the chemistry of photography in Germany, where she was also able to leave her daughters with her in-laws in Wiesbaden. She spent the rest of the year in France, studying with American painter Frank DuMond. Gertrude Käsebier returned to Brooklyn in 1895. She decided to become a professional photographer in part because her husband had become quite ill and her family's finances were strained. She worked as an assistant to Brooklyn portrait photographer Samuel H. Lifshey for a year, where she learned how to run a studio and expanded her knowledge of printing techniques. Clearly, by this point, she had a thorough understanding of photography. Only one year later, she exhibited 150 photographs at the Boston Camera Club, a massive number for a single artist at the time. The same photographs were shown at the Pratt Institute in February 1897. The success of these exhibitions led to another in 1897 at the Photographic Society of Philadelphia. She also gave a talk about her work and encouraged other women to pursue photography as a career, saying, "I strongly advise women with artistic tastes to pursue a career in the underserved field of modern photography. It appears to be uniquely suited to them, and the few who have entered it have found rewarding and profitable success." In 1898, Käsebier watched Buffalo Bill's Wild West troupe parade past her Fifth Avenue studio in New York City, toward Madison Square Garden. Her memories of affection and respect for the Lakota people inspired her to send a letter to William "Buffalo Bill" Cody requesting permission to photograph the members of the Sioux tribe traveling with the show in her studio. Cody and Käsebier were similar in their abiding respect for Native American culture and maintained friendships with the Sioux. Cody quickly approved Käsebier's request and she began her project on Sunday morning, April 14, 1898. Käsebier's project was purely artistic and her images were not made for commercial purposes. They never were used in Buffalo Bill's Wild West program booklets or promotional posters. Käsebier took classic photographs of the Sioux while they were relaxed. Chief Iron Tail and Chief Flying Hawk were among Käsebier's most challenging and revealing portraits. Käsebier's photographs are preserved at the National Museum of American History's Photographic History Collection at the Smithsonian Institution. Red Horn Bull, a Sioux Indian from Buffalo Bill’s Wild West Show, c. 1900, U.S.Library of Congress © Gertrude Käsebier Käsebier's session with Iron Tail was her only recorded story: "Preparing for their visit to Käsebier's photography studio, the Sioux at Buffalo Bill's Wild West Camp met to distribute their finest clothing and accessories to those chosen to be photographed." Käsebier admired their efforts, but desired to, in her own words, photograph a "real raw Indian, the kind I used to see when I was a child", referring to her early years in Colorado and on the Great Plains. Käsebier selected one Indian, Iron Tail, to approach for a photograph without regalia. "He did not object. The resulting photograph was exactly what Käsebier had envisioned: a relaxed, intimate, quiet, and beautiful portrait of the man, devoid of decoration and finery, presenting himself to her and the camera without barriers." Several days later, Chief Iron Tail was given the photograph and he immediately tore it up, stating that it was too dark. Käsebier photographed him again, this time in his full regalia. Iron Tail was an international celebrity. He appeared with his fine regalia as the lead with Buffalo Bill at the Avenue des Champs-Élysées in Paris, France, and the Colosseum of Rome. Iron Tail was a superb showman and disliked the photograph of him relaxed, but Käsebier chose it as the frontispiece for an article in the 1901 Everybody's Magazine. Käsebier believed all the portraits were a "revelation of Indian character", showing the strength and individual character of the Native Americans in "new phases for the Sioux". In her photograph of Chief Flying Hawk, his glare is the most startling image among those portraits by Käsebier, quite contrary to the others who were shown as relaxed, smiling, or making a "noble pose". Flying Hawk was a combatant in nearly all of the fights with United States troops during the Great Sioux War of 1876. He fought along with his cousin Crazy Horse and his brothers, Kicking Bear and Black Fox II, in the Battle of the Little Big Horn in 1876. He was present at the death of Crazy Horse in 1877 and the Wounded Knee Massacre of 1890. In 1898, when the portrait was taken, Flying Hawk was new to show business and he was unable to hide his anger and frustration about having to imitate battle scenes from the Great Plains Wars for Buffalo Bill's Wild West in order to escape the constraints and poverty of the Indian reservation. Soon, Flying Hawk learned to appreciate the benefits of a Show Indian with Buffalo Bill's Wild West. Flying Hawk regularly circulated show grounds in full regalia and sold his "cast card" picture postcards for a penny to promote the show and to supplement his meager income. After the death of Iron Tail on May 28, 1916, Flying Hawk was chosen as his successor by all of the braves of Buffalo Bill's Wild West and he led the gala processions as the head Chief of the Indians. I am now a mother and a grandmother, and I do not recall that I have ever ignored the claims of the nomadic button and the ceaseless call for sympathy, and the greatest demand on time and patience. My children and their children have been my closest thought, but from the first days of dawning individuality, I have longed unceasingly to make pictures of people... to make likenesses that are biographies, to bring out in each photograph the essential temperament that is called, soul, humanity. -- Gertrude Käsebier Over the next decade, she took dozens of photographs of the Indians in the show. Some of those photographs become her most famous images. Unlike Edward Curtis, a photographer who was her contemporary, Käsebier focused more on the expression and individuality of the person than their costumes and customs. While Curtis is known to have added elements to his photographs to emphasize his personal vision, Käsebier did the opposite, sometimes removing genuine ceremonial articles from a sitter to concentrate on the face or stature of the person. In July 1899, Alfred Stieglitz published five of Käsebier's photographs in Camera Notes, declaring her "beyond dispute, the leading artistic portrait photographer of the day". Her rapid rise to fame was noted by photographer and critic Joseph Keiley, who wrote "a year ago Käsebier's name was practically unknown in the photographic world... Today that names stands first and unrivaled...". That same year her print of The Manger sold for $100, the most ever paid for a photograph at that time. In 1900, Käsebier continued to gather accolades and professional praise. In the catalog for the Newark (Ohio) Photography Salon, she was called "the foremost professional photographer in the United States". In recognition of her artistic accomplishments and her stature, later that year, Käsebier was one of the first two women elected to Britain's Linked Ring (the other was British pictorialist Carine Cadby). The next year, Charles H. Caffin published his landmark book Photography as a Fine Art and devoted an entire chapter to the work of Käsebier ("Gertrude Käsebier and the Artistic Commercial Portrait"). Due to demand for her artistic opinions in Europe, Käsebier spent most of the year in Britain and France visiting with F. Holland Day and Edward Steichen. Alfred Stieglitz, c. 1902, U.S.Library of Congress © Gertrude Käsebier In 1902, Stieglitz included Käsebier as a founding member of the Photo-Secession. The following year, Stieglitz published six of her images in the first issue of Camera Work. They were accompanied by highly complementary articles by Charles Caffin and Frances Benjamin Johnston. In 1905 six more of her images were published in Camera Work, and the following year, Stieglitz presented an exhibition of Käsebier photographs (along with those of Clarence H. White) at his Little Galleries of the Photo-Secession. The strain of balancing her professional life with her personal one began to take a toll on Käsebier at this time. The stress was exacerbated by her husband's decision to move to Oceanside, Long Island, which had the effect of distancing her from the New York artistic center. In response, she returned to Europe where, through connections provided by Steichen, she was able to photograph the reclusive Auguste Rodin. When Käsebier returned to New York an unexpected conflict with Stieglitz developed. Käsebier's strong interest in the commercial side of photography, driven by her need to support her husband and family, was directly at odds with Stieglitz's idealistic and antimaterialistic nature. The more Käsebier enjoyed commercial success, the more Stieglitz felt she was going against what he felt a true artist should emulate. In May 1906, Käsebier joined the Professional Photographers of New York, a newly formed organization that Stieglitz saw as standing for everything he disliked: commercialism and the selling of photographs commercially rather than for love of the art. After this, he began distancing himself from Käsebier. Their relationship never regained its previous status of mutual artistic admiration. Eduard Käsebier died in 1910, finally leaving his wife free to pursue her interests as she saw fit. She continued to follow a separate course from that of Stieglitz and helped to establish the Women's Professional Photographers Association of America. In turn, Stieglitz began to publicly speak against her contemporary work, although he still thought enough of her earlier images to include 22 of them in the landmark exhibition of pictorialists at the Albright-Knox Art Gallery later that year. The next year, Käsebier was shocked by a highly critical attack made by her former admirer, Joseph T. Keiley, that was published in Stieglitz's Camera Work. Why Keiley suddenly changed his opinion of her is unknown, but Käsebier suspected that Stieglitz had put him up to it. Part of Käsebier's alienation from Stieglitz was due to his stubborn resistance to the idea of gaining financial success from artistic photography. If he felt a buyer truly appreciated the art, he often sold original prints by Käsebier and others at far less than their market value and, when he did sell prints, he took many months before paying the photographer of the work. After several years of protesting these practices, in 1912, Käsebier became the first member to resign from the Photo-Secession. In 1916, Käsebier helped Clarence H. White found the group Pictorial Photographers of America, which was seen by Stieglitz as a direct challenge to his artistic leadership. By this time, however, Stieglitz's tactics had offended many of his former friends, including White and Robert Demachy, and a year later, he was forced to disband the Photo-Secession. During this time, many young women starting out in photography sought out Käsebier, both for her photographic artistry and for inspiration as an independent woman. Among those who were inspired by Käsebier and who went on to have successful careers of their own were Clara Sipprell, Consuelo Kanaga, Laura Gilpin, Florence Maynard, and Imogen Cunningham. Throughout the late 1910s and most of the 1920s, Käsebier continued to expand her portrait business, taking photographs of many important people of the time, including Robert Henri, John Sloan, William Glackens, Arthur B. Davies, Mabel Dodge, and Stanford White. In 1924, her daughter, Hermine Turner, joined her in her portrait business. In 1929, Käsebier gave up photography altogether and liquidated the contents of her studio. That same year, she was given a major solo exhibition at the Brooklyn Institute of Arts and Sciences. Käsebier died on October 12, 1934, at the home of her daughter, Hermine Turner. A major collection of her work is held by the University of Delaware. In 1979 Käsebier was inducted into the International Photography Hall of Fame and Museum.Source: Wikipedia
Serkant Hekimci
Serkant Hekimci
Turkey
1975
Born in Istanbul in 1975.He was graduated from Public Administration department from University of Uludag. He got interested in photography in 2004. His main subject in photography is people and life. He tries to do this in a comtemporary way with strong realism. He tells stories of everyday life of the people in the back streets of Istanbul and aims to form his own language of photography by using the modern as well as the classic aspects.Continuing his works in Russia and Turkey. He opened his personal exhibitions in Russia and Ukraine in 2013
Eric Seidner
Eric Seidner
United States
1978
Eric Seidner is an award-winning American photographer who has spent two decades living and working in China. His work, published by esteemed photography organizations, focuses on travel documentary, capturing the people, culture, and character of a place. With a strong sense of geometry and pattern, he blends composition with storytelling, creating layered images that offer deeper perspectives. His personal projects often take him to remote regions or cultural festivals, always in search of compelling moments that connect people across different worlds.
Jan Saudek
Jan Saudek
Czech Republic
1935
Jan Saudek is an art photographer and painter. He and his twin brother Kaja Saudek are holocaust survivors. Jan Saudek's art work represents a unique technique combining photography and painting. In his country of origin, Czechoslovakia, Jan was considered a disturbed artist and oppressed by authorities. His art gained more prominence during the 1990s, thanks to his collaboration with the publisher Taschen. During the 2000s, Saudek lost all his photo negatives in a matrimonial dispute and his pictures are now displayed on the internet for free. Jan claims they were stolen from him. Jan is the author of many “mise en scene” that were re-taken and copied by other artists. The cliché of a naked man holding a naked newborn baby with tenderness became a picture that was reproduced so many times that the composition became as commonplace as posing for a graduation picture. I still dream of the day when I will take a photograph so beautiful that it can be called love. -- Jan Saudek During his life in communist Czechoslovakia, Jan was labeled by the totalitarian regime as a pornographer. He lived in poverty using the only room in his basement as his studio. A disintegrating wall and a window giving a glimpse into the backyard became the witnesses of his fantasies and collaborations with models of all different sizes and origins. Jan Saudek and his twin brother Karel (also known as Kája) were born to a Slavic (Czech) mother and Jewish father in Prague in 1935. Their mother's family came to Prague from Bohemia, and their father from the city of Děčín in the northwest part of that area. During World War II and after the invasion of the German Nazis, both sides of his family were racially persecuted by the invaders. Many of his Jewish relatives died in the Theresienstadt concentration camp during the war. Jan and his brother Karel were sent to a children's concentration camp for Mischlinge (mixed-blood in German, as Nazis classified Jews as a race distinct from "Aryans"), located in Silesia near the present Polish-Czech border. Their father Gustav was deported to Theresienstadt concentration camp in February 1945. Although their mother and many other relatives died, both sons and father survived the war. A Communist-dominated government gained power after the war to rule the country, enforced by the Soviet Union and considered to be behind the Iron Curtain. According to Saudek's biography, he acquired his first camera, a Kodak Baby Brownie, in 1950. He apprenticed to a photographer, and in 1952 started working in a print shop; he was restricted to this work by the Communist government until 1983. In 1959, he started using the more advanced Flexaret 6x6 camera, and also engaged in painting and drawing. After completing his military service, he was inspired in 1963 by the catalogue for American photographer Edward Steichen's The Family of Man exhibition, and began to work to become a serious art photographer. In 1969, Saudek traveled to the United States, where he was encouraged in his work by curator Hugh Edwards of the Art Institute of Chicago. I have no way of portraying the lives of others. I portray my own. -- Jan Saudek Returning to Prague, Saudek had to work on his photography clandestinely in a cellar, to avoid the attention of the secret police. With his work turning to themes of personal erotic freedom, he used implicitly political symbols of corruption and innocence. In the late 1970s, he became recognized in the West as the leading Czech photographer, and also developed a following among photographers in his own country. In 1983, the first book of Saudek's work was published in the English-speaking world. The same year, he became a freelance photographer; the Czech Communist authorities allowed him to stop working in the print shop, and gave him permission to apply for a permit to work as an artist. In 1987, the archives of his negatives were seized by the police, but later returned. His best-known work is notable for its hand-tinted portrayal of painterly dream worlds, often inhabited by nude or semi-nude figures surrounded by bare plaster walls or painted backdrops. He frequently re-uses elements (for instance, a clouded sky or a view of Prague's Charles Bridge). In this his photographs suggest the studio and tableaux works of mid-19th century erotic photographers, as well as the works of the 20th-century painter Balthus, and of Bernard Faucon. Saudek's early art photography is noted for its evocation of childhood. His later works often portrayed the evolution from child to adult (re-photographing the same composition/pose, and with the same subjects, over many years). Religious motifs and the ambiguity between man and woman have also been some of Saudek's recurring themes. During the 1990s, his work at times generated censorship attempts in the West because of its provocative sexual content. Saudek's imagery has sometimes had a mixed reception internationally. He gained early shows in 1969 and 1970 in the United States and in Australia. In 1970 his work was shown at the Australian Centre for Photography and was welcomed by curator Jennie Boddington at the National Gallery of Victoria. Decades later, by contrast, his photograph Black Sheep & White Crow, which features a semi-naked pre-pubescent girl, was removed from the Ballarat International Foto Biennale in Victoria, Australia just before the opening on 21 August 2011; objections had been made related to allegations of child prostitution for his subject. Saudek's photographs have been featured as covers for the albums of Anorexia Nervosa (New Obscurantis Order), Soul Asylum (Grave Dancers Union), Daniel Lanois (For the Beauty of Wynona), Rorschach (Remain Sedate), and Beautiful South (Welcome to the Beautiful South). Saudek lives and works in Prague. His brother Kája Saudek was also an artist, the best-known Czech graphic novelist.Source: Wikipedia Saudek's pictures display a fondness for sequences that can be traced back to his childhood appreciation of comic books. More obviously, his work is often inspired by the nineteenth-century tradition of photographs of large women posed in lingerie reproduced as postcards (quite possibly also the source of inspiration for Saudek's collection 30 Postcards). His formal training occurred from 1950 to 1952, when Saudek attended Graphic Arts school and took a photography class. Saudek first exhibited in Prague in 1963 at the Hall of the Theatre on the Balustrade; though he continues to show work in his home country occasionally, Saudek's pictures are most widely exhibited in the United States. His work is held by such institutions as the Art Institute of Chicago; Museum of Fine Arts, Boston; The Bibliothèque nationale de France, Paris; Musée Nicephore Nièpce, Chalon-sur-Saone, France; National Gallery of Victoria, Melbourne, Australia; and Photo Art, Basel, Switzerland. Saudek continues to live and work in the Czech Republic.Source: Museum of Contemporary Photography
Janet Delaney
Janet Delaney
United States
Janet Delaney’s current photographic work uses a fine art approach to explore the social and political dynamics of city life. Her books include South of Market (MACK 2013), which documents the gentrification of a working-class neighborhood. Public Matters, (MACK 2018) addresses public life in Reagan era San Francisco and Red Eye to New York, (MACK 2021) finds public and private worlds on the stage of 1980s Manhattan. She is currently working on a sequel to South of Market, examining the impact of the arrival of new technology companies on her old neighborhood. Delaney’s awards include a Guggenheim Fellowship in 2020 and three National Endowment for the Arts Grants. Her photographs are in the collections of the San Francisco Museum of Modern Art, the de Young Museum and the High Museum, Atlanta among others. She has shown in museums and galleries locally and internationally. Janet Delaney received her MFA from the San Francisco Art Institute and held a faculty position at the University of California, Berkeley. She lives and works in Berkeley, California. Artist Statement My photographic practice actively engages the art of storytelling. I focus on both large public issues as well as more intimate, prosaic subject matter. I immerse myself fully in a place or a state of being and photograph without assumptions. Back in the studio, I organize these images to construct narratives that reflect my experience. Research is integral to each project, and when needed, I incorporate text to deepen and expand the storyline. Exhibitions offer me the opportunity to play with sequence and scale, while books provide a means to solidify and preserve my ideas. Over the years I’ve worked across various formats, exploring subjects as diverse as foreign wars, my kitchen table, forests, and cities worldwide. Artist Statement for the work submitted Revisiting a place I once called home creates a curious dissonance. During the 1980s I chronicled the early stages of gentrification in the South of Market district of San Francisco. Now, as I revisit my old neighborhood, rechristened SoMa by millennial marketers, I see a skyline bulging with new buildings. My former neighbors are eclipsed by both high-earning technology workers and those without homes whose tents line alleys and broad boulevards. In this new world I often feel as if I am standing in two places at once; the past infuses the present with both longing and confusion. In SoMa Now (working title), I sew together a complex narrative of a city I know well, blending fact and feeling to convey what is lost, what is gained and what remains in this new terrain. Article Exclusive Interview with Janet Delaney about 'Too Many Products, Too Much Pressure!'
René Burri
René Burri
Switzerland
1933 | † 2014
René Burri is a Swiss photographer known for his photos of major political, historical and cultural events and key figures of the second half of the 20th century. Burri worked for Magnum Photos and has been photographing political, military and artistic figures and scenes since 1946. He has made portraits of Che Guevara and Pablo Picasso as well as iconic pictures of São Paulo and Brasília. Burri studied in Zurich, Switzerland at the School of Applied Arts from 1949 to 1953, where he worked under Hans Finsler, Alfred Willimann and Johannes Itten. From 1953 to 1955 he began working as a documentary filmmaker while completing military service. During this time he also began working with Leica cameras. Then he worked for Disney as a cameraman until 1955. From 1956 to 1959 he traveled extensively to places including Turkey, Egypt, Syria, Iraq, Jordan, Lebanon, Italy, France, Spain, Greece, Brazil, and Japan, which led to publications in Life, Look, Stern, Paris-Match, Epoca, and New York Times, as well as a photographic essay "El Gaucho" which appeared in Du. Burri first began working with Magnum Photos in 1955 through Werner Bischof, becoming a full member in 1959 and being elected chair of Magnum France in 1982. His first report "Touch of Music for the Deaf" on deaf-mute children was published by Life. In 1965 he assisted with the creation of Magnum Films which lead to his work on the Magnum-BBC joint production of, The Two Faces of China. In 1967 he produced a documentary on the Six-Day War in Jerusalem for German television. He produced the film Jean Tinguely in 1972. In 1963 Burri was working in Cuba when he was able to photograph the revolutionary Che Guevara; these images of Guevara smoking a cigar have become iconic. Notably, after taking the photos, Burri remembers Guevara "scaring the hell out of him". Describing a situation where an angry Che was pacing his tiny office like "a caged tiger", while being interviewed by an American woman from Look. While "hectoring" the reporter and "chomping on his cigar", Che suddenly looked Burri straight in the eye and told him "if I catch up with your friend Andy, I'll cut his throat" (while slowly drawing his finger across his neck). Andy was Andrew St. George, a fellow Magnum photographer, who had travelled with Che in the Sierra Maestra, and then later filed reports for American intelligence. Source: Wikipedia René Burri studied at the School of Applied Arts in his native city of Zurich, Switzerland. From 1953 to 1955 he worked as a documentary film-maker and began to use a Leica while doing his military service. Burri became an associate of Magnum in 1955 and received international attention for one of his first reportages, on deaf-mute children, Touch of Music for the Deaf, published in LIFE magazine. In 1956, he traveled throughout Europe and the Middle East and then went to Latin America, where he made a series on the Gauchos that was published by Du magazine in 1959. It was also for this Swiss periodical that he photographed artists such as Picasso, Giacometti, and Le Corbusier. He became a full member of Magnum in 1959, and started work on his book Die Deutschen, published in Switzerland in 1962, and by Robert Delpire the following year with the title Les Allemands. In 1963, while working in Cuba, he photographed Ernesto ‘Che’ Guevara during an interview with an American journalist. His images of the famous revolutionary with his cigar appeared around the world. Burri participated in the creation of Magnum Films in 1965 and afterwards spent six months in China, where he made the film The Two Faces of China produced by the BBC. He opened the Magnum Gallery in Paris in 1962, while continuing his activities as a photographer; at the same time, he made collages and drawings. In 1998, Burri won the Dr. Erich Salomon Prize from the German Association of Photography. A big retrospective of his work was held in 2004-2005 at the Maison Européenne de la Photographie in Paris and toured many other European museums. René Burri passed away at the age of 81 on October 20, 2014. Source: Magnum Photos
Yelena Zhavoronkova
Yelena Zhavoronkova
United States
1956
Yelena Zhavoronkova is a California based Fine Art Photographer and Graphic Designer. She received a Master's degree in Industrial Design from the Saint Petersburg Art and Industry Academy, USSR, and has worked as a graphic designer for over three decades. Over the past decade, Yelena has been intensively studying and working in photography, which helps her to express her artistic vision. Yelena's projects are simultaneously very personal and universal in nature, speaking to the viewers on an intimate level that is familiar to all. Since 2010 her projects were exhibited in de Young Museum of Arts in San Francisco, San Francisco City Hall, Corden|Potts Gallery of San Francisco, Blue Sky Gallery of Portland, Anzenberger Gallery in Vienna, Museum Belvédère, Heerenveen, The Netherlands, and many other galleries around the United States and in Europe. Her works were published in the online edition of The New Yorker magazine, featured in Shutterbug magazine and Transformation literary journal, among others. As a part of the Indie Photobook Library Collection Yelena's "Memories in Red" book is included in the Beinecke Rare Book & Manuscript Library at Yale University. Yelena's Archival Digital, Silver Gelatin and Platinum/Palladium prints are the part of many private collections and institutions in USA and in Europe. Currently she represented by the Anzenberger Gallery in Vienna, Austria and Corden|Potts Gallery, San Francisco, CA.
Dianne Yudelson
Dianne Yudelson
United States
Dianne Yudelson is an award winning photographic artist and master of the New Eclecticism Photography. Her work has been exhibited in Malaysia, France, Thailand, and throughout the USA. Dianne is a 2013 Critical Mass Finalist and a Julia Margaret Cameron Award winner in documentary, as well as street photography. Recent 2013 exhibitions include the Natural History Museum in San Diego California, National Geographic Museum as part of FOTODC, The FENCE 2013 and 2014 in Boston as part of the Magenta Flash Forward Festival, The FENCE 2013 and 2014 in Brooklyn as part of Photoville, the 2014 FENCE in Atlanta as part the ACP festival, and The Center for Fine Art Photography as part of 2013 and 2014 Center Forward. Dianne graduated Summa Cum Laude from the University of California, Berkeley. “My fascination with photography began upon the realization that, in addition to being a wonderful means of documentation, photography can also be used as a fine art medium. My style is eclectic. In the fine tradition of eclectic artists of our past, from DaVinci to Duchamp to Calder, I embrace the challenge of exploring varied subjects and forms of expression. By that I mean, neither subject matter nor genre solely defines my images; they are defined by my artistic esthetic." Dianne’s 2013-2014 top honors include "Photographer of the Year" titles from three acclaimed international competitions; Black and White Spider Awards, Photography Masters Cup, and World Photography Gala Awards. In 2013 Dianne received: First Place in the International Photography Awards (IPA) in Fine Art and Collage, GOLD overall category PX3, Grand Prize Winner in the New York Center for Photographic Arts, Gold medalist in San Francisco International Exhibition, First Place Professional Women Photographers, First Place WPGA Black & White Awards, First Place Texas Photographic Society, and advertising honors in the LICC for a third consecutive year. "Throughout my life art has been the one true common thread, the stitches that bind my chapters together. As a photographic artist, I embrace the ability to spotlight my point of view and give a voice to my imagination." Interview With Dianne Yudelson AAP: When did you realize you wanted to be a photographer?I realized I wanted to be a photographer when I discovered that, in addition to being a wonderful means of documentation, photography can be used as a fine art medium.AAP: Where did you study photography?I am a self-taught photographer.AAP: How long have you been a photographer?In the summer of 2009 I came across an article in the Rangefinder magazine regarding the Black and White Spider Awards. This article reported that the competition was for amateurs as well as professional photographers. I researched online and discovered that the deadline for entries was in 2 days. During the next two days I photographed and created my composite image entitled “Vessels,” and entered it in the competition. The following February, “Vessels” won a nomination in the Abstract category at the 5th Spider Awards. Since 2010 I have considered myself a photographer and I have dedicated myself to photography from that point on, initially creating single images and then moving forward to create whole portfolios of work. Within two years, at the 7th Black and White Spider Awards, I was named Photographer of the Year, Honor of Distinction.AAP: Do you remember your first shot? What was it?I was about 10 years old when I took my first snapshot. Although I have always enjoyed taking pictures, I remember people commenting, “Why are you wasting film taking a photo of a lollipop discarded in the street or a chair off in the corner?” I do remember the first photograph that elicited the response “Whoa… you could sell this shot!” The comment came from a friend of mine, who was a commercial photographer. I had taken an adventurous trip to England, receiving a camera as a going away gift. Because I was traveling alone, my photos captured my personal vision of the landscape: rowboats near a river’s edge at dawn, silhouettes of statuary at sunset and the delicate curvature of wildflowers as they blew in the autumn breeze. Capturing these photographs sparked my artistic curiosity; consequently, taking the photos became one of the most exciting aspects of my journey abroad.AAP: Do you have a mentor?My mentors are all the eclectic artists who have preceded me. I have honored some of these artists in my series “Fusions” and “Monarchs in Art.” In these two series I have utilized stylistic elements of the artists who were important contributors to their artistic movements, “monarchs” of their medium, while interpreting the subject matter and creating an image truly representative of my own modern artistic style.AAP: What inspires you?I am generally inspired by all things visual, from grand vistas to the reflection of light on a teardrop. Sometimes I am immediately compelled to take a photo and at other times the visual moment triggers a thought process that leads to the creation of a photo or photo series. Every now and then, as an avid reader, I will come across a pairing of words that peak my interest. For example, I created an image to symbolize a concept I had studied in graduate school, “Synaptic Euphoria.”AAP: How could you describe your style?My style is eclectic. By that I mean I embrace the challenge of exploring varied subjects and forms of artistic expression. As part of this philosophy, I created a new art movement that I call the “New Eclecticism.” Neither subject matter nor genre solely defines my images; they are defined by my artistic esthetic.As a teen, I performed in musicals. I remember saying, “I wish I could sing like Barbara Streisand.” My mother pointed out that the world already has a Barbara Streisand. We love Barbara because she is unique. To be unique you must be yourself as the world only has one of you.” From that day forward, I have understood that to be original, you must remain true to yourself and your vision.AAP: What kind of gear do you use?I am a Nikon girl -- camera, lenses and speedlights.AAP: Do you spend a lot of time editing your images?Sometimes yes and other times no. I will say that, when I am in the process of editing or creating images, time seems to disappear; I am in my own world. When I am not shooting or creating, I am thinking about what needs to be taken care of, so that I can get back to my art.AAP: What advice would you give a young photographer?I teach a photography group and I always advise them to keep the elements of composition in mind, photograph what inspires them and, if an idea hits you out of the blue, take a second to notate it for use later. Above all else, allow your images to serve as self-expression.AAP: Do you have an idea or project you would like to share?Recently, I have focused on my nature and wildlife photography. I have always loved birds and will sit in a field, by a stream or in a ditch along the side of a road for an hour or more to capture an elusive species or to wait for that moment of interaction. As a very young girl my fondest memory was sitting on my grandmother’s porch while she showed me tintypes of my great grandmother and other loved ones. Holding these tintypes in my hand and gazing into the eyes of my ancestors while hearing stories of my grandmother’s childhood was an experience I hold dear to my heart. Those tintypes were my first exposure to the art of photography. My series "Antique Aviary" is a melding of my lifelong passion for birds, my wildlife photography and my deep appreciation of the tintype image.AAP: What was your worst memory as a photographer?In April of this year I drove 400 miles to hand deliver my framed image “Great Horned Owl” from my “Antique Aviary” to the SMASHBOX exhibition during MOPLA (Month of Photography Los Angeles). Upon exiting my rental car, I took two steps and tripped into a 12inch pothole in the parking lot across the street from the Smashbox Studios in Hollywood and broke my foot.AAP: What is your best memory as a photographer?One day I was taking a drive with my 9 year old son. We were driving down a country road appreciating the tall mustard grass. Suddenly I spotted a 6 foot fence pole that was literally covered with bees. I pulled over, jumped out of the car and grabbed my camera from the trunk as well as a jacket to throw over my head. I told my son to stay in the car and take some photos with his little camera, but not to roll down the window. Bees were flying over my head and around my body to get to the pole. As I attempted to focus on the bees I realized that all these bees were vibrating up and down the pole. In order to get the shot, I was going to have to move in very close. At a couple of feet away I took the photos in my series “A Gathering of Bees.” When I returned to the car my son was a bit distraught. I said "I’m sorry if I took too long" and he said, “But Mommy, you’re allergic to bees. What if they swarmed you? What would I do?” I shall always remember the look on his face when I told him that if they swarmed me, “Take the Shot!”
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