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Deborah Bay
Deborah Bay
Deborah Bay

Deborah Bay

Country: United States

Deborah Bay is a Houston artist who specializes in constructed studio photography. She has exhibited most recently at Photo London Digital 2020, Foto Relevance (Houston), Texas Contemporary 2018 and 2019 and Photoville Brooklyn. Her work is in the collection of the Museum of Fine Arts Houston, Center for Creative Photography at the University of Arizona in Tucson and Dorsky Museum of Art at State University of New York at New Paltz. LensCulture and the Griffin Museum of Photography highlighted images from her Traveling Light series in on-line features earlier this year, and the British Journal of Photography has published her work on its cover. Her work was recognized in the Texas National 2018, and she was a finalist for Artadia Houston 2015. An active member of the Houston arts community, she has served on the board of the Houston Center for Photography and its Advisory Council. She holds graduate and undergraduate degrees from The University of Texas at Austin.

Statement:
My work explores the beauty of light and color. It builds on a studio practice that has focused for the past 15 years on constructed, macro photography. The images in the work presented here bring together an eclectic set of influences, ranging from geometric constructivism to color field. After collecting an assortment of prisms and lenses, I became interested in capturing how light and color interact with optical materials - seeming to bounce nonchalantly across surfaces, yet strictly bound by the laws of physics. Lenses and prisms were layered and stacked at angles to capture light wrapping around form. Chromatic geometries emerged from the planes and lines of color created using film gels. In my practice the camera often is a tool for highlighting details of physical phenomena that are overlooked or not easily observed. Particularly intriguing is the mystery created by the juxtaposition of scale - making close-up images of small objects and showing them as prints at many times their actual size. The images were produced in-camera and follow in the lineage of experimental studies exploring the most elemental components of photographic processes: light and lenses.

Gallery

fotorelevance.com

Website

deborahbay.com

 

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More Great Photographers To Discover

David Pace
David Pace
United States
1951 | † 2020
David Pace is a Bay Area photographer and curator. He received his MFA from San Jose State University in 1991. He has taught photography at San Jose State University, San Francisco State University and Santa Clara University, where he served as Resident Director of SCU's study abroad program in West Africa from 2009 - 2013. Pace photographed in the small sub-Saharan country of Burkina Faso annually from 2007-2016, documenting daily life in Bereba, a remote village without electricity or running water. His work has been exhibited internationally. His African photographs of the Karaba Brick Quarry are featured in the 2019 Venice Biennale in a group show entitled "Personal Structures" organized by the European Cultural Center. His book Images In Transition, a collaboration with gallerist Stephen Wirtz, was published in the spring of 2019 by Schilt Publishing. "Through my photography I want to express to a broad audience what it's like to live in West Africa. The Western media typically shows only the negative side of life in Africa, highlighting war, famine, genocide, and illness. This perspective is newsworthy but it is incomplete and misleading. It fails to capture the richness and complexity of life in small villages where a large percentage of West Africans live and work. Most live simple, meaningful lives. My photography in the remote village of Bereba and the surrounding region portrays a story of life in the community that is largely positive. My work projects a view that may be at odds with the more common perspective, but is no less accurate or realistic. I am committed to communicating the realities of life in West Africa to challenge the negativity that too frequently pervades the images we see." David Pace About Sur La Route
Andreas Franke
Andreas Franke
Austria
Andreas Franke is in the business for more than twenty years. For Luerzer‘s Archive he is among the 200 Best Photographers. He worked for great brands like Ben&Jerry's, Coca-Cola, Ford, General Electric, Gillette, Heineken, Nike, Visa or Wrigley‘s. His still lifes and his surreal effects are famous. In his pictures every little detail is planned precisely. There is no space left for fortuity. Andreas Franke is a traveler. He travels through the world and between the worlds. His job frequently leads him to several countries on several continents. So does his passion the scuba diving. In his pictures Franke crosses the borderlines between fantasy and real life.With his project “The Sinking World“ Andreas Franke brings a strange, forgotten underwater world back to life and stages realms of an unprecedented kind.The pictures engender extreme polarities: the soft, secretive underwater emptiness of sleeping shipwrecks is paired with real, authentic sceneries full of liveliness and vigor, thus creating a new world, equally bizarre and irresistibly entangling. The resting giants at the bottom of the sea do not only form fascinating and unique backgrounds for Andreas Franke’s sceneries. They also constitute the best exhibition sites imaginable. These spectacular underwater galleries make divers fall under their spell and display the work of the ocean itself. During the weeks and months under water the ocean bequeaths impressive, peerless traces to the pictures. It adorns them with a certain, peculiar patina, endowing them with the countenance of bizarre evanescence and transfiguring them into rare beauties.
Sohrab Hura
Sohrab Hura
India
1981
Sohrab Hura (born 17 October 1981) is an Indian photographer based in New Delhi. He is a full member of Magnum Photos. Hura's self-published trilogy Sweet Life comprises the books Life is Elsewhere (2015), A Proposition for Departure (2017) and Look It's Getting Sunny Outside!!! (2018); the latter was shortlisted for Photobook of the Year in the Paris Photo–Aperture Foundation PhotoBook Awards. He has also self-published The Coast (2019) and The Levee (2020). His work has been shown in solo exhibitions in London and in Kolkata, India. Hura was born in Chinsurah, West Bengal, India. He attended The Doon School in Dehradun, Uttarakhand and has a masters in economics from the Delhi School of Economics, University of Delhi. He began making photographs during college with a Nikon FM10 given to him by his father. He is now based in New Delhi, India. Hura's Sweet Life trilogy of books focuses on his relationship with his mother, who was diagnosed with paranoid schizophrenia in 1999, when he was 17 years old. The trilogy's Life Is Elsewhere was made between 2005 and 2011, and Look It's Getting Sunny Outside!!! was made between 2008 and 2014. In 2011 The British Journal of Photography included Hura in its "Ones to Watch." He became a nominee member of Magnum Photos in 2014 (the second Indian photographer to become a nominee member) an Associate member in 2018, and a full member in 2020. Sean O'Hagan, writing in The Guardian, included Hura's The Lost Head and the Bird exhibition in his "The top 10 photography exhibitions of 2017".Source: Wikipedia Sohrab Hura’s vivid, sometimes surreal photography explores his position with the world that he exists in. Though Hura initially worked through the prism of social documentary, he soon turned his strong vision inward, creating visual journals of his life and personal relationships as a means to “find his own logic”. Hura was born on 17th October 1981 in a small town called Chinsurah in West Bengal, India. He grew up with many varied career ambitions but eventually settled on photography, after completing his Masters in Economics at the Delhi School of Economics. His first projects, The River (a series that explores three cities along the river Ganges and its tributary) and Land of a Thousand Struggles (which followed a grassroots movement in rural India that led to an important social security act), were made simultaneously in 2005-06. Though both were made with auspicious intentions, Hura later decided to turn his back on this kind social documentary work and instead focus on issues which reflected his personal experience. Hura’s work has been shown in exhibitions around the world. Upcoming exhibitions include The Levee at Cincinnati Art Museum, The Lost Head & The Bird at True/False Film Festival: Columbia Missouri and La Fete Du Slip, Lausanne and Snow at Kettle’s Yard, Cambridge UK—all in 2019. He has published three books to date: Life is Elsewhere (2015), A Proposition For Departure (2017), Look It’s Getting Sunny Outside!!! (2018) with the fourth, The Coast (2019). He is currently working on a series called SNOW, which looks at Kashmir through the prism of the arrival and melting of snow across the three phases of winter. Hura is currently based in New Delhi, India. He joined Magnum Photos as a nominee in 2014 and became an associate in 2018.Source: Wikipedia
Chiara Felmini
Chiara Felmini
Italy
Born in Turin in 1965, I have been a photographer since the age of 8, when I received my first camera as a gift (which I still own); since then I have never stopped looking at the world from behind a lens with an ever growing interest in travel and the environment. Animals have been part of my life, professionally and otherwise, for over 30 years and photographing them has been an absolutely natural path. Only later did my love for travel lead me to discover a passion for documentary and reportage photography. Photographer to tell stories, for an aesthetic and emotional research; the constant search for light, for color, for the moment, but above all for the interaction with the people I meet, gives me a great boost to sharing and understanding human nature and it is an activity that is now indispensable for me.
Marvin Anani
Marvin Anani
United States
1984
Marvin Anani is a photographer from Denver, CO. His work straddles architecture, landscape photography, urban exploration and american road travel culture. After working as a freelance photojournalist for many Colorado news outlets, he has turned his cameras away from the people and towards their environment and the places and spaces that we all inhabit, sharing unassuming minimalism and everyday modernism as his primary visual instrument.
Wolfgang Bohusch
Wolfgang Bohusch
Austria
1985
Bohusch decided to become photographer at the early age of 13. He began experimenting with old darkroom equipment of his grandmother and shooting with a 35mm camera. After studying photography for 5 years at die Graphische, Vienna he started working as freelance Production Manager, Location Scout and later Photographer or D.o.P and Director for advertising film production companies. On extensive travels he is working on his personal projects. Street- photography in India, Miami or Tokyo, landscape and aerial photography in various places as well as fashion films, music videos in London or Paris. In January 2017 Wolfgang Bohusch stayed in a tent for two weeks in Maroccos Sahara desert. Under very special conditions during his work for the series 'silicon based creatures' Bohusch experienced a period of intense meditation. Details and blurred outlines make it difficult to recognize the shape of the image at once. Pattern recognition takes place only through the perception of the seemingly random forms and structures. The viewer is encouraged to look more closely in order to get lost in the work and to let the subconscious mind wander - in order to finally be able to find his own associations. silicon based creatures With his series 'silicon based creatures' Wolfgang Bohusch invites the viewer to stand in front of his photographs, mediate, and let the mind wander into subconsciousness. Each and every work tells a different story, your own story. There are no titles, no hints for interpretation, no directions to look. Like in a Rorschach test, Bohusch wants you to find your own associations and recognize patterns that are not pregiven and therefore renders every photograph an individual experience. A millisecond is the time span for Wolfgang Bohusch's sculptures to be created but the artist allows us to ponder these millisecond sculptures calmly. The “silicone based creatures” series of 21 photographs presented at OSME Gallery is the outcome of his stay in the Sahara desert for weeks and experimenting with its elements like sand, wind, light, and chance. What you see on the photographs is thus the fusion of elements which serendipitously form into sculptures and are randomly captured on paper. The process behind these snapshots therefore resembles the behaviour patterns of bird or fish swarms. What is more, when we see them crowding together in the sky or in the water, our minds automatically associate certain forms or figures with the sudden patterns they create. As soon as we have caught one image within the crowd, it is already gone again. We get the opportunity to slowly make our own interpretations, though, and to try and find a piece of ourselves in them. So, when you have invented your creatures, where do they come from? And what do they want to tell us? If you think of them as signs, maybe even add a little bit of superstition, can they be hints to the future? Like popular customs or shamanic rituals to predict the future, Bohusch's creatures could also be prophetic figures. Or do they come from the past as mythical beings? Wolfgang Bohusch confronts us with a range of topics and questions in this series which he does not want or cannot answer himself. Lastly, he gives us another little hint with which he introduces one more existential quest. Silicone, which is a constituent of sand, is also the material used for microelectronics, like computer chips, and the basis for what creates the tools for producing the photographs in the first place. Finally, this aspect could trigger another question, or rather “the mother of all questions”: what came first? www.juliahartmann.at
Erich Hartmann
Erich Hartmann
Germany / United States
1922 | † 1999
Erich Hartmann was a German-born American photographer. Hartmann was born July 29, 1922 in Munich, Germany, the eldest child of Max and Irma Hartmann who lived in Passau, a small city on the Danube near the Austrian border in which they were one of a five Jewish families. Erich Hartmann's family belonged to the middle class, and his father, a social-democrat who served during World War I and been imprisoned by the British, was highly respected. In 1930, only eight years old, Erich took his first photographs. Life became increasingly difficult after the Nazi takeover in 1933, including personal, financial, business, and family restrictions and the beginning of deportations of Jews to the first so-called 'labor camp' in the village of Dachau. The Hartmann family moved to Munich that year, in search of a more tolerant and cosmopolitan environment. The situation only worsened, however, and the family determined that they had to leave Germany. In August 1938, they accepted the opportunity to emigrate to the United States, having received the necessary affidavit of support from distant relatives there. They sailed from Hamburg to New York, staying initially in Washington Heights, before settling outside Albany, New York. The only English speaker in the family, Erich Hartmann worked in a textile mill in Albany, New York, attending evening high school and later taking night courses at Siena College. On December 8, 1941, the day after the attack on Pearl Harbor, the US entered the war, and Erich enlisted in the US Army. Trained in Virginia and at Ohio State University, he had to wait until 1943 before serving in England, Belgium (Battle of the Bulge) and France, and with the liberating forces as a court interpreter at Nazi trials in Cologne, Germany. At the end of the war he moved to New York City where, in 1946, he married Ruth Bains; they had two children, Nicholas (born in 1952) and Celia (born in 1956). During these years, he worked as an assistant to portrait photographer George Feyer, and then as a freelancer. He studied at the New School for Social Research with Charles Leirens, Berenice Abbott, and Alexey Brodovitch. His portrait subjects over the years included architect Walter Gropius, writers Arthur Koestler and Rachel Carson, musicians Leonard Bernstein and Gidon Kremer, actor Marcel Marceau, fellow photographer Ed Feingersh, and many other literary and musical personalities. Music played a great role in his life and work: "Music captured me before photography did," he recalled. "In my parents' house there was not much music except for a hand-cranked gramophone on which I surreptitiously and repeatedly played a record of arias from Carmen. This was before I could read!″ In the 1950s Erich Hartmann first became known to the wider public for his poetic approach to science, industry and architecture in a series of photo essays for Fortune magazine, beginning with The Deep North, The Building of Saint Lawrence Seaway and Shapes of Sound. He later did similar essays on the poetics of science and technology for French, German and American Geo and other magazines. Throughout his life he traveled widely on assignments for the major magazines of the US, Europe and Japan and for many corporations such as AT&T, Boeing, Bowater, Citroën, Citibank, Corning Glass, DuPont, European Space Agency, Ford, IBM, Johns Hopkins University, Kimberly-Clark, Pillsbury Company, Nippon Airways, Schlumberger, TWA, and Woolworth, for all of which he used color. In 1952 he was invited to join Magnum Photos, the international photographers’ cooperative founded in 1947 by Robert Capa, David Seymour, George Rodger and Henri Cartier-Bresson, he served on the board of directors from 1967 to 1986, and as President in 1985–1986. For more than eight weeks in 1994, Erich and Ruth Hartmann undertook a winter journey to photograph the remains of the Nazi concentration and extermination camps, and places of deportation, throughout Europe. He was determined to take only black and white photographs and to capture only what he saw, immediately when arriving, no matter whether days looked like nights. He returned to New York with 120 rolls of film, from which he made a first edit of 300 photographs and a final selection of only 74 frames. These, together with text by Ruth Bains Hartmann, formed the book and exhibition In the Camps, published in 1995 in English, French, and German and exhibited in more than twenty venues in the US and Europe in the years since. In all of his travel, for work and pleasure, Hartmann carried a small camera with a few rolls of black and white film, prepared for every visual opportunity. He also deliberately pursued a series of imaginative projects including experiments with ink in water, stroboscopic light effects, beach pebbles constrained in boxes, and others. In the late 1990s, with an eye to a future retrospective exhibition, Hartmann began making a definitive selection from fifty years of this personal work in black and white. Just a few months before his death he began discussions with a gallery in Austria about organizing an exhibition called Where I Was. On February 4, 1999 Erich Hartmann died unexpectedly from a heart attack in New York. Source: Wikipedia In the late 1960s and 1970s he lived in London. He documented the construction of the Britannia aircraft for the Bristol Aeroplane Company and he photographed for the leading colour magazines: the Sunday Times, the Observer and the Telegraph, notably on such stories as Shakespeare's Warwickshire and The Norman Conquest Descendants. For the Weekend Telegraph he made sensitive colour pictures of Styles of English Architecture, in a series of photo-essays for which Sir John Betjeman wrote the words, and he also travelled with Betjeman to the Faeroe Islands. Later Hartmann returned to Germany where he had lived in the shadow of the Nazis until he was 16, and chose a project for himself: the death camps. He made an unforgettable book, In the Camps (1995). He said, "I simply felt obliged to stand in as many of the camps as I could reach, to fulfill a duty that I could not define and to pay a belated tribute with the tools of my profession." The book is a magnificent tribute. There is hardly a person in it. So solitary is it, so desolate, that we people the pages with our own ghosts, we bring to it our own fears and imagery. These imaginings have the feeling of poetry. We see a room full of broken shoes; another room of battered satchels; another of torn children's clothes; the windowless barracks in four tiers in which multitudes tried to survive; or a square in which a gallows hangs in the wind. The railway tracks which many took into the camp; a single gas chamber in Auschwitz. It is hard to go from examining the book to describe all Erich Hartmann did for the Magnum co-operative when he served on the board or was vice-president (1975 and 1979) or president (1985). Burt Glinn describes how he and Hartmann came to Magnum at the same time, almost 47 years ago: "We have photographed together and met together and consulted together about ethics and journalism, and we have attended 46 Magnum General Meetings, the first with only eight other photographers and the last with more than 50, but all of them passionate, contentious and personal." He goes on: "Through all these years Erich, more than anyone else, has been my moral compass. No matter how knotty the problem he never settled for the facile compromise. He was always wise, judicious, and ferocious to find the right answer rather than the easy one. When I suspected that I was pursuing my self-interest rather than the common good I would glance over at Erich and if I encountered his quizzically cocked eyebrow I would shut up."Source: Independent
Debbie Fleming Caffery
Debbie Fleming Caffery
United States
1948
Debbie Fleming Caffery grew up along the Bayou Teche in southwest Louisiana and still lives in the area. Early on in her career, she was inspired by the work of Dorothea Lange and many of the artists working within the FSA and Federal Arts Project of the WPA during the Depression. Like these forbears, she is interested in telling stories with her pictures, but unlike those earlier photographers, her work is as much artful as it is documentary. Her rich, and dramatic prints are the result of the deep relationships with the people and places she photographs, a visual corollary to the reverence she has for her subjects. Caffery has photographed the sugarcane industry and its community in Louisiana since the late 1970s. She has also photographed in rural villages in Mexico for many years, creating works that draw connections between those communities and the ones in Louisiana that were so familiar to her from her own upbringing. In 2005, Caffery was the recipient of a Guggenheim Fellowship for the work she made of women working in brothels in Mexico. In 2006, she received the Katrina Media Fellowship from the Open Society Foundations to continue to photograph the aftermath of Hurricane Katrina. Recently Caffery received a commission from the High Museum in Atlanta for their Picturing the South photography initiative. Her monographs include: Carry Me Home (Smithsonian, 1990), The Shadows (Twin Palms Press, 2002) and Polly (Twin Palms Press, 2004), The Spirit & The Flesh (Radius Books, 2009) and Alphabet (Fall Line Press, 2015). Source: Gitterman Gallery
Stéphanie Probst
Stéphanie Probst
Switzerland
1986
Stéphanie Probst (1986, Switzerland, lives and works in Geneva) is an artist photographer, zine maker and librarian. She graduated a Master of arts in 2012 (HEAD - Geneva). She practices experimental photography, pinhole and installations that involve the public. She participates in various group exhibitions and leads artistic workshops and initiations to pinhole and experimental and analog photography. Her practice revolves around photography, people and micro-publishing. Fascinated by portraits, she creates series, collections, summons people. She questions identity, body, social relationships. For her, the picture is a transaction, an intimate exchange that requires a relationship of trust.
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Interview
Exclusive Interview with Carolyn Moore
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Interview
Publication
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
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Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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