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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Alan Wieder
Alan Wieder
Alan Wieder

Alan Wieder

Country: United States
Birth: 1949

Street photography began for me over 45 years ago in Columbus, Ohio. Since that time, I have taken photographs in Asia, Africa, Europe, and throughout the Americas. Most of this work has been near my homes in South Carolina, Cape Town, and Portland. Recently, I've been privileged to study with master photographers Bruce Gilden, Peter Turnley, David Alan Harvey, Constantine Manos, Harvey Stein and Nikos Econopoulos. Their teachings have both expanded and focused my work. I try to capture spirit through the eyes of the individuals I photograph within the context of their various settings. The photographs in this portfolio were made during the summer of 2019 in and near Kampala, Uganda.
 

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Morris Engel
United States
1918 | † 2005
Morris Engel (April 8, 1918 - March 5, 2005) was an American photographer, cinematographer and filmmaker best known for making the first American film "independent" of Hollywood studios, Little Fugitive (1953), in collaboration with his wife, photographer Ruth Orkin, and their friend, writer Raymond Abrashkin. Engel was a pioneer in the use of hand-held cameras and nonprofessional actors in his films, cameras that he helped design, and his naturalistic films influenced future prominent independent and French New Wave filmmakers. A lifelong New Yorker, Morris Engel was born in Brooklyn in 1918. After joining the Photo League in 1936, Engel had his first exhibition in 1939, at the New School for Social Research. He worked briefly as a photographer for the Leftist newspaper PM before joining the United States Navy as a combat photographer from 1941 to 1946 in World War II. After the war, he returned to New York where he again was an active Photo League member, teaching workshop classes and serving as co-chair of a project group focusing on postwar labor issues. In 1953, Engel, along with his girlfriend, fellow photographer Ruth Orkin, and his former colleague at PM, Raymond Abrashkin, made the feature film Little Fugitive for $30,000, shooting the film on location in Coney Island with a hand-held 35 millimeter camera Engel had designed himself. This camera was compact and lightweight so it would be unobtrusive shooting in public. As such, it did not allow simultaneous sound recording; the sound was dubbed later. The film, one of the first successful American "independent films" earned them an Academy Award nomination for Best Writing, Motion Picture Story and a Silver Lion at the Venice Film Festival. The film told the story of a seven-year-old boy, played by Richie Andrusco, who runs away from home and spends the day at Coney Island. Andrusco never appeared in another film, and the other performers were mainly nonprofessional. Though their first film was a critical success, Engel and Orkin, who had since married, had a hard time finding funding for their next film, Lovers and Lollipops, which was completed in 1956. The film was about a widowed mother dating an old friend, and how her young daughter complicates their budding relationship. Like the first one, Lovers and Lollipops was filmed with a hand-held compact 35 mm camera, with sound dubbed in post-production. This was followed two years later by the more adult-centered Weddings and Babies, a film about an aspiring photographer than is often seen as autobiographical. This was Engel's first film to have live sound recorded at the time of filming, and is historically the first 35 mm fiction film made with a portable camera equipped for synchronized sound. In 1961, Engel directed three television commercials, including an award-winning one for Oreo cookies. The other two were for Ivory soap and Fab detergent. A half-hour short film The Dog Lover was made the following year, a comedy about a shop merchant whose life is turned upside down by the stray dog his kid brings home. He made a fourth feature in 1968 called I Need a Ride to California, which followed a group of young hippies in Greenwich Village. Post-production was shelved until 1972 when it was finally completed, but for unknown reasons, it was never released during his lifetime. It finally received its premiere in October 2019 at New York's Museum of Modern Art (MoMA); it was first released on home video in March 2021. In the 1980s, Engel began taking panoramic photographs on the streets of New York City. Engel and Ruth Orkin remained married until Orkin's death in 1985. In the 1990s, he returned to filmmaking, this time working on video. He completed two feature-length documentaries: A Little Bit Pregnant in 1994 and Camellia in 1998, each revolving around a different child in the Hartman family. First, in A Little Bit Pregnant Engel focused on the 8-year-old Leon's reactions, anxiety and wonderment to the impending birth of his baby sister Camellia. For the second film, two years later, Engel returned to the same family, who gave him a year of access to the now 2-year-old daughter Camellia, capturing her daily life and routines, and her relationships with her family and others. Both films were shown in private screenings, but never had a public release due likely to the Hartman family presumably holding the rights. Engel died of cancer in 2005.Source: Wikipedia Morris Engel was born in Brooklyn to immigrant parents from Lithuania. An early interest in photography led him to enroll in a class at New York’s Photo League, a group dedicated to raising social consciousness through modern photography. Some of the most influential photographers of the time were associated with the Photo League; Engel worked closely with Aaron Siskind on the project Harlem Document from 1936-40 and later assisted Paul Strand in filming Native Land. Like many Photo League photographers, Engel documented life in New York City, producing and exhibiting photo essays on Coney Island, the Lower East Side and Harlem. In 1939 he had his first exhibition at New York’s New School. In 1940 he joined the staff of the newspaper PM, but he left the publication one year later to sign on with the U.S. Navy as a member of a combat photo unit. He participated in the D-Day invasion of Normandy. In 1951 Engel momentarily quit still photography to pursue a career in filmmaking. He made a series of low-budget films with a custom 35 mm camera. His first feature film, Little Fugitive (made with his wife, the renowned photographer Ruth Orkin), earned an Academy Award nomination in 1953 for Best Original Screenplay and was screened in more than 5,000 theaters across the United States. Engel’s photographs are widely exhibited and found in the collections of the International Center of Photography (New York), the Museum of the City of New York, the Museum of Modern Art (New York) and the National Portrait Gallery (Washington, D.C.). His films continue to be screened at venues such as the Whitney Museum of Art (New York), the Brooklyn Museum and the American Museum of the Moving Image (New York).Source: American Photography Archives Group
Jerry Uelsmann
United States
1934 | † 2022
Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America. Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career. Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work. Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography. Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process. (Source: en.wikipedia.org)
Miguel Blázquez
Miguel Bláquez was born in 2001 in Ávila, Spain. He is a prominent video artist with a strong academic background in the visual arts. He earned a Bachelor of Arts from the Escuela de Arte y Superior de Conservación y Restauración de Bienes Culturales de Ávila. Later, he pursued a Degree in Fine Arts at the Faculty of Fine Arts of the University of Salamanca. During his time at university, Blázquez actively participated in projects such as the Audiovisual Art Exhibition by the 4th Year Fine Arts students at the Juan del Enzina Theater in Salamanca. His talent was recognized when he won the XXVII edition of the San Marcos Awards in the “Audiovisual” category, with his work exhibited at the Museum of Contemporary Art of Salamanca (DA2) in 2024. Additionally, his piece “El vídeo más grande del mundo” was showcased at the (S8) XV Mostra Internacional de Cinema Periférico in A Coruña. Another of his works, “Vídeo ensayo”, was exhibited at the Condeduque Contemporary Culture Center in Madrid in 2023. Blázquez continues to establish himself as a talented video artist, constantly exploring and contributing to the world of art. Statement My photographic work often captures spectacular scenes that pay humble homage to the world around us. As a documentary artist, I prioritize exploring the depth and meaning within images over adhering to formal conventions. I am particularly drawn to both human and natural landscapes. As a photographer and videographer, I believe in the power of visual storytelling to ignite conversations, challenge perspectives, and foster empathy. My work serves as an invitation to explore and connect with the world in meaningful ways. My primary photographic influences include Tavepong Pratoomwong (Thailand), Victor Galeano (Colombia), Freddy Rodríguez Robles (Peru), Javier Arcenillas (Spain), Óscar Corral (Spain), Graciela Iturbide (Mexico), Leo Matiz Espinoza (Colombia), and Santiago Botero (Colombia). ARTICLE El cañón del Río Melcocho
Herman Leonard
United States
1923 | † 2010
Herman Leonard was born in 1923 in Allentown, Pennsylvania to Romanian immigrants. At the young age of 9, he first witnessed an image being developed in his brother's darkroom and became enthralled with the magic of photography. As the official photographer for his high school, Herman quickly learned that with a camera in hand, he had an "open sesame" to people and events, that his shyness might have prevented him from experiencing. When it came time for college, Herman chose Ohio University, "The only university at the time that could offer me a degree in Photography." His college studies were interrupted from 1943-1945, as Herman joined the United States Army and was sent to Burma with the 13th Mountain Medical Battalion. He had hoped to be a field photographer, but was ironically assigned as a combat anesthetist when he failed a test, which required him to identify the chemical ingredients of film developer. After the war, Herman returned to college and graduated in 1947 with a Bachelor of Fine Arts Degree. Upon graduation from Ohio University, he took a chance and drove to Ottawa, Canada in hopes of working with a famed portraiture photographer, Yousuf Karsh. Karsh was impressed with his determination and took him on as an apprentice. Herman assisted Karsh in the darkroom and with photographic sittings including, Martha Graham, Harry Truman, and Albert Einstein. Karsh's photographic advice to Leonard, "Tell the truth, but in terms to beauty." During a portrait session with Albert Einstein, Leonard questioned the professor about the connection between a musician and a mathematician. Einstein's response, "Improvisation." Leonard was inspired by these two influential men and applied their credos to his work. In 1948, Herman's passion for jazz brought him to New York City's Greenwich Village, where he set up a small studio at 220 Sullivan Street. He made his way into the swinging clubs of Broadway, 52nd Street and Harlem. With his camera as his free ticket, he offered to shoot publicity stills at the jazz clubs for admission. While shooting at The Royal Roost and Birdland, he quickly developed friendships with the some of the greats of jazz royalty, including Duke Ellington, Miles Davis, Dizzy Gillespie, Charlie Parker, Lena Horne, Billie Holiday, Louis Armstrong, Quincy Jones and many more. His stunning photographs began appearing in Downbeat and Metronome magazines, and on the covers of albums while working for jazz producer Norman Granz. In 1956, he was hired by Marlon Brando as his personal photographer and traveled with him on an extensive research trip throughout the Far East. Upon his return to NYC, he was offered a position at Barclay Records in Paris, France. He continued to photograph the prolific jazz scene, with many of the American jazz artists now living there, he also photographed many French recording artists such as Charles Aznavour, Jacques Brel, Eddy Mitchell and Johnny Hallyday. Paris would be his home for the next 25 years, working from his studio in Paris's Neuilly-sur-Seine neighborhood. He also had a successful career working in advertising, for fashion houses Yves St. Laurent and Dior, as well as many international magazines including Life, Time and early Playboy. In 1980, he left France for a more tranquil life, and moved his family to the Spanish island of Ibiza. During that time he rediscovered his jazz negatives that had been stored in a box under his bed, and in 1985 released his first book, The Eye of Jazz, published by Hachette/Filipachi Publications. In 1988 he moved to London where he had the first exhibition of his jazz photographs at the Special Photographers Company. After rave reviews by the London Times and the BBC, he became an overnight sensation, with 10,000 people coming to the small Notting Hill gallery to view his unseen images. The following year he premiered his first US show, which toured nationally. After living in Europe for over thirty years, he returned to the U.S. In 1992, an exhibit in New Orleans would change his life. He fell in love with the city and moved there to immerse himself in its vibrant and lively jazz scene. He continued to exhibit his work around the world in numerous solo shows. In 1995, Leonard released his second book, Jazz Memories, published by Editions Filipacchi, and in that same year was awarded an "Honorary Masters of Science in Photography" from The Brooks Institute of Photography. Other awards received at this time included the "Milt Hinton Award for Excellence in Jazz Photography," from Jazz Photographer's Association, the "Excellence in Photography Award" from the Jazz Journalists Association, and a "Lifetime Achievement Award" from Downbeat Magazine in 2004. In August 2005, Hurricane Katrina destroyed his home and studio when it was flooded with over 8 feet of water. The storm claimed his life's work, some 8,000 silver gelatin photographs that had been hand printed by him, a master printer in his own right. As the storm blew in, Leonard's crew had gathered the negatives and securely placed them in the care of the Ogden Museum of Southern Art, where they were stored in an upper level vault. At the age of 82, and with his city in ruins, he decided to move with his family to Los Angeles to reestablish his life and business. In 2006, he released his third book, Jazz, Giants, And Journeys: The Photography of Herman Leonard, published by Scala Publishers, Ltd. In the forward to the book, Quincy Jones wrote, "When people think of jazz, their mental picture is likely one of Herman's." Herman Leonard's photographs, now considered fine art collector's items, are a unique record of the jazz scene in the 1940's, 50's and 60's. Throughout his long life, he traveled and lived around the world, capturing images with his distinctive style. Whether he was photographing Miles Davis, Frank Sinatra, Louis Armstrong or a street musician in his home in New Orleans, Herman's smile, warmth and engaging personality continued to open doors for him and his camera; to reveal a world we might have missed. Certainly Herman Leonard's iconic photographs will long be remembered not only for their enduring historic significance, but also for their breathtaking artistic beauty. They are part of the permanent archives of the Smithsonian Museum in Washington, D.C., where they are considered as essential to American music history as Benny Goodman's clarinet or Louis Armstrong's trumpet. His legacy has continued to be honored with major touring exhibitions of his work including the GRAMMY Museum in Los Angeles, Jazz at Lincoln Center in NYC, the San Francisco Jazz Center (SFJAZZ), the National Portrait Gallery in Washington, DC, and The Clinton Presidential Center. President Bill Clinton has called Herman Leonard, "The greatest jazz photographer in the history of the genre." In the last years of his life, Herman Leonard's goal was to bring his entire jazz collection, comprising a visual documentation of America's original art form, back to life and preserve it for future generations. Source: hermanleonard.com
Ruud van Empel
Netherlands
1958
Ruud van Empel (born 21 November 1958 in Breda) is a Dutch photographer and visual artist. He studied at the Academie voor Beeldende Kunst St. Joost (St Joost Academy of Art) in Breda in the 1970s, and began making independently produced videotapes in the eighties. He moved to Amsterdam in the late eighties to work on his career as a visual artist. His first photographic series were The Office (1995-2001), Study for Women (1999-2002) and Study in Green (2003). The Groninger Museum presented his first solo exhibition in 1999. He made his international breakthrough with his series World-Moon-Venus, which was shown in the George Eastman Museum in Rochester, New York State. Until mid-1995, Van Empel’s art was primarily generated by a process of assembling analogue photographic images. At that point, he exchanged this traditional collage technique – cutting, pasting and retouching in the darkroom – for image processing on the computer, working in an idea-driven manner. The first series created with this method was The Office (1995). In a technical sense, The Office displays a handicraft-like quality, missing the perfectionist character of his later work. Nevertheless, Ruud van Empel clearly demonstrated that his approach differed from other disciplines such as staged photography. In certain aspects, The Office offered a somewhat surrealistic character and referred to photomontages from the 1920s in terms of style and design. On the basis of this art-historical reference, Van Empel created a new genre within photography – without a ready-to-wear label. The artist himself speaks of the ‘construction of a photographic image’. Although he does make use of pure photomontage – he never applies so-called morphing techniques – the final result strives for content aligned to natural reality rather than to surrealism. The artificiality is visible but the final image is a convincing, autonomous reality. As a consequence, the work does not seem grotesque or absurd but could theoretically actually appear in reality. In that respect, Van Empel’s images are independent. They do not manifest themselves as ‘symbolic’ and have been stripped of all ‘pictorial’ associations. He does not deploy photography as a substitute for painting but rather uses it as an independent form of depiction. Every image consists of photographic sources that are digitally assembled on the computer. The work of Ruud van Empel exists by grace of the camera by means of which he records his building blocks. After The Office, he created the Study for Women series, which comprises a number of female portraits that refer to the magic realism art movement. In this series, produced in the period 2000-2002, he displayed the form language with which he would soon gain worldwide recognition. The Study in Green series from 2003-2004, the Untitled series from 2004, and the three closely related series World, Moon and Venus, which he began in 2005, represented Van Empel’s true international breakthrough. Curator Deborah Klochko invited him to participate in the exhibition entitled Picturing Eden in the George Eastman House. In the book Ruud van Empel Photoworks 1995-2010, she wrote: ‘Van Empel’s virtuosity lies in his capacity to combine in photography the kind of ideas anchored in painting (historical references, the power of a glimpse, use of colour) and cinema (structure with multiple images and the power of a narrative), and to do so on a large scale. To understand his work you must ask yourself: ‘Is it science or art? Is it real or imaginary? Is innocence or decadence?’ Particularly the World series, which explores the theme of innocence, made a deep impression. These works were inspired by photos taken by his father. Van Empel placed neatly dressed, black boys and girls in paradisical settings of unspoiled, non-existent natural surroundings. Great interest in and appreciation of this series are expressed worldwide to this day. The breakthrough in America also led to renewed attention in Dutch museums. Van Empel has had solo exhibitions in Museum Het Valkhof in Nijmegen, the Groninger Museum and the NoordBrabants Museum in ’s-Hertogenbosch. Since the international recognition of his work gave Ruud Van Empel the status of an artist with an own independent form language, he has progressively extended his oeuvre with the Theatre series from 2010-2013, and Souvenir, which provided a charged picture of his youth in Breda. This series was purchased by the NoordBrabants Museum. A typical feature of the work of Ruud van Empel is the composition of a perfected and idealized representation right down to the finest details. But this always has a darker side, albeit not always evident. Ruud Schenk, curator of the Groninger Museum, wrote about that aspect with reference to the Study for Women series (2000-2002): ‘As a spectator you feel that there is something not quite right about the depiction of the women: they are not completely lifelike, but tend to be a mixture of real women and window dummies. This generates a certain discomfort, an uneasiness that touches upon what was described as 'das Unheimliche' (the uncanny) at the beginning of the 20th century.’ Although the photographic images seem to capture an epoch, you can hardly assign a date to any of them. This timeless element of Van Empel’s work has taken on a different significance in his recent work, as he deals with themes such as transience and Vanity in his Still Life series from 2014, and also portrays older people as in the portrait of an older woman in the Sunday series (2012), or in the Nude series (2014), in which he questions the pose of the model and the aesthetics of nudity. In the Solo Work series, on which Ruud van Empel has been working since 2011, he consistently deals with just one topic in an isolated work. The moral, ethical and aesthetic dilemmas of society and art are presented to us in a photographic form language. The significance of these is shown in the countless publications and international exhibitions of this work, not only in institutions specialized in photography but also in renowned museums for modern visual art.Source: Wikipedia
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