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Michael Ernest Sweet
Michael Ernest Sweet
Michael Ernest Sweet

Michael Ernest Sweet

Country: Canada

Michael Ernest Sweet is a Canadian photographer and arts writer. He is the author of two photography monographs, The Human Fragment and Michael Sweet's Coney Island, both from Brooklyn Arts Press in New York. Michael is best known for his gritty black and white images of people composed at odd angles, which often omit people's faces. His work has been praised by such master photographers as Roger Ballen, Martin Parr, and Jay Maisel. A recipient of many awards, Michael holds both a Prime Minister's Award and a Queen Elizabeth II Medal from Canada for significant contributions to education and the arts. In 2018, Michael appeared in the film, Garry Winogrand: All Things Are Photographable, and again in 2021 in the film, Fill The Frame. Michael is a senior contributing writer for Photo Life Magazine and a former writer for HuffPost. He holds several degrees including a Master of Liberal Arts from The Johns Hopkins University. Michael lives and teaches in New York City.

Statement:
My photography is about pleasing myself. I do not photograph for an audience. Quite frankly, that would be too hard for me. I make photographs of things that interest me. I like weird angles and odd compositions because they tend to tell a better story. As a writer, I look for the story, not just the image. Photographs need to be able to be read from left to right, all across the frame, just like a good book. Everything in the frame matters. Everything that is not in the frame matters. Most people don't get my work. They don't try hard enough. My photos cannot be consumed in 10 seconds on an iPhone. Those who put in the effort get to see what I saw, get to feel what I felt, and, most importantly get to enjoy the moment as I did when I made the image. For me, a photo that is easy to look at and quick to understand is a boring, pedestrian photograph. I am not here to photograph aunt Betty's Birthday party.
Selected Books on Available on Amazon
The Human Fragment
The Human Fragment
Michael Ernest Sweet
Michael Sweet’s Coney Island
Michael Sweet's Coney Island
Michael Ernest Sweet

Websites

michaelsweetphotography.com

@michaelernestsweet

 

Selected Books

The Human Fragment
The Human Fragment
Michael Ernest Sweet
Michael Sweet’s Coney Island
Michael Sweet's Coney Island
Michael Ernest Sweet

Inspiring Portfolios

Anna Biret
© Anna Biret
Svetlin Yosifov
© Svetlin Yosifov
Shinji Ichikawa
© Shinji Ichikawa
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More Great Photographers To Discover

Roberta Pagano
Roberta Pagano
Italy
I’m a naturalist and photographer passionate about the Arctic, which have visited several times over the years. The Svalbard archipelago is a place for which I have a heartfelt and unconditional love. A land of endless spaces and profound silence, where frozen landscapes stretch beyond the horizon and wildlife exists in a state of rare, fragile beauty. There, white is never just white, but a universe of a thousand subtle shades. Svalbard: The White Fragile Kingdom These photos are part of a larger project on the Svalbard archipelago, the result of several trips I have made and continue to make. I love photographing Svalbard throughout the year, witnessing the passage of seasons and the remarkable changes they bring to the landscape. The shifting light, the diversity of wildlife, and the subtle transformations of the terrain continually inspire me, and each trip poses unique photographic challenges. Winter expeditions are physically demanding and logistically complex, but they reveal another side of Svalbard—a land defined by silence, solitude, and an ethereal atmosphere, with low-angle light that lingers in the sky. This season’s light brings soft pastel shades, making the scenery truly magical. From mid-April to mid-May, daylight lasts nearly 24 hours, and the incredible light conditions shift between pink, violet, blue, and red tones depending on the time of day—dreamlike conditions for photographers. This is a time of extremes: harsh and cold, and although wildlife is less abundant compared to summer, it offers an unforgettable experience of the Arctic environment. From spring to summer, Svalbard bursts into life, hosting an incredible abundance of wildlife. I am deeply fascinated by the Arctic and the remarkable adaptations of species to its extreme environment. Each visit offers something new and unexpected and never fails to surprise me. I’m a naturalist and photographer passionate about the Arctic, which have visited several times over the years. The Svalbard archipelago is a place for which I have a heartfelt and unconditional love. A land of endless spaces and profound silence, where frozen landscapes stretch beyond the horizon and wildlife exists in a state of rare, fragile beauty. There, white is never just white, but a universe of a thousand subtle shades. “No photograph is worth more than the life it portrays or the landscape it inhabits.” This belief guides every step I take in the field. The welfare of wildlife and the integrity of its environment will always come before the pursuit of an image.” AAP Magazine AAP Magazine 54 Nature
Calli McCaw
Calli McCaw
United States
1954
Although I came to photography later in life after a career in the corporate world, I had always been personally immersed in the arts as a collector of fine and decorative American arts and an enthusiast of art history. When I decided to leave the business world I did so to satisfy these lifelong personal interests in the arts, earning a second Master’s degree in Modern Art, History of the Art Market, and Connoisseurship from Christie’s. My time at Christie’s led me to pursue further post-graduate studies in the cross-cultural aspects of modern art at Columbia University and, subsequently, photography at the International Center of Photography. As a result, a passion for art history informs all of my photography as does a marriage of aesthetics and message, the balance of which may vary though both are essential.
Frank Horvat
Frank Horvat
Italy
1928 | † 2020
Frank Horvat is an internationally renowned fashion photographer, who has recently celebrated fifty years experience in the field. Throughout these years he has not only embraced fashion photography, but also been unafraid to experiment and adapt to new technologies, transcending the confines of photographic borders. His photography is diverse and considerably more complex than a cursory glance could reveal. He is perhaps best known for his spontaneity, trust and empathy, qualities that express themselves in his sophisticated photographs. Frank Horvat was born in Italy in 1928. He first started photographing at age fifteen with a 35 mm Retinamat camera, and moved to Milan to study art in 1947. By 1950 he was doing freelance work for Italian fashion magazines; Epoca published his first photographic essay in 1951. Horvat was one of the first artists to apply the 35mm film camera and reportage techniques to fashion art photography. He created a new and more realistic style that revolutionized the development of fashion-based photography in England, France, and the United States. He stylistically combined realism and artifice, movement, and inventive locations, which won him immediate success as a French fashion photographer. His photographs have appeared in leading European and American magazines including Life, Elle, Vogue, Harper’s Bazaar, Glamour and Jardin des Modes from 1951-61. Horvat initially worked for the American picture agency, Magnum, but since he “posed” his subjects he left for Realities and Black Star. He moved to Paris three years later and currently divides his time between the city and the south of France. Horvat’s work with French fashion photography has been exhibited around the world and can be found in the permanent collections of numerous prestigious museums including Bibliothèque Nationale, Musée National d’Art Moderne, Kunst-bibliothek, Museum of Modern Art, and the George Eastman House, and numerous other collections. Source: Holden Luntz Gallery
Ian Teh
Ian Teh
United Kingdom
1971
Ian Teh has published three monographs, Undercurrents (2008), Traces (2011) and Confluence (2014). His work is part of the permanent collection at the Los Angeles County Museum of Art (LACMA), The Museum of Fine Arts, Houston (MFAH) and the Hood Museum in the USA. Selected solo shows include the Jack Shainman Gallery in New York in 2004, Flowers in London in 2011 and the Kunsthal Museum in Rotterdam in 2012. Teh has received several honours, in 2018 he was awarded a travel grant from the Pulitzer Centre for Crisis Reporting and presented his work on climate change at the prestigious 2018 National Geographic Photography Seminar. He is also the recipient of the International Photoreporter Grant 2016 the Abigail Cohen Fellowship in Documentary Photography 2014 and the Emergency Fund 2011 from the Magnum Foundation. In 2013, he was elected by the Open Society Foundations to exhibit in New York at the Moving Walls Exhibition. In 2015, during the COP21 Paris climate talks, large poster images of his work were displayed on the streets of Paris as a collaborative initiative by #Dysturb and Magnum Foundation. He is a co-exhibitor in Coal + Ice, an environmental group show of acclaimed photographers and curated by Susan Meiselas. It was exhibited at the Official Residence of the US Ambassador to France during COP21. Teh’s work has been published internationally in magazines such as National Geographic, The New Yorker, Bloomberg Businessweek and Granta. Since 2013, he has exhibited as well as conducted masterclasses at Obscura Festival of Photography, Malaysia’s foremost photo festival. He is a tutor at Cambodia's Angkor Photo Festival since 2014. Teh is a member of the British agency, Panos Pictures.Source: www.ianteh.com Artist Statement: "Much of my artistic creativity stems from my interests in social, environmental and political issues. I imagine my work as a series of short films made out of stills. They are narratives that are built on moments of time collected over extended periods. Each story is a woven fabric of compositional and colour threads that come together to create a particular ambience intended to both emphasize my perspective on the subject matter and to, hopefully, encourage the viewer to take the narrative beyond the limits of my frame, into a direction that makes the experience of those images more vivid. My photographs have been widely exhibited and featured in several international publications such as, Time, Newsweek, The New Yorker and The Independent Magazine. I was recently awarded the 2011 EF grant from the Magnum Foundation and also received a high commendation for the 2009 Prix Pictet award. In 2001 I was part of the Joop Swart Masterclass. With some friends I founded Deep Sleep Magazine an online publication and recently we founded our own imprint Deep Sleep Editions to have more control of the publishing process. I have published two monographs, Undercurrents (2008) and Traces (2011)."
Chris Killip
Chris Killip
United Kingdom
1946 | † 2020
Born in Douglas, Isle of Man in 1946, he left school at age sixteen and joined the only four star hotel on the Isle of Man as a trainee hotel manager. In June 1964 he decided to pursue photography full time and became a beach photographer in order to earn enough money to leave the Isle of Man. In October 1964 he was hired as the third assistant to the leading London advertising photographer Adrian Flowers. He then worked as a freelance assistant for various photographers in London from 1966-69. In 1969, after seeing his very first exhibition of photography at the Museum of Modern Art in New York, he decided to return to photograph in the Isle of Man. He worked in his father's pub at night returning to London on occasion to print his work. On a return visit to the USA in 1971, Lee Witkin, the New York gallery owner, commissioned a limited edition portfolio of the Isle of Man work, paying for it in advance so that Killip could continue to photograph. In 1972 he received a commission from The Arts Council of Great Britain to photograph Huddersfield and Bury St Edmunds for the exhibition Two Views - Two Cities. In 1975, he moved to live in Newcastle-upon-Tyne on a two year fellowship as the Northern Arts Photography Fellow. He was a founding member, exhibition curator and advisor of Side Gallery, Newcastle-upon-Tyne, as well as its director, from 1977-9. He continued to live in Newcastle and photographed throughout the North East of England, and from 1980-85 made occasional cover portraits for The London Review of Books. In 1989 he was commissioned by Pirelli UK to photograph the workforce at their tyre factory in Burton-on-Trent. In 1989 he received the Henri Cartier Bresson Award and in 1991 was invited to be a Visiting Lecturer at the Department of Visual and Environmental Studies, Harvard University. In 1994 he was made a tenured professor and was department chair from 1994-98. He retired from Harvard in December 2017 and continues to live in the USA. His work is featured in the permanent collections of major institutions such as the Museum of Modern Art, New York; George Eastman House; Fine Arts Museum of San Francisco; Museum Folkwang, Essen; the Stedelijk Museum, Amsterdam; National Gallery of Australia, Canberra; and the Victoria and Albert Museum, London. Source: chriskillip.com Skinningrove 1982 - 84 The village of Skinningrove lies on the North-East coast of England, halfway between Middlesbrough and Whitby. Hidden in a steep valley it veers away from the main road and faces out onto the North Sea. Like a lot of tight-knit fishing communities it could be hostile to strangers, especially one with a camera. "Now Then" is the standard greeting in Skinningrove; a challenging substitute for the more usual, "Hello". The place had a definite 'edge' and it took time for this stranger to be tolerated. My greatest ally in gaining acceptance was 'Leso' (Leslie Holliday), the most outgoing of the younger fishermen. Leso and I never talked about what I was doing there. but when someone questioned my presence, he would intercede and vouch for me with, 'He's OK'. This simple endorsement was enough. I last photographed in Skinningrove in 1984, and didn't return for twenty-six years. I was then shocked by how it had changed, as only one boat was still fishing. For me Skinningrove's sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone. Without the competitive energy that came from fishing, the place seemed like a pale reflection of its former self. Common Market and Health and Safety rules and regulations, coupled with increasing insurance costs, brought an end to the Skinningrove I'd known. When you're photographing you're caught up in the moment, trying to deal as best you can with what's in front of you. At that moment you're not thinking that a photograph is also, and inevitably, a record of a death foretold. A photograph's relationship to memory is complex. Can memory ever be made real or is a photograph sometimes the closest we can come to making our memories seem real. Chris Killip Remembering: Richard Noble (18) and David Coultas (34) drowned off Skinningrove on March 31 1984 Leslie Holliday - 'Leso' (26) and David Hinton (12) drowned off Skinningrove on July 29 1986 Source: Howard Yezerski Gallery
Ayanava Sil
Ayanava Sil
India
I am Ayanava Sil a resident of Kolkata, India. By education I hold a degree of Master Of Business Administration in Marketing. Photography to me is an exemption to see things differently. I am a Street and Documentary photographer, with an objective of documenting everyday life. The uncertainty and the suspense drives me the most towards these genres of Photography. Documenting people over the years has provided me with the invaluable opportunity to explore the unknown and to embrace the conglomerate realities of people. I am one of the administrators and curator of Streets Of Calcutta which is the oldest and the largest Street Photography archive of Kolkata. My works has been published and recognized by different platforms like National Geographic, National Geographic Traveller India, CNN America, Getty Images, Business Standard, World-Street-Photography Book 5, APF Street Photography Magazine, Better Photography India, Asian Photography, Chiiz Magazine etc. I have been awarded by The Andrei Stenin International Press Photo Awards, News Times, Eye Win Awards, Golden Orchid International Photography Awards etc. My works has also been exhibited in multiple photography exhibition, to name a few, Jaipur Art Summit 2016, Ariano International Film Festival 2017, Kolkata International Photography Festival 2019, Wlasnymi Slowami Film Festival 2019. Where I Bloom As the world combats with an invisible enemy, many of our lives have come to a standstill now. A month ago our lives were pretty foreseeable with simple daily conventional work that all of us were looking forward to. The coronavirus pandemic has changed the whole scenario, today countries are under locked down, schools and universities have been closed, events are cancelled and many people have been asked to work from home. We have seen the Government enforcing every preventive measure to slow the spread of the virus and flatten the curve. During this critical time, it is essential that everyone stays at home and helps to prevent the spread of this virus. In these tough times, photography is one of the major businesses that has been affected a lot by this pandemic. All studios have been shut down, weddings have been postponed, all the sports events have been cancelled and presently more than half of the world is locked down and there is no possibility of travelling. I am a photographer who loves to roam around the city unwearyingly to document life on the streets but due to the pandemic it is impossible to go out of my house to shoot now. So to keep myself in practice and to keep my sanity I chose to document my house but with a definite objective as this work of mine will have a different approach from the rest of my works. Also, I challenged myself to shoot everything through my phone only. So I started shooting every corner of my house from the ground floor to the terrace, through the windows and the doors, the plants in my house to the birds which flies above my terrace. I decide not to include any human subject and the only reason behind this decision is because we often feel like we are the most important species, but the fact is that we will fade away with time but we will leave behind a lot of things when we are gone. I tried to portray those moments keeping the photographs minimalist and graphical in form and ambiguous in nature. During all this time I had an interesting observation and I discovered that sunlight creates fascinating graphical shadow movements in different parts of my house during each phase of the day. I think that the only positive outlook amidst the COVID-19 pandemic outbreak is that nature has started healing. I do not remember when I last saw such timely Norwesters in the past few years. The Norwesters generally hit during the months of April and May. It mostly occurs late in the evening when thick, dark and black clouds start appearing in the sky. It generally moves from west to east bringing torrential rain often with strong wind and lasts only for a short period of time. The Norwesters are beneficial for cultivation purposes in West Bengal and Bangladesh. This year, the Norwesters bought different and beautiful cloud patterns and I tried to weave them within my work as well.
Wendi Schneider
Wendi Schneider
United States
1955
Wendi Schneider is visual artist illuminating impressions of grace and vanishing beauty in our vulnerable environment with photography and precious metals. Her work is influenced by the lush landscapes of Memphis and New Orleans and a background in painting and art history - in particular Whistler and Steichen, and other Pictorialists and Tonalists. She turned to photography in the early 1980s to create references for her paintings. Mesmerized by the alchemy of the darkroom, yet missing the sensuousness of oils, she layered glazes on her prints to create a heightened reality. She moved to New York in 1988, where she also photographed for advertising, book covers and Victoria Magazine, and to Denver in 1994, later sidelining her fine art practice while raising her son and working in commissioned photography, art direction, and design. Inspired to return to fine art photography in 2010, she soon began her ongoing series 'States of Grace' - engaging digital to capture, layer and print her images, then applying gold or silver on verso to infuse the artist's hand and suffuse her subjects with the spirituality and sanctity of the precious metals - insuring each print is a unique object of reverence. Her photographs have been shown in numerous solo and group exhibits internationally and are held in permanent collections at the New Orleans Museum of Art, the Memphis Brooks Museum, the Center for Creative Photography, Auburn University Library, and the Try-Me Collection. Statement My work is rooted in the serenity I find in the sinuous elegance of organic forms. It's a celebration of the senses anchored in the visual. I'm transfixed and transformed in the art of capturing the stillness of the suspended movement of light and compelled to preserve the visual poetry of these fleeting moments of vanishing beauty in our vulnerable environment. I photograph intuitively - what I feel, as much as what I see. Informed by a background in painting, art history and design, I layered oils on silver gelatin prints in the '80s and '90s to find balance between the real and the imagined. My images are now layered digitally with color and texture, often altered within the edition, honoring the inconsistency. Printed on translucent vellum or kozo, these ethereal impressions are illuminated with white gold, moon gold, 24k gold or silver on verso, creating a luminosity that varies as the viewer's position and ambient light transition. My process infuses the artist's hand and suffuses the treasured subjects with the implied spirituality and sanctity of the precious metals - insuring each print is a unique object of reverence. 'States of Grace' has evolved organically into series within series that can be curated by subject, theme, treatment or feeling. Galleries A Gallery for Fine Photography Anika Dawkins Gallery Catherine Couturier Gallery Galeria PhotoGraphic Rick Wester Fine Art Vision Gallery
Valerie Laney
Valerie Laney
United States
1964
Valerie Elizabeth Laney was born in sunny San Diego, California, and was raised in rural North Carolina, where she spent endless summers catching tadpoles and chasing fireflies and exploring the surrounding woods, creeks and tobacco fields. Growing up in and around nature inspired her to spread her wings, and she has spent years exploring and photographing our wondrous planet. Valerie holds a degree in Visual Design from North Carolina State University, College of Design which, when combined with a career as a Graphic Designer, enhances her skill in composition as well as visual story telling. Photography was a natural outcome of her love of nature and her skill as an artist; and it has become her passion to capture images of unique places, diverse landscapes and fascinating cultures. A love of adventure sends her on photo expeditions to places like Iceland, Madagascar and the steppes of Mongolia, where her photographs capture majestic landscapes, native cultures, wildlife and underwater marine life. Valerie loves sharing her photography and hopes it inspires dreams, travel and memories for her growing audience. Statement Photography allows one to capture the world in a way that is unique to the beholder. Photos are visual story telling, but yet, everyone is left to their own interpretation of the story that is being told. So in that way, photography allows both the photographer and the onlooker to take part in the creative process. I compose photos to give a sense of what is happening in the shot: viewers should feel the cold, smell the air, and feel like they can anticipate the moments that followed as if they were present.
Rineke Dijkstra
Rineke Dijkstra
Netherlands
1959
Rineke Dijkstra was trained at the Gerrit Rietveld Academy, Amsterdam. Her first solo exhibition took place in 1984 at de Moor in Amsterdam. Dijsktra's photographs have appeared in numerous international exhibitions, including the 1997 and 2001 Venice Biennale, the 1998 Bienal de Sao Paulo, Turin's Biennale Internationale di Fotografia in 1999 and the 2003 International Center for Photography's Triennial of Photography and Video in New York. Solo exhibitions of her work have been shown at the Museum fur Moderne Kunst, Germany (2013), the Guggenheim Museum, New York (2012), the Fotomuseum Winterthur, Switzerland (2005), and the Art Institute of Chicago, Chicago (2001). She is the recipient of a number of awards, including the Kodak Award Nederland (1987), the Art Encouragement Award Amstelveen (1993), the Werner Mantz Award (1994), the Citibank Private Bank Photography Prize (1998), and the Macallan Royal Photography Prize (2012). Source: Marian Goodman Gallery Rineke Dijkstra was born in Sittard, the Netherlands, in 1959. She studied photography at the Gerrit Rietveld Academie in Amsterdam from 1981 to 1986. Through the late 1980s, she photographed people in clubs for magazines in the Netherlands and worked for corporations as a portraitist. In 1990 she injured her hip when her car was struck by a bicycle. A self-portrait produced during her rehabilitation, in which she is seen having just emerged from a pool, exhausted, sparked a new direction in her work. Commissioned by a Dutch newspaper to make photographs based on the notion of summertime, Dijkstra took provocative photographs of adolescent bathers. These ultimately formed her breakthrough Beaches series (1992–96), which featured her young subjects in different locations in the United States and Europe. From this point on, people in transitional moments would be a major theme in her work. In 1994 she photographed mothers in the moments after giving birth and bullfighters about to enter the arena; she also commenced a series of images of Almerisa, an adolescent Bosnian refugee, whom she continued to photograph until 2003. Dijkstra ventured into video with The Buzz Club, Liverpool, UK/Mysteryworld, Zaandam, NL, taping adolescents at raves between 1996 and 1997. She has also focused on particular individuals entering the military, as in her images of Olivier Silva, a French Foreign Legionnaire (2000–01), and new inductees into the Israeli army (2002–03). For the series Park Portraits (2003–06), Dijkstra photographed children, adolescents, and teenagers momentarily suspending their varied activities to stare into the lens from scenic spots in Amsterdam’s Vondelpark, Brooklyn’s Prospect Park, Madrid’s El Parque del Retiro, and Xiamen’s Amoy Botanical Garden, among others. Source: Guggenheim
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