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Nick Brandt
Nick Brandt
Nick Brandt

Nick Brandt

Country: United Kingdom
Birth: 1964

Nick Brandt is an English photographer whose themes always relate to the disappearing natural world, before much of it is destroyed by mankind.

From 2001 to 2018, he has photographed in Africa. In his trilogy, On This Earth, A Shadow Falls Across The Ravaged Land (2001-2012), he established a style of portrait photography of animals in the wild similar to that of the photography of humans in studio setting, shot on medium format film, attempting to portray animals as sentient creatures not so different from us.

In Inherit the Dust (2016), in a series of panoramas, Brandt recorded the impact of man in places where animals used to roam, but no longer do. In each location, Brandt erected a life-size panel of one of his unreleased animal portrait photographs, placing the displaced animals on sites of explosive urban development, new factories, wastelands and quarries.

This Empty World (2019) addresses the escalating destruction of the natural world at the hands of humans, showing a world where, overwhelmed by runaway development, there is no longer space for animals to survive. The people in the photos also often helplessly swept along by the relentless tide of 'progress'.
Each image is a combination of two moments in time, captured weeks apart, almost all from the exact same locked-off camera position: A partial set is built and lit. Weeks follow whilst the wild animals in the area become comfortable enough to enter the frame. Once the animals are captured on camera, the full sets are built. A second sequence is then photographed with a cast of people drawn from local communities and beyond.

Brandt has had solo gallery and museum shows around the world, including New York, London, Berlin, Stockholm, Paris and Los Angeles.
Born and raised in England, he now lives in the southern Californian mountains.

He is co-founder of Big Life Foundation, fighting to protect the animals and ecosystem of a large area of Kenya and Tanzania.

On this Earth: The first book in the trilogy, On This Earth (Chronicle Books, 2005) constitutes 66 photos taken 2000-2004, with introductions by the conservationist and primatologist Jane Goodall and the author Alice Sebold. The photographs in this book are a unadulterated vision of an African paradise, deliberately contrasting with what is to follow in the subsequent books. Elephant with Exploding Dust, Amboseli 2004, the photo on the book's cover, has since become one of Brandt's best-known images. Critical response to the book, heralded Brandt's photographic achievement. Black and White magazine called his photos "heartbreakingly beautiful".

A Shadow Falls: The second book in the trilogy, A Shadow Falls, (Abrams, 2009) features 58 photographs taken 2005-2008. It is generally regarded to be superior to "On This Earth". In additional introductions, philosopher Peter Singer, author of the groundbreaking Animal Liberation, explains why Brandt's photographs speak to an increasing human moral conscience about our treatment of animals. The photography critic Vicki Goldberg places Brandt's work in the history of the medium. As the title of the book implies, this book, although replete with images of ethereal beauty and poetry, is a more melancholic interpretation of the world he photographs. Indeed, critic Vicki Goldberg writes: " A Shadow Falls, taken in its entirely, is a love story without a happily ever after." The photos in the book are deliberately sequenced: the opening images are of an unspoiled lush green world, filled with animals and water ("Wildebeest Arc, Masai Mara 2006" ). As the book progresses, the photos become gradually more stark, until towards the end, the trees are dead, the water gone, the animals are vastly reduced in numbers, until the book closes with the final ambiguous image, of a lone, abandoned ostrich egg on a parched lake bed. "Abandoned Ostrich Egg, Amboseli 2007". In addition the Artist's Edition book, entitled, On this Earth, a Shadow Falls, (Abrams Books/Big Life Editions) was published in 2010, combining the best 90 photos from the first two books, in a larger volume with much superior printing to the first two books.

Across The Ravaged Land: The completion of Nick Brandt’s trilogy: “On This Earth, A Shadow Falls, Across The Ravaged Land.” Release date, September 3, 2013 (Abrams Books, 2013), documents the disappearing natural world and animals of East Africa. This is the third and final volume of Nick Brandt's work which reveals the darker side of his vision of East Africa’s animal kingdom and the juxtaposition of mankind. The trilogy marks the last decade of a stunning world of the beauty of East Africa’s Serengeti, Marsai Mara, Amboseli, and ends with a dark and well-known unhappy ending. “Across The Ravaged Land” introduces humans in his photography for the first time exhibiting the cost of poachers, killing for profit. One such example is Ranger with Tusks of Killed Elephant, Amboseli 2011. This photograph features one of the rangers employed by Big Life Foundation, the Foundation that Nick Brandt started in 2010. The ranger holds the tusks of an elephant killed by poachers in the years prior to the Foundation's inception. Brandt captures the trophies in these epic landscapes and the images of perfectly preserved creatures calcified by the salts of the Rift Valley soda lake. In both instances, the creatures appear in an ethereal animated state seemingly posing for their portraits.

Big Life Foundation: In September 2010, in urgent response to the escalation of poaching in Africa due to increased demand from the Far East, Nick Brandt founded the non-profit organization called Big Life Foundation, dedicated to the conservation of Africa's wildlife and ecosystems. With one of the most spectacular elephant populations in Africa being rapidly diminished by poachers, the Amboseli ecosystem, which straddles both Kenya and Tanzania, became the Foundation's large-scale pilot project. Headed up in Kenya by renowned conservationist Richard Bonham, multiple fully equipped teams of anti-poaching rangers have been placed in newly built outposts in the critical areas throughout the 2-million-acre (8,100 km2) + area, resulting in a dramatically reduced incidence of killing and poaching of wildlife in the ecosystem.

Source: Wikipedia



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More Great Photographers To Discover

Wang Wusheng
China
1945 | † 2018
Wang Wusheng was born in the city of Wuhu in China's Anhui Province and graduated from Anhui University's School of Physics. Beginning in 1973, Wusheng worked as a photographer for a news magazine in Anhui Province. He studied at the Art Institute of Nihon University in Japan beginning in 1983 and studied for three years at the Tokyo Arts University. Wusheng currently works as a fine art photographer in Tokyo. For more than three decades, Wang Wusheng has been captivated by the beauty of Mount Huangshan, also called Yellow Mountain. Located in the southern part of the Anhui province in northern China, Mount Huangshan has often been described as the world's most beautiful and enchanting mountain. Over many centuries, this mountain, with its seventy-two peaks, has been the subject of Chinese landscape painters, whose singular works are so haunting make it appear impossible for these mountains to exist in nature. Inspired by the legacy of these paintings, Wusheng has sought to portray Mount Huangshan in his own way, expressing his "inner worlds" through this scenic wonder. Wusheng captures mist-shrouded granite peaks emerging from an ever-changing veil of clouds, sculptural craggy rocks on lofty cliffs and weathered, oddly shaped pine trees. He records the appearance of Mount Huangshan in all seasons and at various times of day. As one critic says, "[Wusheng's] pictures are gorgeous, but their beauty does not come directly from the natural scenery. Rather, the mountain's natural wonders have been transformed into artistic spectacles through the artist's commitment to the medium of black-and-white photography, his insistent pursuit of dynamic movement and metamorphic images, and his deep emotional engagement with his subject. His mountain peaks are often densely dark-a kind of velvet darkness that seems full of color."Source: Robert Klein Gallery World-renowned photographer, writer, and broadcaster Tom Ang wrote in 2014 in his book Photography: The Definitive Visual History published by DK this text about Wang Wusheng's art works: Oriental perspectives The fusion of classical Chinese fine art with photography was not achieved until the 1940s. It resulted in a distinctive approach to landscape by combining classical forms with a challenge to the Western representation of space. Photography had reached China and Japan by the 1840s, but long remained an imported art form used primarily by foreigners. Fundamentally it was alien to the aesthetics of Asian fine art. The fine detail of a photograph was at odds with the eastern tradition of depicting a scene with just a few brushstrokes. And whereas Eastern art dealt with symbols-mountains representing wisdom, water standing for the flux of life and so on- photography seemed unremittingly literal and heavy-handed to Asian eyes. Eastern art was also fixedly monochrome: black was Heaven's hue, and too much considered bad for the eyes. Three dimensions in two A further element foreign to Asian minds was the handling of perspective-how three-dimensional space was represented on the flat surface of a print or painting. In Europe, 15th-century thinkers, such as the architect Filippo Brunelleschi, showed that a geometrically accurate way to represent objects in space was to depict parallel sides as if they converged toward a vanishing point on the horizon. Early photography reinforced the dominance of this linear perspective in Western art. Classical Asian art was based on different models of space. It showed space with receding planes, in which a nearer object overlaps and covers part of a further object. This was joined to aerial perspective, which exploits how contrast and clarity naturally diminish the further away things are to express receding space. Asian pictorials By the 20th century. even artists in he West were rebelling against geometrical perspective, most visibly in the Cubist movement, which spilled over to montage effects in modernist photography (see pp. 142-43 and Pp.330-31). Finally, in the 1940s, Long Chin-San (also transliterated Lang Jingshan) in Hong Kong marked the first successful fusion of Asian with European modes. Trained in Photography by a brush-and-ink artist, Long considered a traditional painting "as a composite Image of fragmentary visual memories". From this, Long derived composite photographs using subtle toning and multiple printing techniques to place traditional elements such as calligraphically expressive bamboo shoots, leafless branches, and craggy rocks against a plain ground, suspending his subjects In an indeterminate space. Relationships between elements were defined by aerial perspective and overlapping receding planes. Minimal and calligraphic expressions also came naturally to photographers such as Jiang Peng, but Long's best-known students was Don Hong Qai. Modern interpretation China's Huangshan (Yellow Mountains) is a glaciated mountain range much venerated for its exquisite scenery of 72 steep peaks, often shrouded in mist. The Huangshan inspired its own school of painting, which made extensive use of aerial perspective, Wang Wusheng is a leading modern exponent of the style. Wang was working as a news photographer when he turned his attention to the Huangshan in 1973 In his photographs, he exploited the ultrafine grain of Kodak Technical Pan film to create a modern interpretation of inky-black silhouettes are grouped against the smoothly shifting swathes of mist, their softening tones deftly defining distance. This image is part of the Celestial Realm series, published in book form in 2005. In wang's contemporary interpretation of traditional Chinese black-ink painted landscapes, mist separates the deep velvety darkness of the sharply silhouetted rocks and trees in the foreground from the progressively fuzzier bands of trees and rocks.
Kristina Lerner
Russia
1986
Kristina Lerner(b. 1986) was born and raised in Moscow, Russia. In 2008 she graduated from Russian New University, majoring in World Culture. A few years later she moved to St. Petersburg, where she still lives and works as a freelance photographer. She also leads photo workshops in St. Petersburg photography schools.Kristina grew up in a creative family. Father was a musician and her mother worked as a model. So she was in love with art since childhood. At age 10 she began studying painting, which eventually led her to photography. Now Kristina Lerner does not divide her work into genres. She photographed the streets, people, nature and expressing herself in art photography.That's what she says about her works: "The main thing for me - is to feel the point of coincidence of external and internal and to be able to catch it in time and bring in photography. Every moment has it's own feeling and it’s own sound. No matter what I photograph: a portrait or the city’s scene - the picture should be filled with emotion and atmosphere of this unique second."Kristina Lerner has been photographing since 2008. She had many of her work published in international photography magazines and books, including Eyemazing New Collectible Art Photography - that brought together a selection of the best work published in Eyemazing magazine over the last ten years. Kristina took part in numerous art exhibitions and festivals, and in 2011 she became a finalist of the international Vilnius Photo Circle photography festival.
Garry Winogrand
United States
1928 | † 1984
Garry Winogrand was an American street photographer, known for his portrayal of U.S. life and its social issues, in the mid-20th century. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation. Winogrand was influenced by Walker Evans and Robert Frank and their respective publications American Photographs and The Americans. Henri Cartier-Bresson was another influence although stylistically different. Winogrand worked as a freelance photojournalist and advertising photographer in the 1950s and 1960s. Between 1952 and 1954 he freelanced with the PIX Publishing agency in Manhattan on an introduction from Ed Feingersh, and from 1954 at Brackman Associates. Winogrand's beach scene of a man playfully lifting a woman above the waves appeared in the 1955 The Family of Man exhibition at the Museum of Modern Art in New York which then toured the world to be seen by 9 million visitors. His first solo show was held at Image Gallery in New York in 1959. His first notable exhibition was in Five Unrelated Photographers in 1963, also at MoMA in New York, along with Minor White, George Krause, Jerome Liebling, and Ken Heyman. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. He roamed the streets of New York with his 35mm Leica camera rapidly taking photographs using a prefocused wide angle lens. His pictures frequently appeared as if they were driven by the energy of the events he was witnessing. Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at Museum of Modern Art in New York in 1967 and had solo exhibitions there in 1969, 1977, and 1988. He supported himself by working as a freelance photojournalist and advertising photographer in the 1950s and 1960s, and taught photography in the 1970s. His photographs featured in photography magazines including Popular Photography, Eros, Contemporary Photographer, and Photography Annual. Critic Sean O'Hagan wrote in 2014 that in "the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York"; and in 2010 that though he photographed elsewhere, "Winogrand was essentially a New York photographer: frenetic, in-your-face, arty despite himself." Phil Coomes, writing for BBC News in 2013, said "For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand, whose pictures of New York in the 1960s are a photographic lesson in every frame." In his lifetime Winogrand published four monographs: The Animals (1969), Women are Beautiful (1975), Public Relations (1977) and Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980). At the time of his death, his late work remained undeveloped, with about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and about 3,000 rolls only realized as far as contact sheets being made.Source: Wikipedia Photography is not about the thing photographed. It is about how that thing looks photographed. -- Garry Winogrand A native New Yorker, Garry Winogrand became known for his street photography blending documentary and photojournalist styles and freezing his subjects in spontaneous and bizarre moments. Winogrand typically used a wide-angle lens mounted on a Leica 35mm camera and photographed prolifically, leaving 2,500 rolls of shot but undeveloped film and 300,000 unedited images upon his death. The tilted horizon and feeling of chaos in his images belie his careful compositions concerned with capturing surface detail and energy. Winogrand believed that the act of framing and photographing something transformed it. 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Charles Nègre
France
1820 | † 1880
Charles Nègre (French: 9 May 1820 - 16 January 1880) was a pioneering photographer, born in Grasse, France. He studied under the painters Paul Delaroche, Ingres and Drolling before establishing his own studio at 21 Quai Bourbon on the Île Saint-Louis, Paris. Delaroche encouraged the use of photography as research for painting; Nègre started with the daguerreotype process before moving on to calotypes. His "Chimney-Sweeps Walking", an albumen print taken on the Quai Bourbon in 1851, may have been a staged study for a painting, but is nevertheless considered important to photographic history for its being an early instance of an interest in capturing movement and freezing it forever in one moment. Having been passed over for the Missions Héliographiques which commissioned many of his peers, Nègre independently embarked on his own remarkably extensive study of the Midi region. The interesting shapes in his 1852 photograph of buildings in Grasse have caused it to be seen as a precursor to art photography. In 1859, he was commissioned by Empress Eugénie to photograph the newly established Imperial Asylum in the Bois de Vincennes, a hospital for disabled workingmen. He used both albumen and salt print, and was known also as a skilled printer of photographs, using a gravure method of his own development. A plan commissioned by Napoleon III to print photographs of sculpture never came to fruition, and in 1861 Nègre retired to Nice, where he made views and portraits for holiday makers. He died in Grasse in 1880.Source: Wikipedia
Steeve Luncker
Switzerland
1969
Born in 1969 in Switzerland, Steeve Iuncker lives and works in Geneva. He studied at the Photography School in Vevey and is Agence VU' member since 2000.“Press photographer (he works part-time for a daily newspaper), Steeve Iunker tirelessly questions the role(s) of photography and of the image in the fields of information and documentary today in a radical and political way…[his work] aims to get close to the taboos relating to the body, to death and to the standard social conception of big issues that affect human thought. Either he stays with an Aids patient in the terminal phase, he represents the professional life of an old prostitute, he confronts himself with the crisis in Gaza, he stores images of celebrities adorned with diamonds at Cannes Festival, discovers the backstage area of a fashion show, follows the police while investigating on crimes, or reveals the astounding world of plastic surgery, Steeve Iunker doesn’t chase icons. He shows. In a realistic, free and salutary way. Even if it might seem provocative or shocking. He only wants us to agree to see. To be responsible and clear-sighted.”Christian Caujolle.He has recently finished the first phase of a project dealing with the subject of death. He wishes to expose to Geneva the realities that its police department, University Institute of Legal Medicine and the Murith Funeral Services must face regularly. The second ongoing phase of the project consists of photographing the places and traces behind individual deaths in order to reveal an often unknown reality that is tossed into the realm of fiction by Hollywood movies. Source: Agence VU
Kimmo  Sahakangas
United States
1958
Kimmo Sahakangas received a Bachelor of Architecture from Cal Poly Pomona and a Master of Architecture from UCLA. After higher education, he was awarded an architectural traveling fellowship which facilitated a year-long exploration of European urban spaces. It concluded in a slide show presented to an academic institution. Prior to architectural studies, photography was a passionate endeavor in the family along with vacation roadtrips. At age 19, he traveled the very first time to Las Vegas… stayed at a cheap motel and was keen on photographing the neon lights of Fremont Street and the strip… the visit would inspire architectural study and form an interest in photographing the built American landscape. Sahakangas contextualizes the vast American landscape with a focus on transitional places and spaces. Some of the more favored subjects are roadside business establishments which epitomize the road trip experience. Traveling off the interstate, he would find such visual matter in the landscape... on a two-lane road allowing a slower pace without a destination in mind. His observations exclude people, to portray isolation as a visual drama. And to frame the cultural, economic and social policies at hand. His work has exhibited nationally in a dozen private and public galleries including Praxis Gallery Photo Arts Center (Minneapolis), Black Box Gallery (Portland OR) and Torrance Art Museum. A self-published affair, titled "Roadside Testament", was available in 2021. It features several decades of photography.
Jefferson Caine Lankford
United States
1993
Jefferson Caine Lankford is a photographer born and currently based in the United States. He uses a range of photographic techniques including alternative, analog, and digital practices. Jefferson earned a BFA in photography at East Carolina University in 2016 and also attended the Australian National University, located in Canberra, Australia - where he studied documentary photography. His work focuses on a variety of subjects, ranging from environmental concerns and foreign cultures to the various aspects of the American South, such as agriculture, poverty, and society. To Be, Rather Than to Seem The American South has an essence that sparingly reveals itself, thus requiring unprecedented determination and patience to photograph all its splendor. Nevertheless, and despite its elusiveness, this essence I am chasing - permeates; it lingers in the air of North Carolina, and when discovered, puts on a magnificent display. This essence appears in the eyes of a jet-black cat within an abandoned barn: it agonizes within the face of an elderly Amish man; it breathes deep within the shadow of a stray dog crossing a back road; it flourishes within the wings of starlings above a farm after heavy rain; it shines on a dilapidated door in the middle of nowhere, and it tirelessly works in the tobacco fields without complaint. Over the past three years, I have traveled throughout many impoverished towns and across countless acres of farmland to document and share an original story of existence - life and death as it occurs in rural North Carolina. The photographs within this ongoing project, To Be, Rather Than to Seem - provides a window for others to witness these fleeting moments for themselves and embrace the beautiful raw essence of my homeland.
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