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Eva Mallis
Eva Mallis
Eva Mallis

Eva Mallis

Country: United States

Eva Mallis was born in New York City to Greek immigrant parents. Her elementary school years were spent in Queens, New York - the most ethnically diverse area in the U.S. - where she was immersed in a hardworking population striving for the American dream. Pursuing that dream, Eva earned a BA and an MBA and has had a career that encompassed investment banking and real estate.

Eva's love of photography surfaced post-college while living in Washington, D.C. and attending photography classes at the Smithsonian Institute. Her passion for street photography grew as she often roamed the streets of downtown Washington, D.C. taking pictures during her lunch hour. After family and career, Eva resumed her passion for photography by taking several classes at the International Center of Photography (ICP) and numerous workshops around the globe.

Eva is a New York City based street and documentary photographer. Her photography is best characterized as urban documentary. Eva's work has been shown in numerous group exhibitions in New York City. She has won PDN Magazine's 'Taste' Photo Competition, has received several International Photography Award (IPA) Honorable Mentions and has participated in many juried shows.

Statement
"I am driven to photograph the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time - people going about their every day - my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen."

Websites

www.evamallisphoto.com

@evamallis

 

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James Fee
James Fee
United States
1949 | † 2006
James Fee was an American photographer best known for his photographs of abandoned factories and lonely highways. He was born in the town of Knoxville, Iowa. Fee drove from Iowa to California after graduating from high school and settled in San Francisco. He married Sharon Kitzman in San Francisco. Fee has also lived in New York City and Los Angeles. A Graflex Norita 66 with extension tubes, tele-extenders, and mid-century telephoto lenses was used for much of Fee's earlier personal work. The camera and equipment were stolen in the early 1990s while he was working on his "Photographs of Americana" series. Fee discovered that it was difficult to replace the camera and began experimenting with the Russian-made Kieve 90 with lens embellishments. Fee appreciated the irony of finishing the series with a Russian camera. Because of Fee's approach to photography, museum curators gave his exhibitions titles like "American Noir" and "The Weight of Time." His photographs can be found in the permanent collections of the San Diego Museum of Photographic Arts, the William Benton Museum of Art, and the Getty Museum. Fee once worked with sculptor George Herms, who shared his love of the Beat Generation. Fee later taught photography at the Art Center College of Design in Pasadena, California, from 1994 to 2003. He began teaching at Otis College of Art and Design in Los Angeles in 1993. Fee photographed images he thought represented declining cultural icons in the United States, such as crumbling drive-in movie theaters and rusted, abandoned cars. During World War II, Fee's father, Russell James Fee, served in the United States Navy as a medical corpsman attached to the Marine Corps. During a tense battle on Peleliu Island in 1944, he captured images of his fellow sailors and Marines as well as the aftermath of battles. Russell Fee passed away in 1972. In 1998, James Fee visited Peleliu Island and photographed remnants of World War II battles, such as rusted and overgrown tanks, roads, and the tip of a sunken Japanese fighter plane. He attempted to photograph the same scenes that his father had captured more than 50 years before. Fee created an exhibit called the "Peleliu Project" in which he artistically combined his own photographs with images taken by his father. The exhibition toured the United States and was first shown at the Craig Krull Gallery in Santa Monica in 2001 before being permanently housed at the San Diego Museum of Photographic Arts. James Fee is survived by his wife of 30 years, Elena Stoyanov (NJ), and Illya Eric Isaac Fee (CA), his son from his first marriage. Fee was found dead in Beverly Hills, California. Hepatitis C and liver cancer were the causes of his death. At the time of his father's death, Illya Fee was by his side.
Les Schmidt
Les Schmidt
United States
I didn't start photographing until I got into my late thirties after moving into the Warehouse Arts District of New Orleans. I was passionate about collecting modern furniture at the time and only after a chance meeting with a local architect and an interior magazine photographer did I get the opportunity to get behind a professional camera for the first time. I was asked to style several photo shoots for the pair not knowing at the time that this informal training of creating vignettes would become a catalyst for my future work. From capturing sparse coastal and warehouse landscapes in the early 2000s and recording the aftermath of Hurricane Katrina in 2005 to personal still life projects dealing with memory and loss my photographs can be viewed through this same minimalistic lens. My current body of work consists of shooting and printing large-scale nature images as well as a local portraiture series composed in B&W.
Sam Haskins
Sam Haskins
United Kingdom
1926 | † 2009
Sam Haskins, was a British photographer, born and raised in South Africa. He started his career in Johannesburg and moved to London in 1968. Haskins is best known for his contribution to in-camera image montage, Haskins Posters (1973) and the 1960's figure photography trilogy Five Girls (1962), Cowboy Kate & Other Stories (1964) and November Girl (1967), plus an ode to sub-Saharan tribal Africa African Image (1967). Cowboy Kate & Other Stories was probably the first book to deliberately explore black-and-white photographic grain as a medium for expression and image design. It was highly influential at the time, sold roughly a million copies worldwide and won the Prix Nadar in France in 1964. It continues to influence contemporary photographers, filmmakers, fashion designers, and make-up artists. Cowboy Kate & Other Stories or 'Kate' as the book is often referred to, had its place in photographic history cemented in 2005 when the International Center of Photography in New York included the book in their exhibition The Open Book: A History of the Photographic Book from 1878 to the Present. November Girl contained key image collages which formed the basis of many graphic and surrealist experiments in the 1970s and 1980s. African Imagewas a visual homage to the indigenous people, culture, landscape and wildlife of sub-Saharan Africa. The images represent a lifelong interest in photographing graphically stimulating environments and formally document his passion for the indigenous craft. He broke bones on river rapids and wrote off two Volvo saloon cars on African dirt roads while shooting the book. Despite its international award, this meticulously constructed book, celebrating a love for sub-Saharan Africa, is probably the least known of his major creative projects, but it is coveted by serious collectors of African art and photography. In 1968, Haskins moved to London and ran a studio in Glebe Place just off the King's Road. He worked as an advertising photographer for international consumer brands Asahi Pentax, Bacardi, Cutty Sark whisky, Honda, BMW, Haig whisky, DeBeers, British Airways, Unilever and Zanders, and specialised in the art direction and shooting of calendars, especially for Asahi Pentax in Japan. Although he endorsed Hasselblad for a short period in the late 1960s and early 1970s, his loyalty to the medium format 6x7 camera and lenses from Asahi resulted in a rare long-term association between a camera manufacturer and photographer. From 1970 to 2000, Asahi Optical (later Pentax) produced 30 calendars, of which Haskins shot and art-directed 15 editions including the millennium calendar. No other photographer was invited to contribute more than once. He is still involved with the Pentax Forum Gallery in Tokyo, which hosts his exhibitions. His first contact came in 1967, when Asahi Optical presented him with a 35 mm camera after hearing that he had shot African Image with various competitors' products. In 1972, he produced his first colour book, Haskins Posters. The large-format publication contained pages printed on one side using thick stiff paper and a soft glue perfect binding allowing the pages to be removed and used as posters. Haskins and Alida successfully published the book internationally through their own company, Haskins Press. The book won a gold award at the New York One Show. At the time the best-known image from Haskins Posters, a girl's face superimposed on an apple with a bee near the stem, appeared on the cover or in editorials of almost every major photographic magazine around the world. This image was part of a well-publicised visual and graphic experimentation with the apple theme in the 1970s that for a while resulted in photographic journalists nicknaming him 'Sam the Apple man'. He suffered a stroke on 19 September 2009 the opening day of his exhibition to launch Fashion Etcetera at Milk Gallery in New York, and died at home in Bowral, Australia, nine weeks later.Source: Wikipedia
Ryotaro Horiuchi
Ryotaro Horiuchi
Japan
1969
Ryotaro Horiuchi was born in Tokyo in 1969. When he was a teenager, he started to work at the furniture studio as an assistant. During his time at the studio, he was asked to take photographs of furniture as its records. And that was the first time he felt his intention to focus on a thing in front of his eyes ''Through The Lends''. And that ''intention'' turned him into ''photo-holic'' by realizing the potential of photographs. Since then, he has been working on his works from Osaka University of Arts and while he was in Germany and till now. Now he is working with ''Descendants of Samurai'' and ''Roma Gypsy'' by taking their portraits. To do so, he keeps focusing on ''the identity'' of them and himself. Falling Waters When I faced the waterfall, my eyes were riveted on the falling waters. The waters kept changing and never became the same figure. I saw the vitality in its overwhelming energy. The waters looked so alive that I felt as if I were photo shooting creatures. These are not scenic photos but portraits of waterfalls. The waters kept moving vigorously with a roaring sound, however, I loved the silence behind it. Quiet Existence I have relatives who emigrated to a foreign country under a state-led migration policy during the pre-war period. They live as minorities in the country. Hearing stories about them as I grew up made me fascinated with people who are defined as minorities. When I was staying in Germany, I later learned that the people who had been closed to me were Roma. I had absolutely no knowledge about Roma at that time and their lifestyle looked just so mysterious to me. Since then, I had been drawn to their strong identity and I visited the area where many Romani people live. I met many other ethnic groups of people who live as minorities there. When I faced their lifestyles, I could see their quiet yet strong identity behind them, which strongly resonated with me. It might be impossible for minorities to maintain their culture without keeping their strong identity. What is identity? The question always makes me ask myself what kind of individuality I retain. Discover Descendants of Samurai
Songyuan Ge
Songyuan Ge
China
1997
I'm Songyuan Ge, a photographer from China. I began to learn photography ten years ago. I was keen to photograph the details of the architecture. And I'm now a MA student at Savannah College of Art and Design. Statement In this complex society, many people suffer from depression, and even suicide. In this situation, releasing stress is necessary. Hence, I intend to use my artworks to relax people's pressure. This series of photos are taken in San Francisco. The subject in these pictures is the details of architecture. I choose to use a low saturation color palette inspired by Morandi, the painter. The reason why I choose modern buildings as my image subject is that building is the most common and important thing in our daily life. Also, modern buildings have grown tremendously with the growth of population technology, and people's pressure comes from the pressure of life, so I think modern architecture has an inseparable relationship with people's pressure. Therefore, I want to remind people the most beautiful thing is around us. Also, I want to convey the idea that we just need to do a few changes, our world can be better than our imagination.
Dan Budnik
Dan Budnik
United States
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Dan Budnik (b.1933, Long Island, NY) studied painting at the Art Students’ League of New York. After being drafted, he started photographing the New York school of Abstracts Expressionist and Pop Artists in the mid-fifties, making it a primary focus for several decades. He made major photo-essays on Willem de Kooning and David Smith, among many other artists. It was his teacher Charles Alston at the Art Students’ League of New York, the first African American to teach at the League, who inspired his interest in documentary photography and the budding Civil Rights Movement. In 1957 he started working at Magnum Photos, New York, assisting several photographers, notably Cornell Capa, Burt Glinn, Eve Arnold, Ernst Haas, Eric Hartmann and Elliott Erwitt. In March 1958 Budnik travelled to live with the underground in Havana for 6 weeks during the Cuban revolution. Budnik continued to work with Magnum for half of his time, until joining as an associate member in 1963. In 1964 he left Magnum and continued specializing in essays for leading national and international magazines, focussing on civil and human rights, ecological issues and artists. Since 1970 Budnik has worked with the Hopi and Navaho traditional people of northern Arizona, and received for this work a National Endowment for the Arts Grant in 1973 and a Polaroid Foundation Grant in 1980. In 1998 he was the recipient of the Honor Roll Award of the American Society of Media Photographers. He lives and works in Tucson and Flagstaff, Arizona. Source: danbudnik.com
Marika Poquet
Marika Poquet
France
1972
I come from an artistic family of musicians, painters, sculptors and writers. I was given my first camera when I was ten years old. On every possible occasion, I took pictures of family and friends. What I enjoyed most was catching people in their everyday life. In my late teens, I started wandering the streets of Paris taking pictures of people. I would then shut myself up in a dark room. I still remember the excitement when I discovered what I had shot. After 15 years of working in finance, I decided to put an end to my career and started what I had always wanted to do as a child: photography. Statement I love discovering the world, capturing people’s emotion, and soul, documenting their everyday life. I take candid street photography. I wander in the streets with no precise idea following my instincts, trying to be invisible, looking for something beautiful, unexpected, surprising, magical, mysterious, ambiguous, or even funny trying to capture the perfect moment when everything comes together. Lately I have started working more on documentary projects using my street photography style. AAP Magazine: AAP Magazine 43 Colors AAP Magazine 46 Women AAP Magazine 53 Travels
Louis Stettner
Louis Stettner
United States
1922 | † 2016
Louis Stettner was an American photographer of the 20th century whose work included streetscapes, portraits and architectural images of New York and Paris. His work has been highly regarded because of its humanity and capturing the life and reality of the people and streets. Starting in 1947, Stettner photographed the changes in the people, culture, and architecture of both cities. He continued to photograph New York and Paris up until his death. My way of life, my very being is based on images capable of engraving themselves indelibly in our inner soul’s eye. -- Louis Stettner Louis Stettner was born in Brooklyn, New York, where he was one of four children. His father was a cabinet maker, and Louis learned the trade when young, using the money he earned to support his growing love of photography. He was given a box camera as a child, and his love affair with photography began. His family went on trips to Manhattan and visited museums, including the Metropolitan Museum of Art, where his love of art began. At 18, in 1940, Stettner enlisted in the United States army and became a combat photographer in Europe for the Signal Corps. After a brief stint in Europe he was sent to New Guinea, the Philippines, and Japan. Back from the war Stettner joined the Photo League in New York. Stettner visited Paris in 1946 and in 1947 moved there. From 1947 to 1949 he studied at the Institut des Hautes Études Cinématographiques in Paris and received a Bachelor of Arts in Photography & Cinema. He went back and forth between New York and Paris for almost two decades and finally settled permanently in Saint-Ouen, near Paris, in 1990. Stettner still frequently returned to New York. Stettner's professional work in Paris began with capturing life in the post-war recovery. He captured the everyday lives of his subjects. In the tradition of the Photo League, he wanted to investigate the bonds that connect people to one another. In 1947 he was asked by the same Photo League to organize an exhibition of French photographers in New York. He gathered the works of some of the greatest photographers of the era, including Robert Doisneau, George Brassaï, Edouard Boubat, Izis, and Willy Ronis. The show was a big success and was largely reviewed in the annual issue of U.S. Camera. Stettner had begun a series of regular meetings with Brassaï who was a great mentor and had a significant influence on his work. In 1949, Stettner had his first exhibition at the Salon des Indépendants at the Bibliothèque Nationale de France, Paris. Brassaï showed me that it was possible to find something significant in photographing subjects in everyday life doing ordinary things by interpreting them in your own way and with your own personal vision. -- Louis Stettner In 1951 his work was included in the famous Subjektive Fotografie exhibition in Germany. During the 1950s he freelanced for Time Magazine, Life, Fortune, and Du (Germany). While in Paris he reconnected with Paul Strand, who had also left New York because of the political intolerance of the McCarthy era—Strand had been a founder of the Photo League that would be blacklisted and then banned during those years. In the 1970s Stettner spent more time in New York City, where he taught at Brooklyn College, Queens College, and Cooper Union. In his own work, Stettner focused on documenting the lives of the working class in both Paris and New York. He felt that the cities belong to the people who live there, not to tourists or visitors. His upbringing caused him to take great care in capturing the simple human dignity of the working class. He also captured noteworthy architectural images of both cities, including bridges, buildings, and monuments. Stettner produced well-known images, including: Aubervilliers, Brooklyn Promenade, Twin Towers with Sea Gull, Penn Station, and the Statue of Liberty, Battery Park. In his nineties, Stettner turned to a large format camera of the dimensions used by his hero, Paul Strand; an 8×10 Deardorff in order to photograph details of the landscape of Les Alpilles in Provence where Van Gogh often painted, assisted by his wife Janet. Stettner received numerous honors, and in 1950 he was named Life's top new photographer. In 1975 he won First Prize in the Pravda World Contest. Louis Stettner’s works are posthumously managed by the Louis Stettner Estate.Source: Wikipedia
Katerina Belkina
Katerina Belkina
Russia
1974
Katerina Belkina was born in Samara, a city in the South-East of the European part of Russia. She grew up in an artistic atmosphere; her mother is a visual artist and, in herplace of birth, she got an education in the art of painting at the Art Academy. She continued her education in 2000 at an Academy for Photography also in Samara and exhibitions of her mysterious self-portraits ensued in Moscow and Paris. Katerina Belkina was nominated for the prestigious Kandinsky Prize (comparable to the British Turner prize) in Moscow in 2007. At the moment, Katerina Belkina is living and working in Moscow and Berlin.AAP: Where did you study photography?I started in a studio of photography and then I decided to study photography in an Art College. After several years I learned photography at the Photo Academy in Samara, Russia.AAP:How did you become a photographer?I think of myself as an artist in the broad sense of the word. For me photography is just a medium like a painting, drawing etc. However I like to use photography as a basis for my works. This form of art was always interesting for me. As well as drawing. I was influenced by my family in my childhood to like both mediums.AAP: Do you remember your first shot? What was it?When I was in fifth grade I took my school photo-group. Otherwise everything around me: school friends, street dogs, home yard.AAP:What was your first paid assignment/job?It was for an inexpensive portrait. The client was a girl who looked very similar to Marilyn Monroe. I found out that only when I looked at her in the viewfinder.AAP: What or who inspires you?Other people working in my field. When I see good results and when I see how they work. AAP: Do you spend a lot of time editing your images? For what purpose?Yes, a lot. At first I like the process of editing. In my case it is a combination of photo elements and then layer by layer drawing or correcting and making post-productions. I like when any art work include skills and labor. Every good idea should be perfectly executed.AAP: How do you choose your subjects?I always choose a topic that could be interesting for me at that moment. Then comes the process of thinking about. In the beginning ideas are always abstract. After a while it takes a shape: I choose a subject, composition, color combinations and details. AAP: Can you explain the process that you use to set up a portrait?When the idea takes shape in my mind, I draw a sketch, prepare all the necessary things for shooting and then start. Despite the fact that I know very exactly what I want for my future composition, I like to allow improvisation in the process. Because the result can be interesting and unexpectable. To take self-portraits I use a stative and make it by myself or I ask an assistant.AAP: Your worst souvenir as a photographer?Oh yes I remember! A meeting with a client who paid me and thought the world should rotate around him just because of that.AAP: What advice would you give a young photographer?Shoot a lot, take everything that could be interesting for you. Try new things, make discoveries. This is the most important thing. Don’t listen to anybody when they want to teach you something especially when it is in a critical way. AAP: What mistake should a young photographer avoid?Don’t try to be or to do like someone else. Your photography style will become unique over time. You need to be interested by what you are doing even if other photographers or artists can inspire you.
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All About Photo Awards 2026
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