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Paul Gibert
Paul Gibert
Paul Gibert

Paul Gibert

Country: United States
Birth: 1969

Paul Gibert has been shooting black and white images of urban environments and nature landscapes for the past nine years. From the streets of Los Angeles to landscapes of Chile in South America the camera has always been with him to capture what he sees. Light and composition are the foundation of the images that are as much about the subject as they are about capturing a mood.

Websites

www.paulrgibert.com

@prg24

 

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
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More Great Photographers To Discover

Marie Sordat
Marie Sordat
France/Belgium
1976
Born in 1976, franco-belgian, lives and works in Brussels. Since 2004, her work is shown in museums, galeries and festivals around the world, including Germany, Spain, Cambodia, Japan, Mexico, Romania, Georgia, Slovaquia… It has been published in numerous magazines, catalogues and books ( Lannoo Publishers, Filigranes Editions, Halogénure, artist books…), her monography EMPIRE has been published at Editions Yellow Now in 2015. She teaches photography at INSAS, an international belgian cinema school where she gives immersive seminars and organize meetings between famous photographers and students. She is jury for numerous photography schools and workshops teacher. She's also an independant curator, she directed several books, catalogues and exhibitions, as the collective exhibition EYES WILD OPEN for the Botanique Museum in Brussels and the book at André Frère Editions.
Mieke Dalle
Mieke Dalle
Belgium
1970
I attended art school and St-Lucas high school, after which I did commercial work as a graphic designer and photographer. I am from the generation working with analog camera, it is very exciting to now also be able to experience digital progress such as artificial intelligence and to take the first steps to incorporate this into my work.
Ralf Dreier
Ralf Dreier
Germany
1964
Ralf Dreier is a self-taught photographer with more than 25 years of experience. With a particular focus on minimalist black and white photography in the fields of architecture and landscape, he strives first and foremost to convey emotions and moods with his images. Statement: My pictures are essentially about conveying feelings and moods, so I don't really try to tell a story with them. These moods and feelings are what I feel when I look at a landscape that I would also photograph. It's about relaxation and letting go of everyday problems. But if a story does develop in the viewer's mind, it's definitely positive, because it's their very personal story that they associate with my pictures. However, it makes a difference whether we look at a landscape directly and immediately or whether we only look at a picture of it. Directly in the landscape, our brain is able to block out everything that distracts or disturbs us. At least this works if the distractions are not too dominant. In a photograph, small things often distract us and prevent us from finding the necessary calm and relaxation to engage with the image and let the feelings and moods come to us. I therefore try not to include any of these distracting elements in my pictures. I achieve this in my minimalist black and white pictures, for example, through the choice of image detail. Other disruptive elements that create unrest and therefore attract attention can be the sky or uneven water surfaces. For water surfaces, I usually use long exposures of up to two minutes in my pictures. This makes the surface soft and smooth and suddenly even conveys additional calm. With a turbulent sky, on the other hand, the only thing that usually helps is to wait for better conditions. My favourite subjects are mainly landscapes and architecture. However, for me, the two tend to merge seamlessly. I prefer open landscapes that allow you to look into the distance. From my point of view, this helps me to detach my thoughts from the realities of everyday life. In densely built-up areas or mountainous landscapes, however, a clear view is often only possible in the direction of the sky. For this reason, the sky is becoming increasingly important in my pictures. And it also depends on the structure of the sky. A uniformly blue or grey sky is often somewhat boring, at least in a photo. On the other hand, restless clouds with strong contrasts can attract more attention than they deserve. It's simply important to wait for the sky to be as suitable as possible. In some cases, however, my pictures manage without looking into the distance. Then geometric shapes and structures take over the task of detaching thoughts from everyday life. The order of the geometric shapes and the regularity of the structures have a calming effect on the viewer and in this way help them to get into the mood of the picture.
Elizabeth (Lee) Miller
Elizabeth (Lee) Miller
United States
1907 | † 1977
Lee Miller, 1907-1977, first entered the world of photography as a model in New York to photographers such as Edward Steichen, Arnold Genthe and George Hoyninguen-Huene. In 1929 Miller moved to Paris and became the assistant, and lover, of Man Ray. Together, they produced some of the most significant works of both of their careers, including rediscovering the solarisation technique in Man Ray’s darkroom. She quickly became established as both surrealist artist and photographer in her own right and returned to New York to run her own studio with commissions for portraits, packing shots and editorials for Vogue magazine. Lee Miller spent several years in the mid 1930’s living in Cairo with her Egyptian husband, Aziz Eloui Bey. Bored of life in the city, she would travel by jeep through the desert on photography exhibitions and re-imagine desert landscapes with her witty and surrealist flair. In 1939, Lee moved to London and worked as freelance photographer for British Vogue magazine. Alongside this, her documentation of the Blitz was published in Grim Glory, a pamphlet encouraging the US to join the war effort. Lee Miller later became one of the first ever female war correspondents accredited to the US Army and travelled with the US troops throughout Europe during 1944 and 1945. She documented the liberation of Paris, the siege at St Malo and Buchenwald and Dachau concentration camps. Perhaps most famously, she took a self-portrait sitting in Adolf Hitler’s bathtub in his Munich apartment, a statement of the end of the war. Lee Miller mostly abandoned photography later in her life and didn’t speak of her wartime experiences. Her former and final home, Farley Farm House, Sussex, England is now the base of the Lee Miller Archives which holds over 60,000 of her negatives as well as manuscripts and vintage prints. Over 3,000 images are available to view at www.leemiller.co.uk.
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.
Janette Beckman
Janette Beckman
United Kingdom
1959
Janette Beckman is a British documentary photographer who currently lives in New York City. Beckman describes herself as a documentary photographer. While she produces a lot of work on location (such as the cover of The Police album Zenyatta Mondatta, taken in the middle of a forest in the Netherlands), she is also a studio portrait photographer. Her work has appeared on records for major labels, and in magazines including Esquire, Rolling Stone, Glamour, Italian Vogue, The Times, Newsweek, Jalouse, Mojo and others. Beckman was at King Alfred School, in Golders Green in north London, from 1953 to 1967. She spent a year at Saint Martin's School of Art, and then three years at London College of Communication studying photography. After initially working for Sounds magazine with Vivien Goldman – her first shoot was with Siouxsie and the Banshees – she had a job shooting for music magazines such as Melody Maker and The Face, with a studio and darkroom in central London. Her primary focus was the UK's burgeoning punk subculture. Beckman moved permanently to New York City in 1982 and continued her career, shooting for her UK clients as well as new ones in the U.S. After moving to New York, Beckman presented her portfolio to American record companies looking for work shooting album covers, but the gritty feel of her work did not fit the "airbrushed" aesthetic preferred at the time. She was passed on to smaller rap and hip-hop labels, where she photographed acts such as Salt-N-Pepa, LL Cool J, Public Enemy, and the Beastie Boys in their early days. In a 2015 interview with American Photo magazine, she recalled "It is amazing, 30 years later, people going 'oh you photographed legends.' I guess I did, but they weren’t legends when I was taking pictures of them".Source: Wikipedia As a child growing up in London in the 1960s, Janette Beckman visited the National Portrait Gallery. Entranced by the portraits of people from distant times and places, she instinctively knew that’s what she wanted to do. “I was always fascinated by people,” she remembers. “I’d see them at the bus stop on the way to school but I was too shy to talk to anybody, so I’d stare at them. My mother would say, ‘Don’t stare,’ but I couldn’t help myself.” Drawn to the irrepressible expression of style, character, and personality, Beckman forged ahead with her dream of becoming an artist. In the early 1970s, she enrolled at Central St. Martins to study art while living in a semi-squat in Streatham, South London, with her classmates. “We lived on four floors, shared a bathroom, and there was no heat — but my rent was only £5 a week,” she recalls. Beckman’s foray into photography happened by sheer serendipity. “We would sit around drawing each other endlessly,” she says. “My dear friend Eddie was a fantastic artist; he could draw as well as David Hockney. I would look at his work, then mine, and realize I was never going to be that good. When the end of the school year came, I had to decide what I was going to do, and I thought, I’ll try photography.” After enrolling in photography school, where she was just one of three women in the class, Janette Beckman quickly realized she didn’t want to learn by instruction — she wanted to do it herself. Determined to chart her own path, Beckman gave herself portrait assignments, and only went into class to learn the things she needed to know, like how to make prints. “I was in my really rebellious stage,” says Beckman, who followed this guiding light throughout her career. Her love for subversives, innovators, and activists is collected in the new book, Rebels: From Punk to Dior, which brings together four decades of photographs celebrating artists, musicians, and movements on the fringe that have redefined mainstream culture and society. Beckman’s photographs have played a seminal role in these seismic shifts — one so undeniable that institutions are finally taking note. In a truly full-circle moment, earlier this year, the National Portrait Gallery acquired four Beckman prints of British musicians including the Specials and Laurel Aitken as part of “Inspiring People,” a major curatorial redevelopment project to represent cultural and gender diversity across both sitter and artists.Source: Blind Magazine
Georges Rousse
Georges Rousse
France
1947
Georges Rousse (born July 28, 1947) is a French photographer, painter, and installation artist. He has been taking photos since receiving his first camera at the age of nine, but he never formally attended art school to pursue photography. Instead, he attended medical school in Nice, but studied photography and printing on the side. He currently lives in Paris.Source: Wikipedia When he was 9 years old, Georges Rousse received the legendary Kodak Brownie camera as a Christmas gift. Since then, the camera has never left his side. While attending medical school in Nice, he decided to study professional photography and printing techniques, then opened his own studio dedicated to architectural photography. Soon, his passion for the medium led him to devote himself entirely to photography, following in the footsteps of such great American masters as Edward Steichen, Alfred Stieglitz and Ansel Adams. After he discovered Land Art and Malevich's Black Square against a white field, Georges Rousse altered his relationship to photography, inventing a unique approach that shifted the relationship of painting to space. He began making installations in the types of abandoned or derelict buildings that have long held an attraction for him--creating ephemeral, one-of-a-kind artworks by transforming these sites into pictorial spaces that are visible only in his photographs. From the early 1980s on, Georges Rousse has chosen to show his photographs on a large scale, so that his viewers participate in the work and experience the sense of space in a compelling way. Collapsing the usual restrictions between artistic mediums, his unique body of work quickly made its mark on the contemporary art world. Since his first exhibition in Paris, at the Galerie de France in 1981, Georges Rousse has continued creating his installations and showing his photographs around the world, in Europe, in Asia (Japan, Korea, China, Nepal.), in the United States, in Quebec and in Latin America. He is represented by several European galleries and his works are included in many major collections the world over. Georges Rousse was born in 1947 in Paris, where he currently lives andworks.Source: www.georgesrousse.com French artist and photographer Georges Rousse, converts abandoned or soon-to-be-demolished buildings into surprising visions of color and shape. Rousse translates his intuitive, instinctual readings of space into masterful images of several “realities”: that of the actual space, wherein the installation is created; the artist’s imagined mise-en-scène, realized from a single perspective; and the final photograph, or the reality flattened. Since his first exhibition in 1981 at the Galerie de France in Paris, Rousse has continued creating his one-of-a-kind installations and photographs around the globe. His work has exhibited in the Grand Palais (Paris), Hirshhorn Museum (Washington, D.C.), Haggerty Museum (WI), House of Culture (La Paz, Honduras), Sivori Museum (Buenos Aires), and National Art Museum of China, among hundreds of others. In 1988, he received the International Center of Photography Award. In 2008, Georges Rousse succeeded Sol LeWitt as an associate member of the Belgian Royal Academy.Source: Sous Les Etoiles Gallery
Joel Sternfeld
Joel Sternfeld
United States
1944
Joel Sternfeld (born June 30, 1944) is an American fine-art color photographer. He is noted for his large-format documentary pictures of the United States and helping establish color photography as a respected artistic medium. Sternfeld's work is held in the collection of the Museum of Modern Art in New York. Sternfeld earned a BA from Dartmouth College and teaches photography at Sarah Lawrence College in New York. He began taking color photographs in 1970 after learning the color theory of Johannes Itten and Josef Albers. Color is an important element of his photographs. American Prospects (1987) is Sternfeld's most known book and explores the irony of human-altered landscapes in the United States. To make the book, Sternfeld photographed ordinary things, including unsuccessful towns and barren-looking landscapes. On This Site: Landscape in Memoriam (1997), is about violence in America. Sternfeld photographed sites of recent tragedies. Next to each photograph is text about the events that happened at that location. From 1991 to 1994 Sternfeld worked with Melinda Hunt to document New York City's public cemetery on Hart Island, resulting in the book Hart Island (1998). Sternfeld has also published books about social class and stereotypes in America: Stranger Passing (2001), an abandoned elevated railway in New York: Walking the High Line (2002), and Sweet Earth: Experimental Utopias in America (2006). When It Changed (2007) contains close-up portraits of delegates debating global warming at the 2005 United Nations Climate Change Conference in Montreal.Source: Wikipedia Joel Sternfeld is an artist-photographer whose work is concerned with utopic and dystopic possibilities of the American experience. Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. It is a melancholic, spectacular, funny and profound portrait of America. The curator Kevin Moore has claimed that the work embodies the “synthetic culmination of so many photographic styles of the 1970s, incorporating the humor and social perspicacity of street photography with the detached restraint of New Topographics photographs and the pronounced formalism of works by so many late-decade colorists” (Kevin Moore, Starburst: Color Photography in America 1970-1980). On This Site (1996) examines violence in America while simultaneously raising significant epistemological questions about photographs as objects of knowledge. Sweet Earth: Experimental Utopias in America (2006) “can be seen as a generous respite from the traumatic history in On This Site... It is a survey of American human socialization, alternative ways of living, of hopeful being” (Elin O’Hara Slavik, 2018). All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. All of his books and bodies of work converse with each other and may be read as a collective whole. His work represents a melding of time and place that serves to elucidate, honor, and warn. The images hold a certain urgency, as their histories survive solely through their photographic representation— they are an archive for the future. Sternfeld is the recipient of two Guggenheim Fellowships and spent a year in Italy on a Rome Prize. He teaches at Sarah Lawrence College, where he holds the Noble Foundation Chair in Art and Cultural History.Source: www.joelsternfeld.net Joel Sternfeld is well known for large-format color photographs that extend the tradition of chronicling roadside America initiated by Walker Evans in the 1930s. Sternfeld's projects have consistently explored the possibility of a collective American identity by documenting ordinary people and places throughout the country. Each project he embarks on is bound by a concept that imbues it with subtle irony, often through insightful visual juxtapositions or by pairing images with informational text. Another characteristic aspect of Sternfeld's work is that color is never arbitrary; it functions in highly sophisticated ways to connect elements and resonate emotion. Sternfeld earned a BA in Art from Dartmouth College in 1965. He began making color photographs in the 1970s after learning the color theory of Johannes Itten and Josef Albers. He initially made street photographs with small- and medium-format cameras, but by the time he produced what would become a seminal project, American Prospects (1987), he was working with an eight-by-ten-inch camera. This enabled him to achieve the crisp details his work is known for. Sternfeld's style-his careful attention to visual qualities combined with an insightful and often ironic view of his subjects was first articulated in American Prospects. One of his best-known images, for example, depicts a fireman shopping for a pumpkin as a house burns in the background. The pumpkins' vibrant oranges match the autumnal colors of the countryside, and ironically, the fire's flames.Source: The J. Paul Getty Museum
Ralph Eugene Meatyard
Ralph Eugene Meatyard
United States
1925 | † 1972
Ralph Eugene Meatyard (May 15, 1925 – May 7, 1972) was an American photographer from Normal, Illinois, U.S. Meatyard was born in Normal, Illinois and raised in the nearby town of Bloomington. When he turned 18 during World War II, he joined the United States Navy, though he did not serve overseas before the war ended. After leaving the force he briefly studied pre-dentistry, before training to become an optician. He moved with his new wife Madelyn to Lexington, Kentucky to continue working as an optician for Tinder-Krausse-Tinder, a company which also sold photographic equipment. The owners of the company were active members of the Lexington Camera Club, for which the Art Department of the University of Kentucky provided exhibition space. Meatyard purchased his first camera in 1950 to photograph his newborn first child, and subsequently worked primarily with a Rolleiflex medium-format camera. He joined the Lexington Camera club and the Photographic Society of America in 1954. At the Lexington Camera Club he met Van Deren Coke, who exhibited work by Meatyard in an exhibition for the university entitled Creative Photography in 1956. During the mid-1950s, Ralph Eugene Meatyard attended a series of summer workshops run by Henry Holmes Smith at Indiana University, and also with Minor White, who fostered Meatyard's interest in Zen Philosophy. An autodidact and voracious reader, Meatyard worked in productive bursts, often leaving his film undeveloped for long stretches, then working feverishly in the makeshift darkroom in his home. "His approach was somewhat improvisational and very heavily influenced by the jazz music of the time." He used his children in his work addressing the surreal "masks" of identity. Much of his work was made in abandoned farmhouses in the central Kentucky bluegrass region during family weekend outings and in derelict spaces around Lexington. Some of his earliest camera work was made in the traditionally African-American neighborhood around Lexington's Old Georgetown Street. Meatyard was a close acquaintance of several well-known writers in the Kentucky literary renaissance of the 1960s and 1970s, including his neighbor Guy Davenport, who later helped compile a posthumous edition of his photos. In 1971, Meatyard co-authored a book on Kentucky's Red River Gorge, The Unforeseen Wilderness, with writer Wendell Berry. The two frequently traveled into the Appalachian foothills. Berry and Meatyard's book contributed to saving the gorge from destruction by a proposed Army Corps of Engineers dam. Meatyard's ashes were scattered in the gorge after his death. Meatyard was also a friend and correspondent of Catholic monk and writer Thomas Merton, who lived at the Abbey of Gethsemani, a Trappist monastery just west of Bardstown, Kentucky. Merton appeared in a number of Meatyard's experimental photographs taken on the grounds of the monastery, and they shared an interest in literature, philosophy, and Eastern and Western spirituality. Meatyard wrote Merton's eulogy in the Kentucky Kernel shortly after his death in Bangkok, Thailand, in December 1968. Meatyard died four years later, in 1972, of cancer. Though Lexington was not a well-established center of photography, Meatyard did not consider himself a "Southern" or regional photographer. His work was beginning to be recognized nationally at the time of his death, shown and collected by some prominent museums and published in magazines. He exhibited with photographers including Edward Weston, Ansel Adams, Minor White, Aaron Siskind, Harry Callahan, Robert Frank, and Eikoh Hosoe. By the late 1970s, his photographs appeared mainly in exhibitions of 'southern' art, but have since attracted renewed interest. His best-known photography featured dolls and masks, or family, friends and neighbors pictured in abandoned buildings or in ordinary suburban backyards.Source: Wikipedia Ralph Eugene Meatyard lived in Lexington, Kentucky, where he made his living as an optician while creating an impressive and enigmatic body of photographs. Meatyard’s creative circle included mystics and poets, such as Thomas Merton and Guy Davenport, as well as the photographers Cranston Ritchie and Van Deren Coke, who were mentors and fellow members of the Lexington Camera Club. Meatyard’s work spanned many genres and experimented with new means of expression, from dreamlike portraits—often set in abandoned places—to multiple exposures, motion-blur, and other methods of photographic abstraction. He also collaborated with his friend Wendell Berry on the 1971 book The Unforeseen Wilderness, for which Meatyard contributed photographs of Kentucky’s Red River Gorge. Meatyard’s final series, The Family Album of Lucybelle Crater, are cryptic double portraits of friends and family members wearing masks and enacting symbolic dramas. Museum exhibitions of the artist’s work have recently been presented at Art Institute of Chicago; The Philadelphia Museum of Art; the de Young Museum, San Francisco; The International Center of Photography, New York; Cincinnati Museum of Art, Ohio; the Center for Creative Photography, Tucson; and Blanton Museum of Art, Austin, Texas. His works are held in the collections of the Metropolitan Museum of Art, San Francisco Museum of Modern Art, J. Paul Getty Museum, The Eastman Museum, and Yale University Art Gallery, among others. Monographs include American Mystic, Dolls and Masks, A Fourfold Vision, and The Family Album of Lucybelle Crater and Other Figurative Photographs.Source: Fraenkel Gallery
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