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Norm Diamond
Norm and Doug
Norm Diamond
Norm Diamond

Norm Diamond

Country: United States
Birth: 1948

Norm Diamond spent thirty years as an interventional radiologist in Dallas, Texas. Treating severely ill and injured patients on a daily basis had a profound effect on him, which he came to fully understand when he retired and began his second career as a fine art photographer. Mentored by Cig Harvey since 2013, he began making work focused on themes of memory, loss, and isolation. In his first major project, What Is Left Behind - Stories from Estate Sales, he visited several hundred estate sales searching for and photographing objects left by one generation for the next. Daylight Books published this work as a monograph in 2017.

In his next series, Doug's Gym, he chronicled the last six months of a dilapidated, yet beautiful old gym in downtown Dallas. It was owned by 87-year-old Doug Eidd, who had run the gym since 1962. Both he and the gym came from a bygone era never to be seen again. Kehrer Verlag published Doug's Gym in 2020.

Diamond has now returned to an old project, Dark Planet. It reflects his worldview drawn from his experiences as a physician, his family background, and current events. The images reflect the same themes he has photographed for his two previous projects, but they are not tethered to specific locations or settings.

Diamond was named a finalist in the Photolucida Critical Mass competitions of 2015, 2016, 2018, 2019, and 2020. The Afterimage Gallery in Dallas and the Cumberland Gallery in Nashville have hosted solo shows of his work. His prints are in the hands of private collectors and have also been shown in multiple galleries and museums including Ogden Museum of Southern Art, Griffin Museum of Photography, Masur Museum of Art, Houston Center for Photography, Center for Fine Art Photography, and Center for Photographic Art.

Doug's Gym: The Last of Its Kind By Norm Diamond
Doug's Gym: The Last of Its Kind
Norm Diamond What Is Left Behind: Stories From Estate Sales
 

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More Great Photographers To Discover

Shomei Tomatsu
Japan
1930 | † 2012
Shomei Tomatsu (東松 照明, Tōmatsu Shōmei) was a Japanese photographer, primarily known for his images that depict the impact of World War II on Japan and the subsequent occupation of U.S. forces. As one of the leading postwar photographers, Tomatsu is attributed with influencing the younger generations of photographers including those associated with the magazine Provoke (Takuma Nakahira and Daido Moriyama). Tomatsu was born in Nagoya in 1930. As an adolescent during World War II, he was mobilized to support Japan's war effort. Like many Japanese students his age, he was sent to work at a steel factory and underwent incessant conditioning intended to instill fear and hatred towards the British and Americans. Once the war ended and Allied troops took over numerous Japanese cities, Tomatsu interacted with Americans firsthand and found that his preconceptions of them were not entirely salient. At the time Tomatsu's contempt for the violence and crimes committed by these soldiers was complicated by individual acts of kindness he received from them – he simultaneously loved and hated their presence. These interactions, which he later described as among the most formative memories of his childhood, initiated his long-standing fixation on and feelings of ambivalence towards the subject of American soldiers. If I had seven lives, I’d be a photographer in every one. -- Shomei Tomatsu Tomatsu embraced photography while an economics student at Aichi University. While still in university, his photographs were shown frequently in monthly amateur competitions by Camera magazine and received recognition from Ihei Kimura and Ken Domon. After graduating in 1954, he joined Iwanami Shashin Bunko, through an introduction made by Aichi University professor Mataroku Kumaza. Tomatsu contributed photographs to the issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954). He stayed at Iwanami for two years before leaving to pursue freelance work. In 1957, Tomatsu participated in the exhibition Eyes of Ten where he displayed his series Barde Children’s School; he was featured in the exhibit twice more when it was held again in 1958 and 1959. After his third showing, Tomatsu established the short-lived photography collective VIVO with fellow Eyes of Ten exhibitors; these other members included Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno. Towards the end of the 1950s, Tomatsu began photographing Japanese towns with major American bases, a project that would span over 10 years. Tomatsu's artistic output and renown grew significantly during the 1960s, exemplified by his prolific engagements with many prominent Japanese photography magazines. He began the decade by publishing his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and his series Home in Photo Art. In contrast to his earlier style which resembled traditional photojournalism, Tomatsu was beginning to develop a highly expressionistic form of image-taking that emphasized the photographer's own subjectivity. In response to this emergence, a dispute arose when Iwanami Shashin Bunko founder Yonosuke Natori wrote that Tomatsu had betrayed his foundations as a photojournalist by neglecting the responsibility to present reality in a truthful and legible manner. He rejected the claim that he was ever a photojournalist, and admonished journalistic thinking as an impediment to photography. Both essays were published in Asahi Camera. In addition to Asahi Camera and Photo Art, Tomatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, he edited a monthly series titled I am King (1964); for Camera Mainichi, he printed multiple collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, The Sea Around Us in 1966. Tomatsu first went to Okinawa to photograph the American bases under the auspices of Asahi Camera in 1969. The images he captured formed the book Okinawa, Okinawa Okinawa which served as an explicit critique of the American air force. On the cover, an anti-base slogan verbalizing his disdain with the overwhelming U.S. presence in Okinawa reads: "The bases are not in Okinawa; Okinawa is in the bases". This sentiment was foreshadowed in Tomatsu's earlier writings, like his 1964 essay for Camera Manichi in which he stated "it would not be strange to call [Japan] the State of Japan in the United States of America. That's how far America has penetrated inside Japan, how deeply it has plumbed our daily lives." Tomatsu visited Okinawa three more times before finally moving to Naha in 1972. While in Okinawa, he traveled to various remote islands including Iriomote and Hateruma; he spent seven months on Miyakojima where he organized a study group called “Miyako University” aimed at mentoring young Miyako residents. Combined with his images taken in Southeast Asia, Tomatsu's photographs of Okinawa from the 1970s were shown in his prizewinning Pencil of the Sun (1975). Although he had come to Okinawa in order to witness its return to Japanese territory, Pencil of the Sun revealed a considerable shift away from the subject of military bases that he pursued throughout 1960s. He credited a diminishing interest in the American armed forces, in addition to the allure of Okinawa's brilliantly colored landscapes, for his adoption of color photography. In 1974, Tomatsu returned to Tokyo where he set up Workshop Photo School, an alternative two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the photo magazine Workshop. Tomatsu's dedication to nurturing the photography community in Japan was also evidenced in his role as a juror for the Southern Japan Photography Exhibition and his membership in the Photographic Society of Japan's committee to create a national museum of photography. The efforts of this group led to the establishment of photography departments at major national museums, such as Yokohama Museum of Art and the National Museum of Modern Art, Tokyo, as well as the first photography museum in Japan, Tokyo Photographic Art Museum. In this, photography is the same thing as love. When my gaze, diving into the sea as my subject, converges with the act of photography, hot sparks fly at the point of intersection. -- Shomei Tomatsu Tomatsu took part in his first major international show, New Japanese Photography (1974) at MoMA New York, alongside workshop members Hosoe, Moriyama, Fukase, and 11 other photographers. New Japanese Photography was the first survey of contemporary Japanese photographers undertaken outside of Japan. It traveled to eight other locations in the United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Art Museum. By 1980, Tomatsu published three more books: Scarlet Dappled Flower (1976) and The Shining Wind (1979) were composed of his images from Okinawa; and Kingdom of Mud (1978) featured his Afghanistan series printed earlier in Assalamu Alaykum. In the early 1980s, Tomatsu had his first international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at thirty venues over three years. He was also included in notable international group exhibitions regarding Japanese art: in 1985, he was one of the main artists in Black Sun: The Eyes of Four first shown at the Museum of Modern Art, Oxford; in 1994, he was featured in the seminal show Japanese Art After 1945: Scream Against the Sky at the Yokohama Museum of Art, Guggenheim Museum and San Francisco Museum of Modern Art. In the last decade of his career, Tomatsu embarked on a new and comprehensive series of retrospectives, dividing his oeuvre into five "mandalas" of place. Each mandala was named after the area it was exhibited: Nagasaki Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Art Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Art, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); and Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007). Tomatsu also had a separate retrospective, Shomei Tomatsu: Skin of the Nation, for the international museum circuit. Skin of the Nation was organized by the San Francisco Museum of Modern Art, and curated by Sandra S. Phillips and the photographer and writer Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Japan Society (New York); National Gallery of Canada, Corcoran Museum of Art, San Francisco Museum of Modern Art, and Fotomuseum Winterthur. In 2010 Tomatsu moved to Okinawa permanently, where he held the final exhibition during his lifetime, Tomatsu Shomei and Okinawa - Love Letter to the Sun (2011). He succumbed to pneumonia on 14 December 2012 (although this was not publicly announced until January 2013).Source: Wikipedia
Erberto Zani
Italy
1978
Erberto Zani (Parma, Italy, 1978) is a journalist and documentary photographer who specializes in human rights issues. Graduate at school of applied Arts Paolo Toschi in graphic design, after the studies in History of Art at University of Parma he worked as a photographer in advertisement sector (1998-2004). Journalist and photographer for the newspaper Gazzetta di Parma (2004-2007) and editor in chief for some local magazines, he becomes freelance in 2008. During these years he documented the destruction created by the earthquake in Haiti, the climate crises in Sahel, the Maha Kumbh Mela in India, the daily life inside the ship breaking yards in Bangladesh, the exodus of Rohingya from Myanmar, the refugee camps in Lebanon, Greece and Uganda, the effects of the war in Marawi city / Philippines. Actually, Zani is working on two long term documentary projects, both around the world: Dark World, about the illegal mineral's extraction, and Survivors, about acid attack victims. Awarded in several international contests, his images are published on several books and dozens of international magazines. He lives in Basel, Switzerland. Books Urban Visions (ed. Blurb, 2021), Elemental Fashion (ed. Blurb,2019), Exodus (ed. Blurb, 2018), Kied Pologo (ed. Stamperia, 2017), Aftermath (ed. Stamperia, 2016), Black World (ed. Stamperia, 2015), Maha Kumbh Mela (ed. Stamperia, 2014), Tsiry (ed. Stamperia, 2014), Babanagar-Colombia (ed. Stamperia, 2013), Sahel (ed. Stamperia, 2012), Hope (ed. Stamperia, 2011), Haiti, fragments (ed. Stamperia, 2010), Drops of Life (ed. Stamperia, 2010), Da Borgo San Donnino al Passo della Cisa (ed. Publiprint, 2006). Publications WHO (World Health Organization), UNESCO (United Nations Educational Scientific and Cultural Organization), USAID (United States Agency for International Development), AMURT Global Network, John Hopkins Bloomberg School of Public Health, Development Gateway, Id21 (Institute of Development Studies University of Sussex), Planeta Salud, ICF Macro, GTZ (Deutsche Gesellschaft für Technische Zusammenarbeit), UNIPID (Finnish University Partnership for International Development), March (Maternal Reproductive & Child Health), The Appalachian Voice, AIP (Journal of Chemical Physics), Gazzetta di Parma, L'Informazione di Parma, Diario, Africa, Nigrizia, Popoli, Redattore Sociale, Repubblica.it, Treatment Action Campaign, CORE Group, Solidarietà e Cooperazione CIPSI, Witness Journal, Tsiry Parma Onlus, E gli Altri? Onlus, Solidarietà Muungano Onlus, Dodho Magazine, Phosmag, Terra Nuova, L'Espresso, Rex Shutterstock agency, Associated Press agency, Fotodom agency, Sipa agency, Scanpix agency, Puzzlepix agency, Le Journal du Dimanche, DeStandaard, Enough Project, Life Force Magazine, LesEchos.fr, vdi-nachtrichten.com, 20 minutes.fr, stimmenafrikas.de, wisdom wander.pl, Loveless, Illume Oy, Global Witness, QCode magazine, Street Art United States, Art Works Projects, Libéma Fun Factory, TheJournal.ie, MSN.com, Fotopolis.com, Mymodernmet.com, Traveller24.com, The Telegraph, Metro.se, All About Photo, Click Magazine, Musagetes Foundation, Vogue Italia, Alamy.com, DeAbyDay, Rai3 Tg3 Mondo, FotoNostrum, Camilo Egas Museum - MuNa, DocuMagazine, Korper magazine. Awards All About Photo: 2nd place Portrait, 2021 Art Limited: 3rd place in Reportage & Press Awards, 2021 Umbra International Photography Awards: Main category "People" winner, 2020 Smithsonian Photo Contest: Finalist, 2020 Art Limited Awards: 1st place in Reportage & Press Awards 2019 Chromatic Photography Awards: 1st place in Wildlife / Animal and 2nd place in Portrait, 2019 PX3 - Prix de la Photographie Paris: 1st place in Advertising / Book cover and 1st place in Book / People categories, 2019 Moscow Photography Awards: Gold medal in "Book / People" category , 2018 Monochrome Photography Awards: 1st and 2nd place, category "Photojournalism", 2017 IPA - International Photography Awards: 2nd place, category Book Documentary, 2016 PX3 - Prix de la Photographie Paris: Gold medal in Professional Book Documentary and Bronze medal in Professional Book People category, 2016 Exhibitions 2021 Town Hall, Möhlin, Switzerland (30/04 - 30/06) 2020 Museo Camilo Egas - MuNa, Quito, Ecuador, 16/10 - 05/12 2019 MIPA - Malta International Photo Award exhibition, Malta Postal Museum 16/02 - 16/03 (Valletta, Malta) 2018 ImagOrbetello Festival, Sale di Piazza del Popolo, 25/08 - 08/09 Orbetello (Italy), 2018 PX3 - Paris Photography Prize winner’s exhibition at the Espace Beaurepaire (Paris, 10-14 July) 2017 ImagOrbetello Festival, Sala Imago, Piazza del Popolo, Orbetello (Italy) 2017 "Black World" book at Image Text Ithaca Symposium, Ithaca College Campus (June 30th)2017 "Black World" book at Reading room at MAGNUM Foundation, New York City (June 17th) 2017 "Black World" book at Carnegie Museum of Art, PGH Photo Fair, Pittsburgh (29-30 April) 2016 Photo "Finding coltan" for permanent collection at The Design Museum, Londo, UK 2014 IPA Best of Show, Thonglor - Roof top gallery, Bangkok, Thailand 2009 "Sguardi a Sud-Est", Sorbolo (PR, Italy) Centro Civico 2007 "Sguardi a Sud-Est", Fidenza (PR, Italy) Palazzo Orsoline.
Tomáš Neuwirth
Czech Republic
1972
Tomáš Neuwirth was born in Czech Republic in 1972. He is a freelance photographer specializing in drone photography. A major milestone in his life was the year 1995, when he began to devote himself to paragliding. As a pilot, he was fascinated by taking pictures of the bird's eye, then still on the 35mm film camera. The following year, he moved to the USA. His stay here after three and half years ended the paragliding incident and with serious injuries of the spine he returned to the Czech Republic. He then spent eight months in a sanatorium, learned not only to walk again, but also met his future wife Gabriela. Capturing of aerial footage continued to attract him. And with the advent of unmanned systems, new possibilities were opened. His first drone he folded in 2011, it was a kit. However, the desired shots were made by commercially produced drones in the following years. Today, Tomáš is involved in drone and classical photography professionally. By selecting extraordinary places and post-production processing, he is trying to shift drone photography to the next level. From capturing landscapes to a Fine Art expression. He received many awards from international competitions. In 2019 he succeeded to win with in the prestigious contest MIFA - Moscow International Fotography Awards (Nature Photographer of the Year). In the same year, The Independent Photographer Magazine included his image among the TOP 10 Most incredible landscapes from across the planet. And ranked him in the selection Talents of the Year 2018/2019. He was also nominated for a Personality of Czech Photography. Statement I generally regard art as a form of self-expression. An opportunity to share own opinion, own perception of the world, with others. Photography has become my means of expression. Its strength is in capturing a given moment - a unique, unrepeatable moment. Everything is different in a second. I focus mainly on drone photography which, by its very nature, is predestined for landscape, long-distance views, great depth of field etc. From the perspective of the photographer, there are fewer possibilities for artistic expression. Therefore it depends very much on the choice of location and how to capture it. I, therefore, try to find unusual locations - often places that do not seem that interesting on the first impression. However, a bird's eye view gives them a whole new dimension.
Beverly  Conley
United States
Beverly Conley is a documentary photographer in Benicia, California. She has found true satisfaction in long-term self assigned projects that have focused on individuals and contemporary society. Her quest has allowed her to enter the private world of Gypsies in England, the Cherokee Nation in Northeastern Oklahoma, steelworkers in Weirton, West Virginia and the Cape Verdean Communities in Boston and the Cape Verde Islands. Solo exhibitions include the Fort Smith Regional Art Museum in Arkansas, the Black Arts Center in Kalamazoo, Michigan, the Museum of Native American History and Culture in Bentonville, Arkansas, the Boston Public Library and the George Meany Center for Labor. Her work has been featured in juried exhibitions and group shows such as the Festival of American Folklife at the Smithsonian Institution and the Cleveland Museum of Art. She is represented in numerous permanent collections including the Smithsonian's National Museum of African American History and Culture, the Toledo Museum of Art, the Cleveland Museum of Art, the Museum of London, the New York Public Library, the Schomburg Center for Research in Black Culture, the Boston Public Library, the Museum of Native American History and Culture in Bentonville, Arkansas and the Cleveland Public Library. Beverly is the recipient of a 2002 Michigan Creative Artist Grant and she has received awards from the Utah Press Association, the International Regional Magazine Association and an excellence award by Black and White Magazine for their 2017 Special Issue. She is a member of the American Society of Media Photographers (ASMP). Life in the Ozarks: An Arkansas Portrait My ongoing project began in 2003 with a drive down a rural country road. I had recently moved to Fayetteville and was anxious to explore my new surroundings. The resulting images tell the stories of people, events and everyday life in and around small towns in the rugged Ozark Mountains. They represent different aspects of these communities – young and old, recent immigrants, preachers, cowboys, farmers and those whose families have lived in the Ozarks for generations. I am interested in documenting the vestiges of an older Ozarks. There is a sense of timelessness that I want to convey in my work. I am drawn to the less travelled back roads where catfish are caught bare-handed, folks gather on porches to play bluegrass and subsistence farming is still in existence. Living and photographing in the same place gave me the opportunity to observe the changes of a region in transition. Northwest Arkansas experienced tremendous growth in the last decade with rural communities inching closer and closer to cities. I really imagined this unique Arkansas heritage would be lost. What I have since discovered is the resilience and self- sufficiency of a complex culture that stands with one foot in the present and the other in the past. An individual might have a day job at a Walmart but returns to a hand built home and the traditions of the 'holler' at night. Through these photographs and words it is my intention to preserve and share the richness of this Southern way of life with a broader audience. Life in the Ozarks: An Arkansas Portrait Appleby Horse Fair: The Annual Gathering of Gypsies & Travellers Smithfield Market
Asako Naruto
Japan
1974
Asako Naruto is a Japanese photographer living in Madrid since 2005. After obtaining a BA of Science of Design in Tokyo, she studied Art History, specializing in El Greco until she completed doctoral studies. Although she has been taking photographs for some time, it was around 2020 that she began to rediscover and immerse herself in photography as a personal creative activity. Her photographic style is characterized by a sense of introspection while using a street snapshot approach. In 2022, she won the annual Grand Prix of Digital Camera Magazine (Impress, Japan). Since then, she has received numerous awards from various international photography competitions including VIEPA, PISPA, IPA, BIFA, TIFA and many more. Recently, she has been working on a series of fantastical urban fragments using prismatic filters, one of which, "Reverve+Graphy", won the Gold Medal at the Paris International Street Photography Awards (2023). Statement: Press the shutter button to take a picture. I like the simplicity of it. For me, the real pleasure of photography lies in this physicality of moving my hands and feet and feeling the connection between sight and brain. For me, photographic expression may be an attempt to translate my inner thoughts, which are difficult to verbalize, while capturing fragments of my daily life with a camera. I feel that I want to be a storyteller more than an observer. I try to reveal or represent the scenes I collect in the city by overlaying them with the stories that unfold in my mind. Nevertheless, I carefully avoid encouraging the viewer to have a fixed interpretation of my work by explaining in detail the message it may contain. I want my work to be open to gradations of interpretation and to stimulate the viewer's personal emotional recall.
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