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Leigh Ann Edmonds
Leigh Ann Edmonds
Leigh Ann Edmonds

Leigh Ann Edmonds

Country: United States
Birth: 1980

Leigh Ann is a freelance photographer located in a small town just north of Birmingham, Alabama. Her freelance career spans over 20 years as a professional with portrait, commercial and documentary/editorial work for publications and the entertainment industry. Her work has been in ROLLING STONE, VINTAGE GUITAR and B&W MAGAZINE. She is also an award-winning photographer for her portrait titled 'RODEO'.

She is an avid trail runner married to a full-time working musician and her work often reflects that of her lifestyle, showcasing her love of adventure, people and the great outdoors.

She received a BA in Studio Art and minor in Journalism from the University of Alabama in 2004 and considers photography more about her visual journey than a professional destination.

STATEMENT
Over the years I have noticed a pattern with my personal works. I often seek out the road less traveled rather it be within my living environment and community or during my travels. The isolation feels comforting and safe for me, as it allows me to slow down, it is here in these moments, when photography becomes my therapy.

I've always been intrigued by the unplanned photograph and my work never is pre-conceptualized. I typically don't know what I will end up photographing and often feed off the energy I am given within that moment when I decide to take the image. The act of shooting is more important to me than the image I capture because it is about the connection I have found with the individual or space I come across. I tend to shoot more on sporadic intuition than thinking the shot through. If I feel something, I don't hesitate and click the shutter only to discover the image later, which can add to the excitement of this experience with my camera.

The days I find myself inspired to shoot are days that I long for a connection, rather it be connection with others or the space I am in. I have found that over the years, my photography has become more about a glimpse into who I am more than a means to make a living as a professional.

The pattern of my work tends to primarily focus on portraits of locals and the environment of small towns documented in black and white. This approach is to give the sense of isolation and nostalgia of small-town living. I don't want my work to feel 'dated' as I hope those viewing my work will also connect them to that place or person without feeling dated or current. I want my work to gather a sense of timelessness to the viewer and to me.

I consider my personal works a journal of my life, my adventures, and a sense of belonging somewhere as I hope others will stumble across and 'read' my photographs when I am gone.

Websites

www.leighannphotography.com

@leighann_photo

 

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Aleksander Rodchenko
Aleksander Rodchenko
Russia
1891 | † 1956
Aleksander Rodchenko was a Russian and Soviet artist, sculptor, photographer, and graphic designer who emerged following the Russian Revolution. He was one of the founders of Russian Constructivist and a Productivist artist, married to artist Varvara Stepanova. He began his career as a painter and graphic designer before moving on to photomontage and photography. His photography was socially involved, formally creative, and anti-painting. Concerned about the necessity for analytical-documentary picture series, Aleksander Rodchenko frequently shot his subjects from unusual angles—usually high above or low below—in order to shock the viewer and delay recognition. "One has to shoot several distinct photos of a subject, from diverse points of view and in varied settings, as though one viewed it in the round rather than looking through the same key-hole over and over," he wrote. Only the camera seems to be really capable of describing modern life. -- Aleksander Rodchenko Aleksander Mikhailovich Rodchenko was born in St. Petersburg to a working-class family that relocated to Kazan when his father died in 1909. He became an artist without any prior exposure to the art world, relying mostly on art periodicals for inspiration. Aleksander Rodchenko began studies at the Kazan Art School in 1910, under Nicolai Fechin and Georgii Medvedev, when he met Varvara Stepanova, whom he eventually married. The critic Osip Brik, 1924© Aleksander Rodchenko Following 1914, he continued his artistic education at the Stroganov Institute in Moscow, where he created his first abstract drawings in 1915, influenced by Kazimir Malevich's Suprematism. The following year, he took part in The Store, an exhibition organized by another formative influence, Vladimir Tatlin. Rodchenko's work was influenced heavily by Cubism and Futurism, as well as Malevich's Suprematist compositions, which featured geometric forms deployed against a white background. Aleksander Rodchenko was Tatlin's student and assistant, and the interest in figuration that characterized Rodchenko's early work faded as he experimented with design elements. He created his paintings with a compass and ruler, with the goal of eliminating expressive brushwork. Rodchenko worked for Narkompros and was one of the RABIS organizers. RABIS was founded between 1919 and 1920. In 1920, the Bolshevik government appointed Rodchenko as Director of the Museum Bureau and Purchasing Fund, with responsibility for the reorganization of art schools and museums. He became the secretary of the Moscow Artists' Union, established the Fine Arts Division of the People's Commissariat for Education, and assisted in the establishment of the Institute for Artistic Culture. From 1920 to 1930, he was a teacher at the Higher Technical-Artistic Studios, a Bauhaus organization with a "checkered career." It ceased operations in 1930. In 1921, Aleksander Rodchenko joined the Productivist group, along with Stepanova and Aleksei Gan, to advocate for the incorporation of art into everyday life. He abandoned painting to focus on graphic design for posters, books, and films. He was profoundly influenced by the ideas and practice of filmmaker Dziga Vertov, with whom he collaborated extensively in 1922. Impressed by the German Dadaists' photomontage, Rodchenko began his own experiments in the medium, first using found images in 1923, and then shooting his own photographs from 1924 on. In 1923, his first published photomontage illustrated Mayakovsky's poem About This. Rodchenko created his most famous poster in 1924, an advertisement for the Lengiz Publishing House titled Books, which features a young woman with a cupped hand shouting "Books in all branches of knowledge," printed in modernist typography. Photography has all the rights, and all the merits, necessary for us to turn towards it as the art of our time. -- Aleksander Rodchenko Portrait of the Artist’s Mother, 1924© Aleksander Rodchenko From 1923 to 1928, Rodchenko worked closely with Mayakovsky (of whom he took several portraits) on the design and layout of LEF and Novy LEF, Constructivist artists' publications. Many of his photographs were published in or used as covers for these and other publications. His images were concerned with the placement and movement of objects in space, as well as the elimination of unnecessary detail. During this time, he and Stepanova painted the well-known panels of Moscow's Mosselprom building. Varvara Rodchenko, their daughter, was born in 1925. Rodchenko's work was very abstract throughout the 1920s. He joined the October Group of artists in 1928, but was expelled three years later after being accused of "formalism," an accusation first leveled in the pages of Sovetskoe Foto in 1928. In the 1930s, as the Party's guidelines governing artistic practice shifted in favor of Socialist realism, he focused on sports photography and images of parades and other choreographed movements. In the late 1930s, Aleksander Rodchenko returned to painting, stopped photographing in 1942, and produced abstract expressionist works in the 1940s. Throughout these years, he continued to organize photography exhibitions for the government. In 1956, he died in Moscow.
Michael Joseph
Michael Joseph
United States
1977
Michael Joseph is a street portrait and documentary photographer. Raised just outside of New York City, his inspirations are drawn from interactions with strangers on city streets and aims to afford his audience the same experience through his photographs. His portraits are made on the street, unplanned and up close to allow the viewer to explore the immediate and unseen. Michael's project “Lost and Found” has been featured on CNN.com, AllAboutPhoto.com and published in magazines internationally. He has been exhibited nationally, notably at Daniel Cooney Fine Art (New York, NY), the Aperture Gallery (New York, NY), Project Basho Gallery (Philadelphia, PA) as well as the Rayko Gallery (San Francisco, CA). He has lectured for Amy Arbus at the International Center of Photography (New York, NY) in portraiture classes at the New England School of Photography (Boston, MA) and taught at the Light Factory (Charlotte, NC). His portraits are held in the permanent collection at the Fort Wayne Museum of Art in Indiana and private collections. He is a 2016 Photolucida Top 50 winner, LensCulture Portrait Award Finalist and a recipient of the fellowship in photography from the Massachusetts Cultural Council. Statement about the "Lost and Found" "We have secrets about traveling you wouldn't believe and we share with no one but ourselves."Huck Lost and Found is a portrait series that examines the individual souls of lost youth who abandon home to travel around the country by hitchhiking and freight train hopping. Within their personal journey driven by wanderlust, escapism or a search for transient jobs, they find a new family in their traveling friends. They are photographed on public streets using natural light, in the space in which they are found. Like graffiti on the walls of the city streets they inhabit and the trains they ride, their bodies and faces become the visual storybook of their lives. Their clothing is often a mismatch of found items. Jackets, pants and vests are self-made like a patchwork quilt, using fabric pieces of a fellow traveler's clothing embellished by metal bottle caps, buttons, safety pins, lighter parts, syringe caps, and patches. The high of freedom however, does not come without consequence. Their lifestyle is physically risky and rampant with substance abuse. Each traveler's story is different, but they are bound by a sense of community. Often unseen and mistaken by their appearances, they are some of the kindest people one might meet. Their souls are open and their gift is time. As one states, “They will give you their time because time is all they have.” And in some cases, in the family they have lost, they have found each other. Find out more about Michael Joseph in this article
Alicia Savage
Alicia Savage
United States
Alicia Savage is a self-portrait photographer based in Boston, Massachusetts. Her fine art photography is very much a documentation of her life and mind as a 29-year-old woman exploring life; inspired by her surroundings and recent travels. "Photography has opened my mind and heart to understand myself and the world beyond what is assumed; to always be inspired by my curiosity and imagination of what is and could be."
William Eggleston
William Eggleston
United States
1939
William Eggleston was born in Memphis, Tennessee and raised in Sumner, Mississippi. His father was an engineer and his mother was the daughter of a prominent local judge. As a boy, Eggleston was introverted; he enjoyed playing the piano, drawing, and working with electronics. From an early age, he was also drawn to visual media, and reportedly enjoyed buying postcards and cutting out pictures from magazines. At the age of 15, Eggleston was sent to the Webb School, a boarding establishment. Eggleston later recalled few fond memories of the school, telling a reporter, "It had a kind of Spartan routine to 'build character'. I never knew what that was supposed to mean. It was so callous and dumb. It was the kind of place where it was considered effeminate to like music and painting." Eggleston was unusual among his peers in eschewing the traditional Southern male pursuits of hunting and sports, in favor of artistic pursuits and observation of the world. Nevertheless, Eggleston noted that he never felt like an outsider. "I never had the feeling that I didn't fit in," he told a reporter, "But probably I didn't." Eggleston attended Vanderbilt University for a year, Delta State College for a semester, and the University of Mississippi for about five years, but did not complete any degree. Nonetheless, his interest in photography took root when a friend at Vanderbilt gave Eggleston a Leica camera. He was introduced to abstract expressionism at Ole Miss by visiting painter Tom Young. Eggleston's early photographic efforts were inspired by the work of Swiss-born photographer Robert Frank, and by French photographer Henri Cartier-Bresson's book, The Decisive Moment. Eggleston later recalled that the book was "the first serious book I found, from many awful books...I didn't understand it a bit, and then it sank in, and I realized, my God, this is a great one." First photographing in black-and-white, Eggleston began experimenting with color in 1965 and 1966 after being introduced to the medium by William Christenberry. Color transparency film became his dominant medium in the later 1960s. Eggleston's development as a photographer seems to have taken place in relative isolation from other artists. In an interview, John Szarkowski describes his first encounter with the young Eggleston in 1969 as being "absolutely out of the blue". After reviewing Eggleston's work (which he recalled as a suitcase full of "drugstore" color prints) Szarkowski prevailed upon the Photography Committee of MoMA to buy one of Eggleston's photographs. In 1970, Eggleston's friend William Christenberry introduced him to Walter Hopps, director of Washington, D.C.'s Corcoran Gallery. Hopps later reported being "stunned" by Eggleston's work: "I had never seen anything like it." Eggleston taught at Harvard in 1973 and 1974, and it was during these years that he discovered dye-transfer printing; he was examining the price list of a photographic lab in Chicago when he read about the process. As Eggleston later recalled: "It advertised 'from the cheapest to the ultimate print.' The ultimate print was a dye-transfer. I went straight up there to look and everything I saw was commercial work like pictures of cigarette packs or perfume bottles but the colour saturation and the quality of the ink was overwhelming. I couldn't wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed fantastic and each one seemed better than the previous one." The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling, of which Eggleston said, "The Red Ceiling is so powerful, that in fact I've never seen it reproduced on the page to my satisfaction. When you look at the dye it is like red blood that's wet on the wall.... A little red is usually enough, but to work with an entire red surface was a challenge." At Harvard, Eggleston prepared his first portfolio, entitled 14 Pictures (1974). Eggleston's work was exhibited at MoMA in 1976. Although this was over three decades after MoMa had mounted a solo exhibition of color photographs by Eliot Porter, and a decade after MoMA had exhibited color photographs by Ernst Haas, the tale that the Eggleston exhibition was MoMA's first exhibition of color photography is frequently repeated, and the 1976 show is regarded as a watershed moment in the history of photography, by marking "the acceptance of colour photography by the highest validating institution" (in the words of Mark Holborn). Around the time of his 1976 MoMA exhibition, Eggleston was introduced to Viva, the Andy Warhol "superstar", with whom he began a long relationship. During this period Eggleston became familiar with Andy Warhol's circle, a connection that may have helped foster Eggleston's idea of the "democratic camera", Mark Holborn suggests. Also in the 1970s Eggleston experimented with video, producing several hours of roughly edited footage Eggleston calls Stranded in Canton. Writer Richard Woodward, who has viewed the footage, likens it to a "demented home movie", mixing tender shots of his children at home with shots of drunken parties, public urination and a man biting off a chicken's head before a cheering crowd in New Orleans. Woodward suggests that the film is reflective of Eggleston's "fearless naturalism—a belief that by looking patiently at what others ignore or look away from, interesting things can be seen." Eggleston's published books and portfolios include Los Alamos (completed in 1974, but published much later), William Eggleston's Guide (the catalog of the 1976 MoMa exhibit), the massive Election Eve (1977; a portfolio of photographs taken around Plains, Georgia, the rural seat of Jimmy Carter before the 1976 presidential election), The Morals of Vision (1978), Flowers (1978), Wedgwood Blue (1979), Seven (1979), Troubled Waters (1980), The Louisiana Project (1980), William Eggleston's Graceland (1984; a series of commissioned photographs of Elvis Presley's Graceland, depicting the singer's home as an airless, windowless tomb in custom-made bad taste), The Democratic Forest (1989), Faulkner's Mississippi (1990), and Ancient and Modern(1992). Some of his early series have not been shown until the late 2000s. The Nightclub Portraits (1973), a series of large black-and-white portraits in bars and clubs around Memphis was, for the most part, not shown until 2005. Lost and Found, part of Eggleston's Los Alamos series, is a body of photographs that have remained unseen for decades because until 2008 no one knew that they belonged to Walter Hopps; the works from this series chronicle road trips the artist took with Hopps, leaving from Memphis and traveling as far as the West Coast. Eggleston's Election Eve photographs were not editioned until 2011. Eggleston also worked with filmmakers, photographing the set of John Huston's film Annie (1982) and documenting the making of David Byrne's film True Stories (1986). In 2017 an album of Eggleston's music was released, Musik. It comprises 13 "experimental electronic soundscapes", "often dramatic improvisations on compositions by Bach (his hero) and Haendel as well as his singular takes on a Gilbert and Sullivan tune and the jazz standard On the Street Where You Live." Musik was made entirely on a 1980s Korg synthesiser, and recorded to floppy disks. The 2017 compilation Musik was produced by Tom Lunt, and released on Secretly Canadian. In 2018, Áine O'Dwyer performed the music on a pipe organ at the Big Ears music festival in Knoxville. Source: Wikipedia William Eggleston assumes a neutral gaze and creates his art from commonplace subjects: a farmer's muddy Ford truck, a red ceiling in a friend's house, the contents of his own refrigerator. In his work, Eggleston photographs "democratically"--literally photographing the world around him. His large-format prints monumentalize everyday subjects, everything is equally important; every detail deserves attention. A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted "Color Photographs" a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston's Guide , in which Szarkowski called Eggleston's photographs "perfect," accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. Source: The Getty Museum
Kim Kyung Soo
Kim Kyung Soo
Korea
1975
Born in Seoul, Korea in 19752002 Bachelor Degree in photography, Sangmyung University, Seoul, KoreaLives and Works in Seoul, Korea When Vogue Korea asked Kim Kyoungsoo, a renowned fashion photographer to realize a series of fashion portraits that would (re-actualize) the traditionnal Korean costum (Hanbok), he also decided to realize his series Full Moon Story. His models are elegantly staged, wearing somptuous Hanbok, with their haircuts and make-up done perfectly. There is a serenity, poetry and softness which emanates from the pictures that astonishes and instantly puts the viewer in a contemplative state of mind. "During the National traditionnal festivities called 'Chuseok', many Korean people used to wear the hanbok. I wanted to show this typical ambiance with both a lyric and modern touch. I wanted a neutral stage; only shadows and reflections mattered to me: Colours, faces and models were enhanced by cold and light tones creating an almost surreal feeling." Source: www.galerieparisbeijing.com
Sudabe Vatanparast
Sudabe Vatanparast
Iran
1983
Sudabe Vatanparast is an Iranian famale photographer who was born in 1983 in Tehran. Sudabe is a graduate photography. Social concerns centered on the problems of women in iranian society are evident in Sudabe projects. Sudabe considers herself a freelance photographer whose photos are inspired by the nightmares, problems and experiences of her life and that of her community. Her first solo exhibition was held in 2015. In addition to holding exhibitions in prestigious galleries in Iran, Garibaldi Gallery in Modica, Italy and Bioçkecmac Gallery in Turkey have also hosted his works separately and as a group. Sudabe has been praised many times at various festivals under the auspices of the World Photography Federation (FIAP) and has been one of the top members of these festivals. Her latest solo exhibition is a reflection of the fear, insecurity and anxiety of Iranian women in the home environment, which has been welcomed by critics and activists in this field.
Chris Anthony
Chris Anthony
Sweden
Chris Anthony is an artist from Stockholm, Sweden, primarily known for his macabre and Victorian Gothic-inspired photographs. Anthony has also directed commercials for companies such as Deutsche Telekom and music videos for groups such as The Dandy Warhols. Anthony currently specializes in photography. He often uses vintage lenses produced between 1860 and 1910 to help create an "otherworldly atmosphere." He uses 5x7 and 8x10 formats in conjunction with digital scanners in order to manipulate the images in Photoshop. Chris Anthony has won several prestigious awards including: Black Book Raw - 50 Photographers 2008 Go Indie Photo Contest/PDN Stock Photo Guide 2008 - Professional Grand Prize Winner & Category Winner for "I'm the Most Normal Person I Know" The 2007 Grand Prize in the American Photo Images of the Year competition for "Victims and Avengers" First place in the music advertising category in the International Photography Awards 2007's Professional Photographer of the Year Competition. American Photography 23rd Annual 2007, My Chemical Romance "The Black Parade".Source: Wikipedia Chris Anthony's world is wonderful collection of object symbols, set design, and character development. His photographs are an intersection of Renaissance set and costume design, melted with a process that employs both antique photographic equipment and technology through post-production. His work is lush and painterly guided by deep hues of color, muted and apart in time. He creates an image that is akin to filmwork in its narrative, both cinematic and containing all the elements of a story left open-ended. His characters linger in a loosely draped studio space, a century gone by, waiting, wandering, lost in thought, casting challenge to unravel the mystery of the objects that accompany. Chris Anthony’s work has been exhibited in Los Angeles, Stockholm, Brooklyn, Hong Kong, Washington D.C., London, Bath, San Francisco and is included in many private and public collections around the world. Publications that have featured Anthony and his work include the Los Angeles Times, Washington Post, Photo District News, Eyemazing, Art News, American Photo, Blink, Paper, Photo+, GUP, Fraction Magazine, Nylon, Black Book, Juxtapoz, Zoom, Angeleno, Huffington Post, Corriere Della Sera and LA Weekly. Clients include Chiat/Day, Sony Playstation, Sony Music, Universal Music Group, Republic Records, Warner Music, Los Angeles Magazine, Hollywood Records, Reprise, Stuttgart City Ballet, Myspace Records, Dell and USC. Born in Sweden, Anthony currently lives and works in Los Angeles, California.Source: Randall Scott Projects
Eugene Richards
Eugene Richards
United States
1944
Eugene Richards is a noted American documentary photographer. During the 1960s, Richards was a civil rights activist and VISTA volunteer. After receiving a BA in English from Northeastern University, his graduate studies at the Massachusetts Institute of Technology were supervised by photographer Minor White. Richards' published photographs are mostly intended as a means of raising social awareness, have been characterized as "highly personal" and are both exhibited and published in a series of books. The first book was Few Comforts or Surprises (1973), a depiction of rural poverty in Arkansas; but it was his second book, the self-published Dorchester Days (1978), a "homecoming" to Dorchester, Massachusetts, where Richards had grown up, that won most attention. It is "an angry, bitter book", both political and personal. Gerry Badger writes that "[Richards's] involvement with the people he is photographing is total, and he is one of the best of photojournalists in getting that across, often helped by his own prose". Richards has been a member of Magnum Photos and of VII Photo Agency. He lives in New York.Source: Wikipedia Eugene Richards, photographer, writer, and filmmaker, was born in Dorchester, Massachusetts in 1944. After graduating from Northeastern University with a degree in English, he studied photography with Minor White. In 1968, he joined VISTA, Volunteers in Service to America, a government program established as an arm of the so-called "War on Poverty". Following a year and a half in eastern Arkansas, Richards helped found a social service organization and a community newspaper, Many Voices, which reported on black political action as well as the Ku Klux Klan. Photographs he made during these four years were published in his first monograph, Few Comforts or Surprises: The Arkansas Delta. Upon returning to Dorchester, Richards began to document the changing, racially diverse neighborhood where he was born. After being invited to join Magnum Photos in 1978, he worked increasingly as a freelance magazine photographer, undertaking assignments on such diverse topics as the American family, drug addiction, emergency medicine, pediatric AIDS, aging and death in America. In 1992, he directed and shot Cocaine True, Cocaine Blue, the first of seven short films he would eventually make. Richards has published seventeen books. Exploding Into Life, which chronicles his first wife Dorothea Lynch’s struggle with breast cancer, received Nikon's Book of the Year award. For Below The Line: Living Poor in America, his documentation of urban and rural poverty, Richards received an Infinity Award from the International Center of Photography. The Knife & Gun Club: Scenes from an Emergency Room received an Award of Excellence from the American College of Emergency Physicians. Cocaine True, Cocaine Blue, an extensive reportorial on the effects of hardcore drug usage, received the Kraszna-Krausz Award for Photographic Innovation in Books. That same year, Americans We was the recipient of the International Center of Photography's Infinity Award for Best Photographic Book. In 2005, Pictures of the Year International chose The Fat Baby, an anthology of fifteen photographic essays, Best Book of the year. Richards’s most recent books include The Blue Room, a study of abandoned houses in rural America; War Is Personal, an assessment in words and pictures of the human consequences of the Iraq war; and Red Ball of a Sun Slipping Down, a remembrance of life on the Arkansas Delta.Source: eugenerichards.com
Jens Hoffmann
Jens Hoffmann
Germany
1972
I was born in Neustrelitz, Germany, in 1972. In addition to my career as an urban planner and now a professor of land-use change, I began taking photographs about 25 years ago. My work has always focused on analog black-and-white photography, supplemented by a few digital color projects. Photography has always been my motivation for traveling: to Vietnam, India, New York, London, and Berlin. All About Photo Competitions AAP Magazine 56 Shadows
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