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Win a Solo Exhibition this February. Juror: Harvey Stein
Win a Solo Exhibition this February. Juror: Harvey Stein
Warren Agee
Warren Agee
Warren Agee

Warren Agee

Country: United States
Birth: 1966

Warren Agee, born 1966 in Buffalo, NY, USA, is a fine art photographer whose practice explores his connection with the natural world. After attempting many different creative careers including drawing, architecture, jewelry-making and the fiber arts, Warren accidentally discovered photography in the mid 1990s while making color transparencies of his jewelry to submit to juried art fairs. He soon pointed his camera to everything growing in his yard and never looked back. He fully embraced digital technologies in the early 2000s. He works primarily in monochrome. "Unless it is the focal point of an image, I find color tends to distract from form and content. My photographer's eye primarily sees structure, composition, and texture." His work has been exhibited in various galleries including Middlebury, VT. and Minneapolis, MN, as well as receiving honorable mentions in the 2021 Monovisions Awards. He currently resides in Petaluma, CA, USA.

Statement
The slopes of Mt. Tamalpais ("Mt. Tam"), which rises over 2500 feet above Marin County just north of San Francisco, consists of a vast and varied landscape of rolling grasslands, meadows, canyons, lakes, waterfalls, and redwood forests. Marine fog rolls in off the Pacific coast and supplies moisture year-round, creating what seems to be a tropical rainforest complete with moss-covered oaks and boulders. It is an unlikely setting for a region located a mere 20 miles from a bustling city. The average age of the redwoods on Mt. Tam is 600-800 years, a mind-boggling number to consider as you stand underneath them. These images attempt to portray the otherworld quality of Mt. Tamalpais., where one half-expects fairies and trolls to greet you as you hike along the trails.
 

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Lilian Caruana
United States
"As an immigrant from Italy growing up in New York, I was drawn to observing people and fascinated by differences in cultural behavior. I saw myself always faced with the dilemma of interpreting and reconciling home country with adopted country norms and behavior. Things that were perfectly normal in one culture could be foreign, even problematic, in the other. I developed “antennas” having to constantly read and interpret cultural cues or nuances in interactions with people. This feeling of being an outsider made me want to know more about people, how they lived, what they believed in. Seeking this, anthropology has been a lifelong study that I explore photographically. Photography has served as a passport that allows me entry to worlds normally closed to me. The central theme of my photography is individuals who are outside the mainstream of the larger society. I have photographed immigrants, punks and skinheads, Austrian farmers in the Italian Alps, inner city youth and gang members. My work explores how individuals who, either by choice or because they are seen as “the other,” live outside the dominant culture. My goal is to explore how individuals shape their identity and give voice to their own existence." REBELS: Punks and Skinheads of New York’s East Village "New York’s East Village has always been a haven for strivers, a home for immigrants, artists, poets and later the place where the punk movement was born. In 1984 I moved there and was fascinated by the young people walking around sporting body metal, torn clothing, tatoos, and chains. I photographed them in the streets, in the abandoned buildings they called home and in the clubs like CBGB where they played their hardcore music. These were young people who were looking for a more authentic way to be and did not see a place for themselves in mainstream society. It was exciting to see, in what appeared to be squalor and dissolution, something being born. With grit and ingenuity they took vacant lots filled with rubble and turned them into urban gardens, abandoned buildings into housing, and anger into art, music and community. Despite the drugs, poverty, and violence that battered the East Village at the time, the creative response was there, raw and beautiful, and that is what interested me."
Daniel Berehulak
Daniel Berehulak is an award-winning independent photojournalist based in Mexico City, Mexico. A native of Sydney, Australia, Daniel has visited over 60 countries covering history-shaping events including the Iraq war, the trial of Saddam Hussein, child labour in India, Afghanistan elections and the return of Benazir Bhutto to Pakistan, and documented people coping with the aftermath of the Japan Tsunami and the Chernobyl disaster. His work has been recognized with two Pulitzer prizes. In 2015, for Feature Photography for his coverage of the Ebola epidemic in West Africa and in 2017 for Breaking News Photography for his coverage of the so-called war on drugs in the Philippines, both for The New York Times. In 2011, he was also a Pulitzer finalist for his coverage of the 2010 floods in Pakistan. These are some of several honors his photography has earned including six World Press Photo awards, two Photographer Of The Year awards from Pictures of the Year International and the prestigious John Faber, Olivier Rebbot and Feature Photography awards from the Overseas Press Club amongst others. Born into a Ukrainian refugee family, Daniel grew up on a farm outside of Sydney, Australia. Their Ukrainian practicality did not consider photography to be a viable trade to pursue, so at an early age Daniel worked on the farm and at his father's refrigeration company. After graduating from The University of NSW with a degree in History, his career as a photographer started humbly: shooting sports matches for a guy who ran his business from his garage. In 2002 he started freelancing with Getty Images in Sydney shooting mainly sport. From 2005 Daniel was based in London and from 2009 in New Delhi, as a staff news photographer with Getty Images til June of 2013. As of July 2013, Daniel embarked upon a freelance career to focus on a combination of long-term personal projects, breaking news and client assignments. He is a regular contributor to The New York Times.
Lee Friedlander
United States
1934
Lee Friedlander (born July 14, 1934) is an American photographer and artist. In the 1960s and 70s, working primarily with 35mm cameras and black and white film, Friedlander evolved an influential and often imitated visual language of urban "social landscape," with many of his photographs including fragments of store-front reflections, structures framed by fences, posters and street-signs. Friedlander studied photography at the Art Center College of Design located in Pasadena, California. In 1956, he moved to New York City where he photographed jazz musicians for record covers. His early work was influenced by Eugène Atget, Robert Frank, and Walker Evans. In 1960, the Guggenheim Memorial Foundation awarded Friedlander a grant to focus on his art and made subsequent grants in 1962 and 1977. Some of his most famous photographs appeared in the September 1985 Playboy, black and white nude photographs of Madonna from the late 1970s. A student at the time, she was paid only $25 for her 1979 set. In 2009, one of the images fetched $37,500 at a Christie's Art House auction. Working primarily with Leica 35mm cameras and black and white film, Friedlander's style focused on the "social landscape". His photographs used detached images of urban life, store-front reflections, structures framed by fences, and posters and signs all combining to capture the look of modern life. In 1963, the International Museum of Photography at George Eastman House mounted Friedlander's first solo exhibition. Friedlander was then a key figure in curator John Szarkowski's 1967 "New Documents" exhibition, at the Museum of Modern Art in New York City along with Garry Winogrand and Diane Arbus. In 1973, his work was honored in Rencontres d'Arles festival (France) with the screening "Soirée américaine : Judy Dater, Jack Welpott, Jerry Uelsmann, Lee Friedlander" présentée par Jean-Claude Lemagny. In 1990, the MacArthur Foundation awarded Friedlander a MacArthur Fellowship. Friedlander now works primarily with medium format cameras (e.g. Hasselblad Superwide). Whilst suffering from arthritis and housebound, he focused on photographing his surroundings. His book, Stems, reflects his life during the time of his knee replacement surgery. He has said that his "limbs" reminded him of plant stems. These images display textures which were not a feature of his earlier work. In this sense, the images are similar to those of Josef Sudek who also photographed the confines of his home and studio. He was awarded The Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2003. In 2005, the Museum of Modern Art presented a major retrospective of Friedlander's career, including nearly 400 photographs from the 1950s to the present. In the same year he received a Hasselblad International Award. The retrospective exhibition was presented again in 2008 at the San Francisco Museum of Modern Art. Concurrent to this retrospective, a more contemporary body of his work, America By Car, was displayed at the Fraenkel Gallery, also in San Francisco. "America By Car" was on display at the Whitney Museum of American Art in New York City in late 2010. He is the father of cellist Erik Friedlander, and Anna Friedlander. Source: Wikipedia
Judith Joy Ross
United States
1946
Judith Joy Ross (born 1946) is an American portrait photographer born in Hazleton, Pennsylvania in 1946. She graduated from the Moore College of Art in 1968 and earned a master's degree in photography in 1970 from the Institute of Design at the Illinois Institute of Technology in Chicago, where she studied with Aaron Siskind. Since the early 1980s, Ross has photographed a cross-section of the American population, especially people in eastern Pennsylvania where she was born and raised. Ross uses an 8×10 inch view camera mounted on a tripod and her portraits are made on printing out paper by contact, a process by which a print is made by placing a negative directly onto photographic paper, and then exposing it to sunlight for a few minutes to a few hours. Her photographic antecedents include the German August Sander and the American Diane Arbus. Her series include pictures of children at Eurana Park in Weatherly, Pennsylvania (1982), visitors to the Vietnam Veterans Memorial in Washington D.C. (1983–1984), members of the United States Congress and their aides in their Washington offices (1986–1987), laborers, people at shopping malls, and children at play near her home in Bethlehem, Pennsylvania. She has also photographed immigrants in New York City and Paris, and was commissioned by the San Francisco Museum of Modern Art to photograph tech workers in Silicon Valley, California. One of her major projects, pictures made from 1992 to 1994 in Hazleton public schools she had attended in the 1950s and 1960s, was published by the Yale University Art Gallery in 2006 as Portraits of the Hazleton Public Schools. Ross has been awarded a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation (1985), a city of Easton, Pennsylvania Council on the Arts Grant (1988), the Charles Pratt Memorial Award of $25,000 (1992), and the Andrea Frank Foundation Award (1998). Monographs and exhibition catalogs of her work have been published internationally. Her books include Contemporaries (1995), Portraits (1996), Portraits of the Hazleton Public Schools (2006) and Protest the War (2007), "exploring such themes as the innocence of youth, the faces of political power, and the emotional toll of war". John Szarkowski at the Museum of Modern Art in New York selected Ross' work for the first exhibition in the New Photography series. In 2011, Die Photographische Sammlung in Cologne organized a retrospective exhibition of Ross's work which traveled to the Kunstmuseum Kloster in Madeburg and the Foundation A Stichting, Brussels.Source: Wikipedia Since the early 1980s, the American photographer Judith Joy Ross has dedicated her work to the medium of portraiture. She is best known for her sensitive, deeply personal, yet authentic portraits of various groups of people at the center of American society: school children and teachers, soldiers, visitors to the Vietnam Veterans Memorial in Washington D.C. and U.S. Congress members of the Republican and Democratic parties. The photographs, which Ross contextualizes by arranging them in series, offer both an aesthetic and a humanitarian approach to photography. Judith Joy Ross’s work shows references to photographers like August Sander, Eugène Atget, Walker Evans or Diane Arbus in her documentary style and her use of technical equipment. She photographs with an 8x10 inch view camera, which due to long exposure times and the need to set up a tripod forces her to concentrate on her subjects and does not allow for snapshots. The subjects are usually strangers to the photographer and so the photograph itself becomes an intense encounter. August Sander is often mentioned as a major influence. Both, Ross and Sander focus on facial expressions, gestures and posture of their subjects. However, while Sander’s famous photographs from the series People of the 20th Century is staged and aims at categorizing certain social groups, Ross does not give directions to her subjects and thus achieves an immediacy that characterizes her approach and style. It makes the viewer think about the inner reality of the person by using their own social experience in order to relate to the people she portraits, thus stressing the individuality of each subject over their association with a specific group. Judith Joy Ross describes her intention as follows: “The world outside oneself is bigger than ones idea of it. One tries to align oneself with that bigger world in making a picture”.Source: Galerie Thomas Zander At present, Ross is suffering from an eye problem following pre-pandemic surgery that has left her with double vision. “I can photograph,” she say, “but it’s hard to take a walk.” One senses that photography gave her a way to be in the world. “I’m just interested in people, but I don’t want to get too close to them,” she says. “I keep them at arm’s length with the camera. It’s like a magic charm. It’s such an intense pleasure to photograph strangers because, in that moment, you can see them in such an intimate way. It’s kind of crazy, but I love some of those people even though I have never seen them again.”Source: The Guardian
Ellen Auerbach
Germany
1906 | † 2004
Ellen Auerbach was a German-born American photographer remarkable both for her avant-garde photography and for her innovative and successful ringl+pit studio, where she and fellow artist Grete Stern signed all their work collaboratively. Ellen Auerbach was born Ellen Rosenburg in Karlsruhe, Germany. After sculpture courses in Karlsruhe and Stuttgart, she studied photography with Walter Peterhans at the Bauhaus school in Berlin. In 1929, she founded ringl+pit, an advertising and portrait studio, with her friend Grete Stern. The unusual title was derived from the nicknames they used as children. When Hitler rose to power, Auerbach emigrated with her future husband to Tel Aviv. There she opened a children's portrait studio named Ishon. Following the outbreak of the Abyssinian War, Auerbach moved to London, where she was reunited with Grete Stern. Together they worked on a series of portraits of Bertolt Brecht. By 1937, Ellen and Walter Auerbach had married and moved to the United States, eventually settling in New York City. Ellen began to experiment with new photographic techniques, worked for Time and Columbia Masterworks on a freelance basis, and taught photography at a junior college. In 1955 Auerbach traveled to Mexico with Eliot Porter and the two produced a powerful body of work documenting Mexican churches. The series, printed primarily in color, explores the religious traditions and ceremonial icons of a fading era in Mexican religious history. Auerbach continued to travel and photograph extensively. At the age of sixty, she began a second career as a child therapist. Ellen Auerbach's travels provided her with a kaleidoscope of people and places through which to develop her personal visual language. She believed that photography allows for the use of a metaphorical "third eye" which allows the artist to capture not only what exists on the surface of an image, but also to capture the essence of the subject that lies beneath that surface.Source: Robert Mann Gallery
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All About Photo Awards 2026
Win a Solo Exhibition in February
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry