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Roland Blum
Roland Blum
Roland Blum

Roland Blum

Country: Liechtenstein
Birth: 1966

Roland Blum, 1966 Grabs, lives and works in Schaan, Liechtenstein.
He studied music at the Jazz School and at the conservatory in Lucerne.
Work focus: abstract landscape photography with main focus on aerial shots.

I have been involved in photography since I was 10 years old. My father introduced me to the world of analogue photography. In these early days, I gained my first experience with abstract photography in the field of macro photography. Since then aerial photography became my main subject. 80% of my photographic work has consisted of aerial photography in the abstract landscape field. Since 2018 I am constantly working on my 'Namib Desert project' poetry of silence.

I see my work very close to painting. And painting with light is photography in the truest sense of the word.
 

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Janet Delaney
United States
Janet Delaney’s current photographic work uses a fine art approach to explore the social and political dynamics of city life. Her books include South of Market (MACK 2013), which documents the gentrification of a working-class neighborhood. Public Matters, (MACK 2018) addresses public life in Reagan era San Francisco and Red Eye to New York, (MACK 2021) finds public and private worlds on the stage of 1980s Manhattan. She is currently working on a sequel to South of Market, examining the impact of the arrival of new technology companies on her old neighborhood. Delaney’s awards include a Guggenheim Fellowship in 2020 and three National Endowment for the Arts Grants. Her photographs are in the collections of the San Francisco Museum of Modern Art, the de Young Museum and the High Museum, Atlanta among others. She has shown in museums and galleries locally and internationally. Janet Delaney received her MFA from the San Francisco Art Institute and held a faculty position at the University of California, Berkeley. She lives and works in Berkeley, California. Artist Statement My photographic practice actively engages the art of storytelling. I focus on both large public issues as well as more intimate, prosaic subject matter. I immerse myself fully in a place or a state of being and photograph without assumptions. Back in the studio, I organize these images to construct narratives that reflect my experience. Research is integral to each project, and when needed, I incorporate text to deepen and expand the storyline. Exhibitions offer me the opportunity to play with sequence and scale, while books provide a means to solidify and preserve my ideas. Over the years I’ve worked across various formats, exploring subjects as diverse as foreign wars, my kitchen table, forests, and cities worldwide. Artist Statement for the work submitted Revisiting a place I once called home creates a curious dissonance. During the 1980s I chronicled the early stages of gentrification in the South of Market district of San Francisco. Now, as I revisit my old neighborhood, rechristened SoMa by millennial marketers, I see a skyline bulging with new buildings. My former neighbors are eclipsed by both high-earning technology workers and those without homes whose tents line alleys and broad boulevards. In this new world I often feel as if I am standing in two places at once; the past infuses the present with both longing and confusion. In SoMa Now (working title), I sew together a complex narrative of a city I know well, blending fact and feeling to convey what is lost, what is gained and what remains in this new terrain. Article Exclusive Interview with Janet Delaney about 'Too Many Products, Too Much Pressure!'
Mitch Rouse
United States
1940
Mitch was a transportation entrepreneur in Long Beach, and is now a photographer based out of Cody, Wyoming. Before Mitch shot aerial images, he was an avid self-taught landscape photographer. In the realm of aerial photography, he began with with high tech drones and evolved into flying fixed wing. Unsatisfied with the limitations of these methods, he has now found the sweet spot between the two, by developing a system that incorporates a Bell helicopter with a 150 MP Phase One Industrial camera, inside a Shot Over gimbal, mounted to its nose. Mitch most enjoys shooting abstract land patterns and beautiful farmlands throughout the western states. He is also interested in industrial sites including agriculture, transportation, shipping, ports, solar power, wind power, oil and gas. His current projects include Los Angeles - Long Beach Harbor, piers of California, highway interchanges, oil and gas fields in the Central Valley of California, agriculture in the Central Valley of California, and agriculture in the Palouse region Washington, Oregon and Idaho. Top Views of The Palouse Symmetrical farmscapes and the asymmetrical patterns of natural landscapes have always been intriguing to Mitch Rouse, a photographer based out of Cody, Wyoming. Over the last four years, his passion for landscape photography and his deep desire to capture a unique perspective, evolved into taking to the skies with the right technology to capture those exclusive scenes from above. The Palouse in SE Washington is one of his favourite places to explore. Due to its geological heritage, the rolling hills of grasses are an endless sea. Farmland is scattered over this peculiar dune-like landscape, which formed sometime during the last several ice ages, when glacial silt was blown across the region forming dunes called "loess". The farmers who settled on this land had to develop methods of successful harvesting, where to avoid the steep slopes becoming hazardous to their tractors and combines, they would plough along the contours of the hills, this led to the use of special self-levelling harvesters that can cut crops safely and efficiently by constantly adjusting to the different gradients of the slopes. As you can imagine, the lines and patterns that these farming techniques produce, combined with the already picturesque landscape, are captivating from the air. These aerial photographs of The Palouse captured by Mitch, resemble topographical maps where the colour contrasts, line patterns and contour shapes have become a distinctive form of art. Two seasons in The Palouse are equally magnificent in their colours and textures. Mitch enjoys capturing both the vibrant green silky grass seas of Springtime, and the golden brown rough textures of the Harvest. The most appealing thing about photographing The Palouse is this combination of classic features of farmland, spread across this canvas of ‘dunes', resulting in truly mesmerising endless lines in both linear, and in curved patterns, with the play of the light across those textures and gradients, creating shadows and variations in the colour spectrums of the greens and yellows or of the browns and the golds. The aerial perspective gives these abstract art forms a boldness that cannot be fully appreciated from the ground. Mitch's favourite lens to use is a 35mm. This is due to its versatility with 100mp resolution, he can crop in with fantastic detail, or leave it at a wide angle. We think you'll agree that these resulting shots are really stunning and showcase this truly individual area of American geography.
Lise Sarfati
France
1958
Lise Sarfati has lived and worked in the United States since 2003. She has realized six important series of photographs there. They have been followed by exhibitions and publications. Each of her works makes clear the identity of an approach focused on the intensity of the rapport established with the person photographed, and of that person with the context. A vision in which the individual is environment, a map outlining a perilous cultural geography. The richness of perception is constructed without effects. The compositions are flawless in the simplicity and unity of the image – the style tends to be elementary and clean, avoiding all qualifications, but the traits of each thing and each person trace a hundred thousand folds. The dimension of the interplay of postures is that of a solemn immaturity: the scenery formed by the people and places is the silent crumpling of a dream in which each risks his or her skin. A feminine seduction tinged with fateful coincidences; the beauty of the adolescents looks like a magic spell. Their solitude and strangeness in the world turn the image into an echo chamber inhabited by the photographer, her subject and the viewer. The earlier period of a photographic work carried out in Russia (continuously from 1989 to 1999) confirms the tendency of this research. She identifies a very precise and endless psychological spectrum. The projections, the ambitions associated with the immense space, the way in which they compose these figures, play an essential role: the supporting roles are incandescent. A determinism of the heroic, inevitably tragic figure, as if not even we really have another choice.
O. Winston Link
United States
1914 | † 2001
Ogle Winston Link (December 16, 1914 – January 30, 2001), known commonly as O. Winston Link, was an American photographer, best known for his black-and-white photography and sound recordings of the last days of steam locomotive railroading on the Norfolk & Western in the United States in the late 1950s. A commercial photographer, Link helped establish rail photography as a hobby. He also pioneered night photography, producing several well-known examples including Hotshot Eastbound, a photograph of a steam train passing a drive-in movie theater, and Hawksbill Creek Swimming Hole showing a train crossing a bridge above children bathing. O. Winston Link and his siblings, Eleanor and Albert Jr., spent their childhood in the borough of Brooklyn, New York City, where they lived with their parents, Albert Link, Sr. and Anne Winston Jones Link. Link's given names honor ancestors Alexander Ogle and John Winston Jones, who had served in the U.S. House of Representatives in the 19th century. Al Link taught woodworking in the New York City Public School system, and encouraged his children's interest in arts and crafts, and first introduced Winston to photography. Link's early photography was created with a borrowed medium format Autographic Kodak camera. By the time he was in high school, he had built his own photographic enlarger. After completing high school, Link attended the Polytechnic Institute of Brooklyn, receiving a degree in civil engineering. Before his graduation in 1937, he spoke at a banquet for the institute's newspaper, where he served as photo editor. An executive from Carl Byoir's public relations firm was present and was impressed by Link's speaking ability. He offered Link a job as a photographer. O. Winston Link worked for Carl Byoir and Associates for five years, learning his trade on the job. He adapted to the technique of making posed photographs looking candid, as well as creatively emphasizing a point. On his first major assignment, to photograph part of the state of Louisiana in the summer of 1937, he found himself in New Iberia, the location where Cecil B. DeMille's 1938 movie "The Buccaneer", about Jean LaFitte was being filmed. Here he met his future first wife, a former Miss Ark-La-Tex, now actress/model/body double, Vanda Marteal Oglesby, who stood-in for lead actress Franciska Gaal. They 'took a shine' to one another and later that year she posed for some of his photographs in the French Quarter of New Orleans. They eventually married in 1942, but later divorced. Some of Link's photographs from this time included an image of a man aiming a gun at a pig wearing a bulletproof vest, and one eventually known as What Is This Girl Selling? or Girl on Ice, which was widely published in the United States and later featured in Life as a "classic publicity picture. According to Thomas Garver, a later assistant to Link, during his employment at Byoir's firm, Link "clearly defined a point of view and developed working methods that were to shape his entire career." While in Staunton, Virginia, for an industrial photography job in 1955, O. Winston Link's longstanding love of railroads became focused on the nearby Norfolk and Western Railway line. N&W was the last major (Class I) railroad to make the transition from steam to diesel motive power and had refined its use of steam locomotives, earning a reputation for "precision transportation." Link took his first night photograph of the road on January 21, 1955, in Waynesboro, Virginia. On May 29, 1955 the N&W announced its first conversion to diesel and Link's work became a documentation of the end of the steam era. He returned to Virginia for about twenty visits to continue photographing the N&W. His last night shot was taken in 1959 and the last of all in 1960, the year the road completed the transition to diesel, by which time he had accumulated 2400 negatives on the project. Although it was entirely self-financed, Link's work was encouraged and facilitated by N&W officials, from President Robert Hall Smith downwards. Besides the locomotives, he captured the people of the N&W performing their jobs on the railroad and in the trackside communities. Some of his images were of the massive Roanoke Shops, where the company had long built and maintained its own locomotives. O. Winston Link's images were always meticulously set up and posed, and he chose to take most of his railroad photographs at night. He said "I can't move the sun — and it's always in the wrong place — and I can't even move the tracks, so I had to create my own environment through lighting." Although others, including Philip Hastings and Jim Shaughnessy, had photographed locomotives at night before, Link's vision required him to develop new techniques for flash photography of such large subjects. For instance, the movie theater image Hotshot Eastbound (Iaeger, West Virginia), photographed on August 2, 1956 [negative NW1103], used 42 #2 flashbulbs and one #0 fired simultaneously. Link, with an assistant such as George Thom, had to lug all his equipment into position and wire it up: this was done in series so any failure would prevent a picture being taken at all; and in taking night shots of moving trains the right position for the subject could only be guessed at. Link used a 4 x 5 Graphic View view camera with black and white film, from which he produced silver gelatin prints. From 1960 until he retired in 1983 Link devoted himself to advertising. Among notable pictures taken during this period are those recording construction of the Verrazano-Narrows Bridge and other views of New York Harbor including the great ocean liners. In retirement, Link moved to South Salem, Westchester County, New York. In 1996, Link's second wife, Conchita, was arrested for (and later convicted of) stealing a collection of Link's photographs and attempting to sell them, claiming that Link had Alzheimer's disease and that she had power of attorney. She served six years in prison. After being released, she again attempted to sell some of Link's works that she had stolen, this time using the Internet auction site eBay. She received a three-year sentence. Conchita was also accused of imprisoning her husband. However, this allegation is disputed by some, and it never led to any criminal charges against Conchita. The story of Winston and Conchita became the subject of the documentary "The Photographer, His Wife, Her Lover" (2005) made by Paul Yule. Link made a cameo appearance as a steam locomotive engineer in the 1999 film October Sky. He was actively involved with the planning of a museum of his work when he suffered a heart attack near his home in South Salem. He was transported to Northern Westchester Hospital in Mt. Kisco, Westchester County, NY where he died on January 30, 2001. Mr. Link was interred adjacent to his parents in Elmwood Cemetery, Shepherdstown, Jefferson County, West Virginia.Source: Wikipedia Link's reasons for shooting at night were simple. For one, it was more romantic and dramatic. For Link the trains were comparable to Garbo and Dietrich at their most glamorous. Secondly, steam from the trains against a night sky photographed white. Against a day sky it came out a dirty grey. Whatever the circumstances, Link's pictures were an intense labor of love. Indeed, he discovered, shortly after starting the Norfolk and Western project, that no one was much interested in photographs of a fast disappearing mode of transport. This was, after all, the beginning of the era of the great American car. At first Link's photographs were appreciated for their combination of nostalgia, technical virtuosity, and – partly due to Link's famously cranky character and disposition - almost outsider artist's vision. But as photography has moved on, Link's work is increasingly seen and appreciated for the degree to which he controlled, planned, and constructed each image, prefiguring such well known contemporary artists as Gregory Crewdson and Jeff Wall, both of whom willingly acknowledge their interest in and appreciation of Link's work. His work has been exhibited throughout the U.S., Europe and in Japan and is present in numerous major museum collections around the world. His rail photography is exhibited at the O. Winston Link Museum in Roanoke, Virginia, refurbished by the famous industrial designer, Raymond Loewy, which opened in 2004.Source: Danziger Gallery
Evan Anderman
United States
1964
Evan Anderman is a fine art photographer based in Denver who is best known for his aerial images of Colorado's Eastern Plains, and other less-traveled landscapes across the American West. His work is held in the Denver Art Museum collection and has been exhibited at institutions nationally and internationally, including the DongGang International Photo Festival/South Korea, Mt Rokko International Photo Festival/Japan, The Midwest Center for Photography, The Dairy Center for the Arts, The Arvada Center, American Mountaineering Center, Denver International Airport, Carmen Wiedenhoeft Gallery, The Colorado State Capitol, Robischon Gallery, Lamont Gallery, Buttonwood Art Space, and in his own gallery in Denver's Santa Fe Arts District. In November 2013, Anderman was honored for his unique environmental photography with the inaugural Photo District News (PDN) Duggal Image Maker Award. Prior to becoming a full-time photographer, Anderman spent decades working as a geologist, and holds a Master's and a PhD in Geological Engineering from the Colorado School of Mines and a BS in Geological Engineering from Princeton University. Anderman's work aims to challenge our understanding of the relationship between human development and the natural world by documenting the way we use the land. "As a geologist, when I fly over the high plains of eastern Colorado, I look at the overlapping layers and how the land has been modified by a combination of processes, both natural and manmade," he writes on his website, EvanAnderman.com. "The lowest layer, the land itself, has been created over literally millions of years and forms the foundation. Draped on top of that is what mankind has imposed in various ways; activities and structure that are collectively called 'progress.' While my main interest is the subtle beauty of the landscape itself, I also like to tease out what man has done with that land, and make the viewer wonder what is going on and why. The images are fundamentally aesthetic, but leave you questioning the subject matter."
Iwao Yamawaki
Japan
1898 | † 1987
Iwao Yamawaki, born Iwao Fujita, was a Japanese photographer and architect who trained at the Bauhaus. Born in Nagasaki, Yamawaki studied architecture at the Tokyo School of Fine Arts (now the Tokyo University of the Arts) from 1921 to 1926. After his graduation, he worked as an architect for the Yokogawa Construction Company and began to take photographs, which he submitted to the publications and competitions of Kenchiku Gakkai (the Society for Architectural Research). He was active in theatre circles as a costume and set designer and in 1926 he founded the Ningyō-za theatre in Tokyo with Koreya Senda (1904–1994) and others, and became involved with Tan'i Sanka, an avant-garde artists' group, where he met the Bauhaus student Sadanosuke Nakada (1888–1970), and where he later became friends with Takehiko Mizutani (1898–1969), the first Japanese student to study at the Bauhaus. He was formally introduced to Michiko Yamawaki (1910–2000), an heiress and the eldest daughter of a wealthy businessman, whom he married in 1928. He was asked by her father to adopt her family name, which he did in return for is new family-in-law financing the opportunity for both of them to study at the Bauhaus. In May 1930 Iwao and Michiko left Japan for New York, where they spent two months, before traveling to Berlin, where they were reunited with Koreya Senda, who had already been living in Berlin for about two years. Senda, a politically active socialist, was involved with underground theatre in Berlin, and with the Japanese artistic community in the city, to which he introduced the Yamawaki to. They often gathered in decadent bars, such as the El Dorado, a famous gay, lesbian and trans venue. In 1930 Yamawakis, together with Senda, the painter Osuke Shimazaki, lacquer artist Kotaro Fukuoka and photographer Hiroshi Yoshizawa, founded the design studio Tomoe in Berlin. The studio produced posters, gift-wrap paper, and leaflets, and undertook window dressing and interior design for Japanese restaurants. In October 1930 the couple began Josef Albers' first semester preliminary course at the Bauhaus in Dessau. In April 1931 Michiko went on to study in the weaving workshop and Iwao initially studied architecture, but a few months later he changed to the photography course taught by Walter Peterhans. Iwao developed a close friendship with fellow student and later Bauhaus teacher Kurt Kranz. Kranz was interested in photomontage and introduced Yamawaki to it. Iwao Yamawaki had a strong interest in architectural photography and took many photographs of the exterior and interior of the famous Bauhaus Dessau building complex, as well as of buildings in Berlin, Amsterdam and Moscow. His photographs are strongly influenced by the Neues Sehen (New Vision), an avant-garde movement of the 1920s and 1930s espoused by Bauhaus teacher László Moholy-Nagy, which encouraged photography of ordinary scenes using unfamiliar perspectives and angles, close-up details, use of light and shadow, and experimentation with multiple exposure. Senda and his wife, Irma, returned to Japan in January 1931 on the Trans-Siberian Railway. They stayed for a time in Moscow on their way back, and Yamawakis and several others in the Berlin Japanese artistic community joined them for a week, visiting the theatre and seeing the sights. The couple remained in Germany until the Bauhaus Dessau closed at the end of August 1932, when they returned to Japan. On his return to Tokyo, Yamawaki taught photography for 6 months at the Shinkenchiku kōgei (New Architecture and Design College), which was known as the 'Japanese Bauhaus'. He exhibited some of his work, but was dissatisfied with the Japanese photographic scene and gave up photography altogether. He became a successful architect and designed houses for the wealthy, developing a hybrid Japanese and Western design style, with architects such as Mies van der Rohe and Le Corbusier as his influences. Yamawaki also worked as an architectural journalist and was widely published. He designed a modernist villa for himself and his wife in 1934 and they furnished it with pieces that they imported from Germany, such as the Wassily Chair. He established his own architectural office in 1939 and designed the interiors of the Japanese pavilion in the Government Zone at the 1939–1940 New York World's Fair. The Yamawakis had two children in the late 1930s – early 1940s. Although they had mixed in a socialist milieu in Germany, during World War II they collaborated with the ruling Japanese fascist regime. In 1953 Yamawaki designed the Haiyūza theatre for his old friend Koreya Senda, and in 1954 and 1971 Iwao and Michiko Yamawaki brought Bauhaus exhibitions to Japan. However, in the post-war years, they both largely fell into obscurity.Source: Wikipedia
John Kenny
United Kingdom
In 2006 I developed my style of portrait photography within traditional communities, heavily influenced by the dramatic pictures of chiaroscuro artists. Chiaroscuro is an Italian term which literally means light-dark. Back then, at the very start of my Africa journey, I was buzzing with energy having met people of real magnetism just days into my trip. I was excited by extraordinary people and fascinating cultures and wondered how I could possibly communicate and express these feelings of excitement to friends and family back home.The solution, I imagined, would involve abstracting the remarkable from the not so remarkable: put simply, I felt that the vibrant and intense individuals that I had met in traditional communities would best show their magnetism on camera when they were removed from the (often) dull and dusty backgrounds of their immediate environment. After a few days I started to imagine each of these people in front of me emerging from the nothingness of darkness, with no distractions, hoping that this would provide a real feeling of proximity between the viewer and the person in the picture. I made a conscious decision at that time to leave a more documentary style of environmental portraiture to others. Practicing this new technique in remote African villages in 2006 I had nothing but sunshine and a hut available as a great ‘open studio': so I used these parameters and started experimenting (I've never really liked flash anyway). So it's simply the illumination of natural sunlight, and sun on dry earth, that reaches into the darkness of huts and lights up these remarkable people. Sun and dry earth are the only ingredients required for the lighting in my prints. And of course, you also need to find exceptional people!Falling in love with photography, and the origins of this series:I first fell in love with photography around 2003. I had not been fortunate enough to receive an art or photography education, but I knew back then, when I picked up my first SLR camera, that I had found the perfect way to express myself. Every time I had the camera in my hand I was looking to improve, needing to know what everything and anything looked like once it had been through the photographic process. It was a bit like a mad pursuit of alchemy - throwing everything into the mix to see if any magic came out of the other side. The process of photographic learning is very rarely a simple one, but to me it remains beautiful: discoveries, experimentation and seeing for the first time how a camera distorts and enhances the world.In Africa I seem to have made it my goal to travel through some of the remotest areas of the continent where the reaches of urbanisation and 21st century living are barely detectable. Looking back, this wasn’t my intention when I first arrived there in 2006, but somehow I keep returning to Africa to photograph because I'm fascinated to encounter societies that are able to survive in some of the most arid, isolated and difficult environments that people have settled in. If you haven’t visited these places then the reality of living is not nearly as romantic or idealised as one might imagine. Life takes place against a backdrop of very uncertain resources and enormous hardships, but traditions and hospitality towards outsiders remain intact.I specifically chose to photograph the individuals that you see in these galleries because I had a very real sense of wonder when I met them. Each one of these people had something that attracted me, sometimes a piercing intensity, or an uncommon beauty, that I felt compelled to try and capture. It’s true that I photograph for myself, first and foremost, but a close second is my desire to show others this magnetism that draws one into the eyes of these fascinating people.I have usually travelled alone or with a guide on these journeys, along the way walking and hopping onto overloaded vehicles of every kind to head to remote settlements. Often the destination is a transient, weekly market where hundreds of vibrant, colourful people assemble somewhat incongruously against a dull, dusty backdrop for a few hours. Later in the day they will all melt away with their animals and traded possessions, until the location is again a patch of bone-dry ground with almost nothing to separate it from the rest of the featureless land that typifies much of the African Sahel. It is fascinating to observe this process play out in almost exactly the same way across countless African countries, many of which are separated by hundreds or thousands of miles across this huge continent’s surface.My favourite tools are sharp prime lenses and cameras that let you capture the tiniest pieces of detail: whilst these details may be insignificant alone, when aggregated I feel they help paint the picture of the environment and how each person adapts to theirs.My favourite series of work remains the Northern Kenya series which involved 6 weeks of intense travelling with my guide, Mo, across remote areas without a vehicle and often without any semblance of an idea how to get to the next tiny settlement. The trip was full of unique encounters in locations that seemed to be famous, to me at least, as places where no transport seemed to be heading. On one particular occasion we came across a lone Moran (warrior) emerge into the dawn light, miles from anywhere. He seemed like a mirage: a vibrant vision in pink cloth and bright colourful jewellery, and more acutely so when set against the hazy yellow monotone of land that he emerged from. Even for Northern Kenya, I thought he seemed to be in a remote, featureless location: devoid of any water, and within an hour it would again be blistering hot. Despite these uncomfortable realities - which clearly weighed more heavily on my mind than his - the warrior seemed confident of his bearings and stopped for a moment to exchange pleasantries with Mo and I. A couple of minutes later, after sharing cigarette with my guide, he purposefully set off walking again, to God knows where. This place that looked barren and foreboding, to me at least, was clearly his home.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry