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Bruce Barnbaum
Bruce Barnbaum

Bruce Barnbaum

Country: United States
Birth: 1943

Bruce Barnbaum, of Granite Falls, WA, entered photography as a hobbyist in the 1960s, and after four decades, it is still his hobby. It has also been his life's work for the past 30 years.

Bruce's educational background includes Bachelor's and Master's degrees in mathematics from UCLA. After working for several years as a mathematical analyst and computer programmer for missile guidance systems, he abruptly left the field and turned to photography.

Bruce has authored several books, some of which have become classics. The Art of Photography was first published in 1994 and remained in print until 2007. Bruce has been self-publishing the book ever since, but with limited distribution.

Bruce is a frequent contributor to several photography magazines. His series The Master Printing Class is featured in each issue of Photo Techniques, and his articles are published regularly in LensWork. Through his workshops, articles, lectures, books, and innovative photography, Bruce has become a well-known and highly respected photographer, educator, and pioneer.

Bruce is recognized as one of the finest darkroom printers on this planet, both for his exceptional black-and-white work, as well as for his color imagery. He understands light to an extent rarely found, and combines this understanding with a mastery of composition, applying his knowledge to an extraordinarily wide range of subject matter. His work is represented by more than ten galleries throughout the United States and Canada, and is in the collections of museums and private collectors worldwide.

Source: O’Reilly


Bruce has been an active environmental advocate for more than three decades, both independently and through organizations such as the Sierra Club (where he served on the Board of Directors of the Angeles Chapter from 1976-80, and the California Regional Conservation Committee), Audubon, the Stillaguamish Citizens’ Alliance (which he co-founded in 1991) now renamed the Mountain Loop Conservancy, 1000 Friends of Washington, and the North Cascades Conservation Council (where he has served on the Board of Directors since 1994).

As a photographer he has seen the changes in our land and our landscape—almost all of them for the worse—that have taken place in the 35 years he has actively been photographing our planet. He points out that we all live on this one magical globe called “Earth,” and unless we love it, revere it, and protect it, we’ll all perish with it. Currently, we are exploiting planet earth at an unprecedented rate, saddling ourselves with many self-inflicted problems: human overpopulation, global warming, an increasing ozone hole, deforestation, overfishing of the oceans, overuse of fresh water resources, pollution of the air, land, and waters (lakes, rivers, and oceans), and many others too numerous to detail. But humanity is doing little to correct any one of these problems. We have enough knowledge to recognize the steps that should be taken to turn from our destructive ways to more intelligent, productive, and sustainable means, but we may not have the wisdom or political will to implement that knowledge.

Source: Fahey/Klein Gallery


 

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More Great Photographers To Discover

Peter Harlow
Australia
1948
Peter was born and educated to first degree standard in the UK. He gained a private pilot license in 1970. His career spans aerial photography, corporate communication and management development. After emigrating to Australia in 2001 he ran his own company providing small light aircraft to farmers, flying schools and private clients. Recently he took up commercial drone flying – which combines his love of photography and views from the sky. He currently lives in Melbourne with his artist partner. As a photographer, I have always been fascinated by the interplay of light, shadows and shapes that exist in both the natural and human-made world. For many years, as a pilot I saw the landscape from a small aeroplane. With the advent of drone technology, which enables the camera platform to remain static and fly much closer to the surface, I can now explore the landscape from new angles and perspectives, capturing images that were impossible from an aeroplane. Artist statement: One of the key elements of abstract art is the process of abstraction, where artists take familiar objects and break them down into their essential components. Similarly, my photographs capture landscapes from above, abstracting the natural world into a series of shapes, colours and textures that are sometimes quite different from their original form. By removing the context of the wider landscape, I want to encourage the viewer to see the world in a new light, as a collection of abstract forms that are both beautiful and intriguing. In abstracting the landscape, my aim is to create a body of work that challenges your perceptions and invites you to see the beauty and charm that exists all around us.
Janet Delaney
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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!'
Jürgen Schadeberg
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1931 | † 2020
Jürgen Schadeberg was a German-born South African photographer and artist. He photographed key moments in South African history, including iconic photographs such as Nelson Mandela at Robben Island prison. He also lived, worked and taught in London and Spain, and photographed in many African countries. Jürgen Schadeberg was born in Berlin, Germany, in 1931 where he grew up during the Nazi regime and World War II. In the aftermath of the war, his mother began a relationship with a British officer in the army of occupation and emigrated with him to South Africa in 1947. Schadeberg learned to be a photographer at the Deutsche Presseagentur (German Press Agency). He moved to South Africa to rejoin his family in 1950 and, the following year, found employment on Drum magazine as an official photographer and layout artist. Schadeberg became the senior figure of the group and a teacher and mentor to some of the most creative South African photographers of his time, including Bob Gosani, Ernest Cole, and later Peter Magubane. As one of the few white photographers who photographed daily life among the black community, he became knowledgeable about black life and culture. As a result, he captured on film the beginnings of the freedom movement, the effects of apartheid, and the vibrancy of township life. Schadeberg photographed many historic and pivotal events in the 1950s among them the Defiance Campaign of 1952, the 1956 Treason Trial, the Sophiatown removals of 1955, the Sophiatown jazz and social scene, the Sharpeville funeral of 1960, and pictures of Robben Island inmates. Some of the famous people he photographed include Nelson Mandela, Walter Sisulu, Oliver Tambo, Trevor Huddleston, and Govan Mbeki. He also documented 1950s jazz legends such as Thandi Klaasen, Hugh Masekela, Kippie Moeketsi and Miriam Makeba. He made documentation of everyday life. When Drum wanted the singer Dolly Rathebe to be the cover girl for one of their issues, Schadeberg took her to a Johannesburg mine dump and photographed her in a bikini. The two were arrested for contravening the Immorality Act which forbade interracial relationships. In 1959, Schadeberg left Drum to become a freelancer. He was part of an expedition led by Professor Phillip V. Tobias from the University of the Witwatersrand to study the Bushmen, publishing images in The Kalahari Bushmen Dance in 1982. Schadeberg felt forced by increasing civil unrest to leave South Africa, and in 1964 went to London, where he was picture editor of Camera Owner magazine (forerunner of Creative Camera), into which he incorporated a stronger sense of design and increased its pictorial content, and from April to July 1965 he was its editor. He also taught and curated photographic exhibitions in England, notably for the Whitechapel Art Gallery. He then moved to Spain where he focused on a career as an artist. In 1972, he returned to Africa where he accepted a position as a photographer for Christian Aid in Botswana and Tanzania. In 1973 he traveled to Senegal, Mali, Kenya, and Zaire, taking photographs. In 1985, Schadeberg returned to South Africa, where he lived with his wife Claudia. He continued to work as a photojournalist, and also made documentaries about the black community until 2007 when he returned to Europe. Schadeberg died from a stroke at his home in La Drova [ca], Valencia, Spain, on 29 August 2020, aged 89. His work is held in the collections of the UK Arts Council, National Portrait Gallery, Tate and the Victoria and Albert Museum in London.Source: Wikipedia Jurgen has edited and published over 30 photographic books including The Finest Photos from the Old Drum, The Fifties People of South Africa, Mandela & The Rise of the ANC, Voices from Robben Island, Sof’town Blues, The Black & White Fifties, The San of the Kalahari & Soweto Today 2002, Witness - 52 years of pointing lenses at Life 2004, Voices from the Land 2006. Jazz, Swing & Blues – 56 years of SA Jazz and Tales from Jozi 2007– Six decades of documentary photography in Europe, Africa and America published by Hatje Cantz 2008, Great Britain 1964/84 , 2011 Jurgen Schadeberg visits Germany – 6 decades 2012, and Six decades of South African Photography 2014. Together with his producer wife Claudia, Jurgen established The Schadeberg Movie Company to produce a series of some 15 documentaries and dramas about South African social, cultural and political history. Jurgen Schadeberg, sometimes known as “The Father of South African Photography”, is a principle figure in South African and World Photography. His major body of work, which spans 70 years and incorporates a collection of some 200,000 negatives, captures a wealth of timeless and iconic images.Source: www.jurgenschadeberg.com
Tebani Slade
Australia
1966
Tebani Slade is a fine art, street and documentary photographer based between Australia and Barcelona. Her approach to photography involves storytelling and seeking the truth in her observations. She prefers to venture to unfamiliar destinations with an open mind, devoid of preconceived notions or generic perspectives. Armed only with her camera, Tebani allows events to unfold naturally, following the path that each location leads her on. A former graduate of the Queensland College of Art, Australia she also holds a Master of Distinction with the NZIPP (New Zealand Institute of Professional Photography). She has received recognition and awards for her photography, which has been exhibited both nationally and internationally. Her work has been showcased in group exhibitions such as Women Street Photographers in Kuala Lumpur and the Indian Photo Festival, as well as the Women Street Photographers annual exhibition in New York and the MIA Photo Fair in Milan. She was a finalist in the Australian Head On Photo Awards 2021 and 2022 and took first place in the 2022 Australian Mono Awards. In 2023 she was a finalist in the Mullins Conceptual Photography Prize and was awarded Australian Documentary Photography of the Year with the NZIPP. Her work has been featured in numerous publications including Australian Photography Magazine, Aust Capture Magazine, Aust Commercial Photography, Black & White Photography (UK edition), B&W (US edition), Nikon UK, The Guardian Australia, Loud & Luminous Book 2020 (a Celebration of Australian Women Photographers).
Mathilde Pettersen
Mathilde Helene Pettersen, born 1976 in Norway. Photographer and visual artist, lives and work in Kristiansand, south of Norway. Holds a BA in Photography and film from Napier Edinburgh University, Scotland and a MA in Art from the University of Agder, Kristiansand, Norway. Pettersen is a member of Association of Norwegian Visual Artist and society of Fine Art Photographers in Norway. Between 2013 and 2015 she was selected for the Norwegian Journal of Photography #2, a program supporting eight independent photographers in Norway, working on long-term projects and published by Journal, Stockholm (2015). In this publication, she chose to show a selection from her project Searching for Cloudberries, which was featured in Time Magazine/Lightbox and SHOTS magazine and exhibited at the Festival Voies Off in Arles, France (2016) and at the Encuentros Abiertos Festival de La Luz , in Buenos Aires, Argentina (2016) and at the Henie Onstad Art center in Oslo, Norway (2019). Her work I need a kiss before they leave was exhibited at the Musée de l'Elysée in Lausanne, Switzerland (2016), Kristiansand Kunsthall, Norway (2017), the International Photofestival PhotoVisa in Krasnodar, Russia (2017) and is currently on show at the Sørlandets Museum of Art (Jun-Nov 2020) alongside photographers as Swedish Christer Strömholm and Anders Petersen and the Norwegian Tom Sandberg, Dag Alveng and Kåre Kivijärvi. Her first photobook I NEED A KISS BEFORE THEY LEAVE was launched at Paris Photo 2019 at the Grand Palais by the German Kehrer Verlag in Heidelberg. Mathilde Pettersen presents two projects: Searching for Cloudberries (2008-), analogue black and white photographs. My projects revolve around portraiture and self-portraiture, and in their themes touch upon motherhood and family as constellations. So does this project, presently spanning ten years now. It takes shape by depicting a sense of dysfunctionality of the infertile female body - a theme that is often taboo in our society - before it turns and grows in a new direction when discovered not, moving on to contemplate the development of the child and the changes of the body of its mother over time in connection with life cycles in nature. I need a kiss before they leave (2011-), digital colour photographs. I NEED A KISS BEFORE THEY LEAVE is an emotional family portrait, filled with immense joy, but also with a disturbing realization of a wonderfulness that cannot be stored. It reflects upon a human desire to freeze time, to forever savoring those moments which are destined to live on only as distant memories. Photography is of course the artistic technique to actually freeze time and to store a split second forever. In this book, Norwegian photographer Mathilde Helene Pettersen captures an entire parenthood, with all its bright and dark moments. I need a kiss before they leave reflects on becoming and being a mother, on building a family, on the immediate and unpredictable, on strengths and fragilities in life, and sometimes on the overshadowing fear of death and the irreversible. From the text in I NEED A KISS BEFORE THEY LEAVE by Anna-Kaisa Rastenberger: First things first: loving is not for the faint of heart. Loving, day af- ter day, requires the courage to handle the disappointment of quotidian love falling short of the ideal of love. It requires even more courage to extend love to societal structures in need of repair. (...) "This is my story." These are the words used by Mathilde Helene Pettersen at the beginning of her book I need a kiss before they leave. The series, consisting of photographs taken with a camera phone over a period of eight years, is a chronicle of childbirth, motherhood, and family life. Pettersen writes that this was a story she hesitated to tell. Pettersen has spoken about the challenge and dichotomy of com- bining motherhood with the work of a photographer. On the one hand, she leads an ordinary enough, down-to-earth life with her family; on the other, she has a life outside the home, working as a photographer. Even in the Nordic countries, this is no simple equa- tion to balance. Although the principle of gender equality in the workplace is firmly established, or at least acknowledged, it re- mains elusive in practice.
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