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Win a Solo Exhibition this February. Juror: Harvey Stein
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Tom Atwood
Tom Atwood

Tom Atwood

Country: United States
Birth: 1971

Tom Atwood is an American fine art, portrait, and celebrity photographer, best known for his books Kings in Their Castles (2005) and Kings & Queens in Their Castles (2017). The New Yorker has praised the "refreshing clarity and modesty" of his work. Born and raised in Vermont, Atwood is a graduate of Harvard University, where he studied economics. He later earned an MPhil from Cambridge University. Atwood has lived in Paris, Boston, San Francisco, Los Angeles, and currently resides in New York City.

Atwood worked several years as an advertising executive before turning full-time to commercial and fine art photography. As a photographer, Tom Atwood is largely self-taught, developing many of his techniques through trial and error. According to him, various cultural influences—including theater, painting, architecture, and psychology—have informed his photographic style.

Tom Atwood is particularly known for combining and balancing the genres of portraiture and architectural photography, so that neither the subject nor his or her surroundings predominate in the final image. His recent work has focused on portraits of people at home. He has shot over 100 luminaries including Hilary Swank, Julie Newmar, Buzz Aldrin, Mark Wahlberg (Marky Mark), John Waters, Don Lemon, Tommy Tune, Meredith Baxter, Greg Louganis, Barney Frank, George Takei, Todd Oldham, Edward Albee, Ross Bleckner, Michael Cunningham, Alison Bechdel, Ari Shapiro, Don Bachardy, Charles Busch, Alan Cumming and Leslie Jordan.

His second book, Kings & Queens in Their Castles, was recently published by Damiani. The book won multiple awards including First Place in the International Photography Awards (book category) as well as a Lucie Award (book-other category).

Atwood was included in the National Portrait Gallery’s Outwin Boochever Triennial (Smithsonian Museum). He won first place in Portraiture in the Prix de la Photographie Paris. Atwood also won Photographer of the Year from London's Worldwide Photography Gala Awards, as well as first place in Portraiture.

He has won over 40 additional awards including from the Griffin Museum of Photography, Center for Fine Art Photography, International Photography Awards, Santa Fe Center for Photography, Vienna International Photo Award (Gold Medal), CameraArts, Photo Life, PDN, The Photo Review, Communication Arts, Fence at Photoville, Graphis, Camera Club of NY, Jacob Riis Award, American Photography Annual, One Life International, American Art Awards, Photography Masters Cup, Manhattan Arts International, Hellerau Photography Award, World in Focus, Artrom Gallery Guild, PhotoServe, Reclaim Photo Award, Passepartout Prize, One Eyeland, International Photographer of the Year, International Color Awards, Moscow International Foto Awards, Kodak and American Photographic Artists (sponsored by the Getty Museum and Hammer Museum). He has also been recognized on Photo Life Magazine's list of 50 Emerging Photographers.

Atwood's work has exhibited over 60 times in over 15 countries, including at the National Portrait Gallery (Smithsonian Museum), Griffin Museum of Photography, George Eastman House, National Museum of Finland (Finland), D’Amour Museum of Fine Arts, Kemper Art Museum, Center for Fine Art Photography, Museum of Photographic Arts, House of Lucie, Annenberg Space for Photography, Museum of Modern Art, University of the Arts, Frank Museum, Center for Photography at Woodstock, Benaki Museum (Greece), Museum of Science and Technology (Germany), Shibuya Cultural Center (Japan), Círculo de Bellas Artes Museum (Spain), LA Center for Digital Art, Pacific Design Center, Manhattan Arts International and other institutions.

Selected Books on Available on Amazon
Kings & Queens in Their Castles
Kings & Queens in Their Castles
Tom Atwood
Kings in Their Castles
Kings in Their Castles
Tom Atwood, Charles Kaiser

Gallery

BBA Gallery

Websites

www.tomatwood.com

@tomatwoodphoto

 

Selected Books

Kings & Queens in Their Castles
Kings & Queens in Their Castles
Tom Atwood
Kings in Their Castles
Kings in Their Castles
Tom Atwood, Charles Kaiser

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
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More Great Photographers To Discover

Marlou Pulles
Marlou Pulles
Netherlands
1965
Marlou Pulles is an Amsterdam City photographer, who explores themes of stillness and awareness. She studied Art History at the University of Utrecht, with a specialization in Dutch paintings of the 17th century. Inspired by the classical beauty of the food still-lifes of the famous painter Adriaen Coorte, she wanted to create images herself. She graduated in 2012 from Photography School Statief in Utrecht. Her still-lifes are aesthetic explorations of daily life objects. Placing the objects in an unconventional way, they become alive. About Shaping Blocks The abstract compositions she created consist of handmade wooden blocks from India, which are usually used as craft pieces for printing on textiles. Hit by the geometric beauty of these so called 'blockprints', which were designed by Nathalie Cassee , she searched in this series for balanced compositions. Playing with shapes, lines, colors and depth she wants to make still-lifes, that forces you to take your time and to see the individual elements in a different way. The compositions seem to float, and are constructed like collages. The movement that arises connects the blocks and the new aesthetic shapes radiate tranquility.
Roberto Pireddu
Roberto Pireddu
Italy
1984
Artist Statement: "I was born on October 5th, 1984 in Cagliari, and even though I earned a high school diploma in surveying I never felt it was my field, and very soon I understood that calculations and straight lines were going to be too boring for me. The pencil, an instrument of torture if utilized in the surveying world, actually became a loyal partner if employed in the arts. I began to draw at a very young age; my first themes were the characters of my favourite cartoons. Then, as years went by, I perfected my techniques (as an autodidact) and began drawing more challenging themes and subjects, slowly abandoning the pastels to concentrate solely on the black and white. It all became a must: colored pastels did not exist anymore, and if I had a blank sheet of paper, the lead of the pencil was the only instrument. I held my first camera just over a year ago. I have tried to utilize colors: red is marvelous, blue is fantastic and green is magnificent. But these feelings did not last, and I just could not to do it anymore. There was nothing to do because my preference for the monochrome has taken over even this time, and I must to succumb to this force without resisting it. I have lost myself and do not wish for anyone to come find me. In my world of black and white there are only two simple colors, but there is also a myriad of shades of grey that I will not let get away."
Frank Lynch
Frank Lynch
Ireland
I grew up in Dublin, Ireland where I studied Graphic Design. After living for many years in Germany and Israel I now spend my time in Ireland, Japan and Switzerland. I love travelling off the beaten track, taking photographs of the people I meet along the way. I find the interaction that takes place between photographer and subject very rewarding. I discovered that the camera helps to break down the barriers that normally exist between people who are, in effect, complete strangers. I don't like to plan things. I prefer to discover places, to walk around and see what happens. I like unpredictability and coincidence, especially in cities which are edgy – it keeps me on my toes and makes things interesting... Frank Lynch is a non-professional photographer.
Clay Lipsky
Clay Lipsky
United States
Clay Lipsky is a fine art photographer & Emmy Award winning graphic designer based in Los Angeles. He has applied his unique visual style across a variety of mediums, from print and multimedia to TV and film. Despite his varied interests, photography has always been a part of Clay’s life. Recently, he has experienced a new-found interest with the medium and is now passionately focused on pursuing photography as fine art, free from clients and limitless in creative possibilities. Clay is self-taught and strives to create images that can stand the test of time. His photos have been exhibited in various group shows, including those at the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, Wall Space, Rayko and Impossible Project Spaces in NYC & Warsaw, Poland. Clay has been published internationally in print and online, most notably with Esquire Russia, Wired Italia, Fraction, Square, Lenscratch, Diffusion, i-ref, Daily News (UK), Yahoo! Lifestyle (Germany), La Republica (Italy), Libération (France), Shots & um[laut] Magazines. Clay Lipsky's project, In Dark Light, is intriguing on a number of levels. First, the work was created, for the most part, on a trip to Iceland and as we know, creating conceptual fine art images while in a foreign place, with no opportunity for previsualization, is not an easy task. But somehow, Clay instinctively found a narrative and way of working within a concentrated period of time. The other interesting aspect is what the work is about. Making imagery about depression, about loss and solitude has to have subtle nuances that are at once personal and universal, and Clay captured this subject with emotion and simplicity. Clay works as fine art photographer and graphic in Los Angeles. His photos have been exhibited in group shows across the country, including the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, PhotoPlace and Impossible Project NYC. He has been featured internationally in print and online in publications such as Fraction, Square, Diffusion, F-Stop, PH and Shots Magazines. Recently, he was a featured "Ten" through Jennifer Schwartz Gallery, and North Light Press will be publishing an edition of his Cuba photos through their 11+1 series. He is also an avid self-publisher with several titles that exhibit as part of the Indie Photobook Library. Source: www.lenscratch.com About the series In Dark Light This series of self portraits examines my loss of identity and enduring personal journey through depression. It is a solitary path that encompasses loss of home and parent, the pursuit of beauty, work and perseverance under no religious or visceral compass. Imagined as a vast, shadowed plane it is a private purgatory mired in fog with colors muted and senses numbed. The varied landscape acts as metaphor for life's many obstacles. Beyond the horizon lies hope for brighter days and so the lone soul carries on, albeit cast in dark light. Discover Clay Lipsky's Interview
Newsha Tavakolian
Newsha Tavakolian
Iran
1981
Newsha Tavakolian (born 1981) is an Iranian photojournalist and documentary photographer. She has worked for TIME Magazine, The New York Times, Le Figaro, and National Geographic. Her work focuses on women's issues and she has been a member of the Rawiya women's photography collective which she co-established in 2011. Tavakolian is a full member of Magnum Photos. Born and brought up in Tehran, at age 16, Tavakolian took a six-month photography course, after which she began working as a professional photographer in the Iranian press. She started at the women's daily newspaper Zan, and later worked for other nine reformist dailies, all of which have since been banned. She covered the July 1999 student uprising, using her Minolta with a 50mm lens, and her photographs were published in several publications. However, she was forced to go on hiatus from her photojournalist work following the "chaos" of Iran’s presidential election in 2009. During this time, she began other projects focusing on art using photography as well as social documentary. Tavakolian’s photographs became more artistic and involved social commentary. She got her international break in 2001 at age 21, when she met J.P. Pappis, founder of Polaris Images, New York at a photography festival in Perpignan, France. She began covering Iran for Polaris Images, in the same year, and started working as a freelancer for The Times in 2004. Tavakolian has worked internationally, covering wars, natural disasters and social documentary stories in Iraq, Lebanon, Syria, Saudi Arabia, Pakistan and Yemen. Her work has been published by international magazines and newspapers such as TIME Magazine, Newsweek, Stern, Le Figaro, Colors, New York Times Magazine, Der Spiegel, Le Monde, NRC Handelsblad and National Geographic. Common themes in her work are photo stories of women, friends and neighbors in Iran; the evolving role of women in overcoming gender-based restrictions; and contrasting the stereotypes of western media. Her photo projects include Mother of Martyrs (2006), Women in the Axis of Evil (2006), The Day I Became a Woman (2010) and Look (2013). Tavakolian was part of the 2006 Joop Swart Masterclass organized by World Press Photo. In 2007 she was a finalist for the Inge Morath Award. Her work has been exhibited and collected at institutions such as the British Museum, the Victoria and Albert Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston and Somerset House, London. (April 2014), where she was one of eight Iranian photographers featured in the critically acclaimed Burnt Generation exhibition. In June 2015 Tavakolian became a nominee member of Magnum Photos and in 2019 a full member. She lives and works in Tehran and is married to the Dutch journalist Thomas Erdbrink. In 2019, the Iranian authorities barred her from working in the country.Source: Wikipedia Newsha Tavakolian is known for her powerful work covering wars in Iraq and social issues in her native Iran. With clarity and sensitivity, Tavakolian has photographed female guerilla fighters in Iraqi Kurdistan, Syria and Colombia, prohibited Iranian female singers and the lives of people living under sanctions. Over the years, her practice has shifted from photojournalism to photography as art. A self-taught photographer, Tavakolian began working professionally in the Iranian press at the age of 16, at women’s daily newspaper Zan. At the age of 18, she was the youngest photographer to cover the 1999 student uprising, which was a turning point for the country’s blossoming reformist movement and for Tavakolian personally as a photojournalist; a year later she joined New York-based agency Polaris Images. In 2003, she started working internationally, covering the war in Iraq. She has since covered regional conflicts, natural disasters and made social documentary stories. Her work has been published in international magazines and newspapers such as Time Magazine, Newsweek, Stern, Le Figaro, Colors, The New York Times, Der Spiegel, Le Monde, NRC Handelsblad, The New York Times Magazine and National Geographic. Commercial clients include Qatar foundation, who commissioned her to make a book about education around the world and Shiseido, who commissioned a two-year assignment looking at the meaning of beauty in Paris, France.Source: Magnum Photos
William Eugene Smith
William Eugene Smith
United States
1918 | † 1978
William Eugene Smith was an American photojournalist known for his refusal to compromise professional standards and his brutally vivid World War II photographs. Smith graduated from Wichita North High School in 1936. He began his career by taking pictures for two local newspapers, The Wichita Eagle (morning circulation) and the Beacon (evening circulation). He moved to New York City and began work for Newsweek and became known for his incessant perfectionism and thorny personality. Smith was fired from Newsweek for refusing to use medium format cameras and joined Life Magazine in 1939 using a 35mm camera. In 1945 he was wounded while photographing battle conditions in the Pacific theater of World War II. As a correspondent for Ziff-Davis Publishing and then Life again, W. Eugene Smith entered World War II on the front lines of the island-hopping American offensive against Japan, photographing U.S. Marines and Japanese prisoners of war at Saipan, Guam, Iwo Jima, and Okinawa. On Okinawa, Smith was hit by mortar fire. After recovering, he continued at Life and perfected the photo essay from 1947 to 1954. In 1950, he was sent to the United Kingdom to cover the General Election, in which the Labour Party, under Clement Attlee, was narrowly victorious. Life had taken an editorial stance against the Labour government. In the end, a limited number of Smith's photographs of working-class Britain were published, including three shots of the South Wales valleys. In a documentary made by BBC Wales, Professor Dai Smith traced a miner who described how he and two colleagues had met Smith on their way home from work at the pit and had been instructed on how to pose for one of the photos published in Life. Smith severed his ties with Life over the way in which the magazine used his photographs of Albert Schweitzer. Upon leaving Life, Smith joined the Magnum Photos agency in 1955. There he started his project to document Pittsburgh. This project was supposed to take him three weeks, but spanned three years and tens of thousands of negatives. It was too large ever to be shown, although a series of book-length photo essays were eventually produced. From 1957 to 1965 he took photographs and made recordings of jazz musicians at a Manhattan loft shared by David X. Young, Dick Cary and Hall Overton. In January 1972, William Eugene Smith was attacked by Chisso employees near Tokyo, in an attempt to stop him from further publicizing the Minamata disease to the world. Although Smith survived the attack, his sight in one eye deteriorated. Smith and his Japanese wife lived in the city of Minamata from 1971 to 1973 and took many photos as part of a photo essay detailing the effects of Minamata disease, which was caused by a Chisso factory discharging heavy metals into water sources around Minamata. One of his most famous works, Tomoko Uemura in Her Bath, taken in December 1971 and published a few months after the 1972 attack, drew worldwide attention to the effects of Minamata disease. Complications from his long-term consumption of drugs, notably amphetamines (taken to enable his workaholic tendencies), and alcohol led to a massive stroke, from which Eugene Smith died in 1978. He is buried in Crum Elbow Cemetery, Pleasant Valley, New York. Smith was perhaps the originator and arguably the master of the photo-essay. In addition to Pittsburgh, these works include Nurse Midwife, Minamata, Country Doctor, and Albert Schweitzer - A Man of Mercy. Today, Smith's legacy lives on through the W. Eugene Smith Memorial Fund to promote "humanistic photography." Since 1980, the fund has awarded photographers for exceptional accomplishments in the field.Source: Wikipedia Born and reared in Wichita, Kansas, W. Eugene Smith became interested in photography at the age of fourteen, and three years later had begun to photograph for local newspapers. He received a photography scholarship to the University of Notre Dame, but he left after a year for New York, where he joined the staff of Newsweek and freelanced for LIFE, Collier's, Harper's Bazaar, The New York Times, and other publications. Beginning in 1939, Smith began working sporadically as a staff photographer for LIFE, with which he had a tempestuous relationship throughout the rest of his career. During World War II he was a war correspondent in the Pacific theater for the Ziff-Davis publishing company and LIFE, for whom he was working when he was severely wounded in Okinawa in 1945. After a two-year recuperation, he returned to the magazine and produced many of his best photo essays, including Country Doctor, Spanish Village, and A Man of Mercy. In 1955, he joined Magnum, the international cooperative photography agency founded by Henri Cartier-Bresson, Robert Capa, George Rodger and Chim (David Seymour), and began work on a large photographic study of Pittsburgh, for which he received Guggenheim Fellowships in 1956 and 1957. Smith continued to freelance for LIFE, Pageant, and Sports Illustrated, among other periodicals, for the rest of his career. From 1959 to 1977, he worked for Hitachi in Japan and taught at the New School for Social Research and the School of Visual Arts in New York and the University of Arizona in Tucson. His last photo essay, Minamata, completed in the 1970s, depicted victims of mercury poisoning in a Japanese fishing village. Smith is credited with developing the photo essay to its ultimate form. He was an exacting printer, and the combination of innovation, integrity and technical mastery in his photography made his work the standard by which photojournalism was measured for many years. In recognition of his outstanding contribution to the development of photojournalism, the W. Eugene Smith Memorial Fund was established after his death to support the projects of photographers working in the tradition he established. Source: International Center of Photography
Marcel Giró
Marcel Giró
Spain
1913 | † 2011
Marcel Giró was born in Badalona (Spain) in 1913. Since his youth he was fond of mountain trekking and photography. At the beginning of the Spanish Civil War he enlisted as a volunteer on the Republican side. In 1937, disappointed by the constant fighting between the different factions fighting against Franco, he decided to exile. He walked through the Pyrenees to France where he spent nearly two years doing all kinds of jobs. Finally in 1940 he was able to travel to Colombia with two Catalan companions, where they set up a small textile business. He married Palmira Puig, and they moved to Brazil, where they settled. In Brazil Giró resumed his hobby and ended devoted to professional photography. In 1953 he opened his own studio in Sao Paulo, Estúdio Giró. Marcel Giró became one of the leading photographers of the country, an active member of what became known as Escola Paulista. This movement, pioneer of modernist photography in Brazil was born around Foto Cine Club Bandeirante, in the 50s and 60s, with photographers like José Yalenti, Thomaz Farkas, Gertrudes Altschul, Eduardo Salvatore, Chico Albuquerque, Geraldo de Barros, Rubens Teixeira Scavone, Ademar Manarini, German Lorca and Gaspar Gasparian among others. He exhibited his works all over Brazil and around the world. His works are today in collections like the MASP (Sao Paulo Museum of Modern Art), Itaú Cultural (Itaú Bank), the Metropolitan Museum and the MoMA, in New York, among others. Giró was also one of the pioneers of advertising photography in Brazil. In his studio worked young assistants that later become world-renowned as great photographers like Marcio Scavone and JR Duran. After the death of his wife in 1978, he left professional photography and artistic photography. He sold the studio and returned to Catalonia. During the 80's and 90's, he began to paint with a very close criteria to his Photography works of the 50s. He died in Mirasol (Barcelona) in 2011, at age 98. For exhibitions and sales in Europe contact Toni Ricart Giró: toniricart@marcelgiro.com For exhibitions and sales in rest of the world Isabel Amado: isabel@isabelamado.com.br
Brigitte Carnochan
Brigitte Carnochan
United States
1941
Brigitte Carnochan's photographs are represented nationally and collected globally by museums, corporate and private collectors. She has had solo exhibitions in Latvia, Italy, Chile, and Hong Kong as well as in New York, Houston, Boston, Palo Alto, Los Angeles, Santa Fe, Ketchum, Woodstock, Albuquerque, Carmel and San Francisco. In addition to the publication of three monographs (Bella Figura 2006, Shining Path 2006, Floating World 2012), The German publisher, Edition Galerie Vevais, launched a monograph of her images in 2014 at Paris Photo. For many years she taught workshops and classes through the Extension Program at UC Santa Cruz and Stanford's Continuing Studies Program. She is on the Advisory Councils of Center, in Santa Fe and The Center for Photographic Art in Carmel. Statement: Despite the debates over "honesty" and "truth" in photography, it is an intrinsically subjective art and form of communication. The photographer has chosen, from a huge range of images, certain ones - or pieces - from a certain perspective, with the light at a certain angle and at a unique moment in time. And the "story" in the photograph begins with the photographer's decision of when to click the shutter and isn't completed until each viewer interprets that image in his or her own way. The qualities that have fascinated me and led me to make a particular photograph are usually quite intuitive. I generally don't have a completed concept in my mind when I begin--I move things around, change angles, lighting--until everything seems right. To further complicate issues of "truth," I often add color to a black and white image in order to bring out, most convincingly, the impression it has made on me--and I have no concern about whether the colors are the "real" colors. In documentary photography the same subjective issues apply--but realizing and recording the "right" moment requires quicker reflexes and a different kind of intuition. Sensing a moment coming by keenly observing the scene--and always being ready for that moment--is the excitement in that kind of photography. All of my images begin as straight gelatin silver prints, but in my nudes and floral still lifes, I am often drawn to hand coloring on several counts. First in literature and now in photography, I have been interested in the power of the imagination--how it colors everyday life - creates, in fact, private views of experience, whether revealed in words or in images. Even though most people see the world in color, they do not see everything in the same exact colors. From an optical point of view, the colors we see depend on where we stand in relation to the object, where the sun is on the horizon, what color the walls are, or the tint of our glasses (or contact lenses), and so on. From a psychological point of view--everything depends on whether we are worried, elated, anxious, in love, lonely, distracted, or fully alert. For this reason, I often hand color my work, because the process allows me to interpret the essence of my subject according to my own imagination. Whether it is nudes and flowers or the black and white images in my series from Cuba, Africa, or Mexico, imagination colors--literally and figuratively--not only what I see initially, but what the viewer sees, ultimately. And seeing, of course, is everything in photography: seeing--and light and shadow. Beginning in 2007, I am continuing to paint gelatin silver images, but I am also scanning the first copy in each new painted edition (now limited to 25) and creating small limited editions of archival pigment prints* in three sizes. The level of current technology makes me confident that these digitally printed images will not only render the original painted photograph faithfully, but will, like the original, last over time. Discover Brigitte Carnochan's Interview
Sarah Sasani
Sarah Sasani
Iran
1985
Sarah Sasani was born in 1985 in Tehran. She is graduated in the research of art and sociology. She has activated photojournalism in domestic and foreign newspapers and newsagents since 2003. She has had four solo exhibitions and has participated in more than fifty domestic and foreign virtual festivals and group exhibitions like Austria, France, American, Italy, Belgium, Georgia, and Germany and she has gained three prestigious national festivals. And also she is a professor in the field of sociology of art and photography at the universities of Art and Sociology. Monotony by Sarah Sasani
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
© Fernando Morales Roca
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