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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.

 

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More Great Photographers To Discover

MG Vander Elst
Belgium/United States
1967
Raised In Antwerp, Belgium, MG Vander Elst is a Fine Art Photographer and holds a Certificate of Photography from The Portfolio Center in Atlanta, Ga. She worked as a photographer’s assistant in NYC and developed her Portraiture work which later expanded to include, still life, abstract and landscape work. Art was all around her growing up in Antwerp, where she regularly visited the Ruben’s house, studied the Dutch Masters, and shared her parents love for Modern Art. The light, gesture and intimacy of the Dutch masters and the minimalism of modernists still influence her work. MG’s fine art photography approach is intuitive, stemming from an idea or an emotion. Whether photographing landscape, florals or abstracts she tries to make visible what is invisible, pursuing that intimate moment between inhale and exhale. Statement MG’s latest work in florals, still life and abstract work all stem from the same place, a place of loss, identity and forging ahead. Letting go "Floral images are my new center, I use flowers that I encounter in my neighborhood and local shops, it is no surprise to learn that these flowers embody the range of emotions I have been going through, like remembrance, growth, healing, refuge, and love. Through this process I am learning that photographing the simple lines and daintiness of these flowers they become an exercise in form, in juxtapositions and in letting go. In closely observing the shifting shapes of these living forms, who then transition, mature, and wilt I witness the contrasting paradox in beauty when blossoming or dying combined with their shaggy stalk and the petal’s ethereal texture which generates this visual dissonance that captivate me. I am not frozen and no longer afraid, but instead I am finding a rise of energy in this newfound freedom of moving in a place I have never been." Finding my Way "At the onset of the Pandemic, I lost my mother, simultaneously, my eldest son was preparing to leave for college. With the loss of my mother, I became the adult, the matriarch. The guidance I trusted and the intimacy I relied on was gone, that comfort of being the child vanished. With the anticipation of my son’s departure, I was thrusted into an uncharted emotional landscape, one where I felt undefined as a mother and did not know how to move forward. So, returning to myself and turning the camera onto my body is my way forward. By abstracting my body, I examine the shapes and textures of my form; in this pause, I am able to explore and chart my new emotional landscape. This way I am relearning who I am in order to know where I am going." Conformity "When I am creating still life’s in my own domestic spaces or in my studio. I am asking questions about my life today, as a woman, as mother and as a spouse. Whose ideas about myself am I conforming to? Why do I possess a pink razor, Is this herbal tea really soothing me? By calling attention to the everyday mundane possessions, we surround ourselves with, my intention is clear from the start. In certain instances, I juxtapose them with random objects, or I deliberately leave them by themselves. But by posing these objects in specific places I am adding a tension to the image and the one-dimensional image becomes a multi-dimensional exploration of the time we live in. I am making room for consideration, focusing on what that object means to us and what it evokes in us and why we surround ourselves with it. I aim to create a pause." AAP Magazine: AAP Magazine 26 Shapes Article Silences
Jimmy Nelson
United Kingdom
1967
Jimmy Nelson, born in 1967, embarked on a transformative journey across Tibet at age 17, captured by English National Geographic. He became a photojournalist, covering war zones and producing "Literary Portraits of China" for Shell Oil. Later, he celebrated global diversity with "Before they Pass Away" and "Homage to Humanity. " Through his lens, Nelson immortalized indigenous cultures, inspiring cultural preservation and appreciation worldwide. James Philip Nelson, born in 1967 in Sevenoaks, Kent, led a diverse childhood marked by travels across Africa, Asia, and South America alongside his father, a geologist for International Shell. At 16, he developed Alopecia totalis, triggered by stress and malaria medication. A year later, he embarked on a two-year trek across Tibet, capturing the journey with a small camera. Upon his return, his images were published by English National Geographic. Subsequently, Nelson ventured into photojournalism, documenting war zones and later commissioned by Shell Oil for Literary Portraits of China. Transitioning to commercial advertising in 1997, he continued to document remote cultures. In 2010, Nelson embarked on his second book, Before they Pass Away, a three-year endeavor photographing over 35 indigenous tribes worldwide. Using a 50-year-old 4x5in camera, Nelson drew inspiration from Edward S. Curtis, aiming to romantically portray his subjects. He emphasized that the project was not about factual accuracy but rather his artistic interpretation of diversity and beauty. Tribes photographed included the Huli and Kalam tribes of New Guinea, the Tsaatan of Mongolia, and the Mursi people of Ethiopia's Omo River valley. Financing came from Dutch billionaire Marcel Boekhoorn, resulting in a published book with photographs, texts, and limited editions. In September 2018, Nelson released his third book, Homage to Humanity, featuring over 400 photographs showcasing 30 indigenous cultures. The book includes interviews with tribal members, infographics about the depicted locations and cultures, and an application incorporating 360° film material linked to the images, along with behind-the-scenes videos and travel background information. Nelson collaborated with assistant Stephanie van der Wiel, whom he met at Leiden's National Museum of Ethnology. "Homage to Humanity" aims to be more inclusive than Nelson's previous work, addressing criticisms of his earlier book, "Before they Pass Away." Papuan chief Mundiya Kepanga emphasizes in the foreword the importance of preserving cultural values and identity for future generations.
Michele Zousmer
United States
Michele Zousmer is a humanitarian and fine art photographer. The camera is her tool to give voice to marginalized communities and witness the human experience. Michele's work celebrates each individual's strength and beauty, as well as their vulnerability and spirit, going beyond how one presents oneself to the world. They are infused with her almost overwhelming empathy. Michele believes a photograph can create a lasting impression of emotion, curiosity, love, and ultimately hope of mankind. It can help people heal, give them dignity, and feel empowered. Her photographs reveal insights into the lives of people we wouldn't otherwise meet. Through her world travels, Michele meets people from different walks of life, listening to their stories and sharing intimate moments with them. The permission they grant and openness they offer by inviting them into their world never ceases to move Michele. The soulfulness of her images comes from developing relationships with the people she engages with. Michele truly believes that even though we may have differences on the outside, inside we are all the same. The images are infused with her almost overwhelming empathy. Artist Statement "My mind, my eyes, and my heart have been opened by my experiences. My life has been forever changed. I hope my work inspires others to feel we all matter and to care more profoundly. Engaging in the world and becoming open to different cultures and traditions allows for more conversation on diversity and equality. Photographs hold the power to connect people and create understanding. This is why I do what I do." Article Mis(s)Understood
Pat Rose
United States
Pat Rose is a photographer based in Portland, Oregon. Her work includes landscape, street, portrait and botanical photography. She is a retired teacher of English as a Second Language who has taught in Saudi Arabia and Turkey, as well as in Austin, Texas, and most recently at Portland State University. After picking up her first digital camera a few years before her retirement about a decade ago, she quickly developed many photographic interests. Landscape and street photography appeal to her love of wandering and exploring new places, while her interest in portraiture stems from a desire to work collaboratively with her subjects. In late February 2020, as the coronavirus pandemic was gaining traction in the world and just starting to spread in the US, she began exploring the genre of scanner photography, an alternative form of photography involving the use of a flatbed scanner rather than a conventional camera to make digital images. This kind of work seemed an excellent way to continue her creative efforts as she started practicing self-isolation at home during the growing pandemic. For her scanned images she has been using flowers and other botanical specimens to create "virtual" bouquets as a celebration of the beauty and grace still to be found in the world during these troubled times. Pat has shown her work in a number of group exhibitions in galleries across the country. In Oregon, her photography has been juried into exhibitions at the LightBox Gallery in Astoria and the Black Box Gallery in Portland, and her Landscapes of the Pacific Northwest series was juried into the 2018 Pacific Northwest Photography Viewing Drawers at the Blue Sky Gallery in Portland. Her work has also been juried into exhibitions in the A Smith Gallery in Johnson City, Texas, the SE Center for Photography in Greenville, South Carolina, and PhotoPlace Gallery in Middlebury, Vermont, among others. In addition, one of her landscapes graces the cover of the 2016 edition of The Creaky Knees Guide, Oregon published by Sasquatch Books in Seattle. Another of her landscape photographs appears in the 2017 German edition of the National Geographic Guide to National Parks of the United States, a travel guide published by NG Buchverlag GmbH in Munich. Pat has received several awards for her photography. Her landscape image titled Enchanted Forest was selected for the Juror's First Award at the 2017 Nature's Way exhibition at the LightBox Gallery in Oregon, and the image won the Grand Prize in The American Landscape 2021 Photo Contest presented by Outdoor Photographer Magazine. Her portrait titled Sophia With Roses won a Director's Honorable Mention in the 2020 Portraits exhibition at the A Smith Gallery in Texas, and the image won Second Place in The Face, 2020 Portrait Photo Contest presented by Digital Photo Pro Magazine. Her cityscape image titled Random Chaos won a Director's Honorable Mention in the 2020 Vistas exhibition at the A Smith Gallery in Texas. And her botanical image titled Still Life with Roses & Raffia won an Honorable Mention in the Still Life Amateur category in The 14th Annual International Color Awards. Pat also writes about photography for Oregon ArtsWatch, an online magazine about culture and the arts in the Pacific Northwest. Much of her photography and her CV can be found on her website.
Hector Acebes
United States/Spain
1921 | † 2017
Hector Acebes was an American photographer, notable for his expeditions to Africa and South America. He was born in 1921 in New York City, and spent most of his childhood in Madrid (Spain) and Bogotá (Colombia). He went on his first long-distance voyage at the age of thirteen, going 400 miles from Bogota to the city of Barranquilla when he ran from home to "sail around the world". He was trained at the New York Military Academy and would serve in the US army in World War II on the European front. He studied engineering at the Massachusetts Institute of Technology (MIT), and graduated in 1947. He married Madeline Acebes in Boston, and they would have a son and two daughters. His first major photographic expedition was to North Africa in 1947. He embarked on a second trip to West Africa, specifically Timbuktu in 1949. Between 1950 and 1953, he embarked on several expeditions to the Orinoco River in Venezuela, and to other parts of South America. He went on his final, most extensive African expedition in 1953, going throughout the continent, from Dakar to Zanzibar. After this, he began a career as an industrial filmmaker for engineering projects throughout South America. In his final years Acebes lived in Bogota, and worked on creating the Hector Acebes Archive. He died in Bogota on 22 April 2017. Acebes's African photographs are often viewed as a departure from colonial anthropologists such as Casimir Zagourski, in whose footsteps he followed. He himself rejected the label of "anthropologist", seeking to distance himself from its colonial connotations. The work of many previous photographers was often in service to the European colonization of Africa, and sought to document Africans as colonial subjects, Acebes's portraits gave the subjects more agency to pose, express emotions and individuality, thus departing from this tradition to an extent. Hector Acebes thus existed in a transitional area between colonial anthropologists, and concurrently emerging native African photographers such as Seydou Keïta, in terms of the agency and depiction of Africans within his work.Source: Wikipedia Hector Acebes was born in New York City in 1921. He was raised in Madrid, Spain, and attended the Colegio del Pilar. His family moved to Bogotá, Colombia, where he attended the Gimnasio Moderno. Acebes returned to the United States for high school at the New York Military Academy. He gained much of his technical photographic skill by participating in the school’s camera club and through study and practice on his own. After graduating from the Chauncey Hall School in Boston, he entered Massachusetts Institute of Technology to study engineering. While in college, he maintained his own photo studio. During World War II, he enlisted in the U.S. Army and served in Germany. On his return, he completed his degree at MIT and then moved with his wife to Bogotá. He has a son and two daughters. Throughout the late 1940s and the 1950s, Acebes took expeditions through Africa and South America and started his work as a professional filmmaker and lecturer. By the late 1950s, Acebes Productions had established a reputation for creating excellent documentary and industrial films. Acebes wrote, filmed, directed, and edited each of the forty-three films Acebes Productions released. Hector Acebes died at the age of 96 on April 22, 2017 in Bogotá. For the last ten years, the Hector Acebes Archives has been active in bringing Acebes' work to the attention of galleries, collectors, and museums. It is managed by Ed Marquand.Source: Hector Acebes Archives
Chris Killip
United Kingdom
1946 | † 2020
Born in Douglas, Isle of Man in 1946, he left school at age sixteen and joined the only four star hotel on the Isle of Man as a trainee hotel manager. In June 1964 he decided to pursue photography full time and became a beach photographer in order to earn enough money to leave the Isle of Man. In October 1964 he was hired as the third assistant to the leading London advertising photographer Adrian Flowers. He then worked as a freelance assistant for various photographers in London from 1966-69. In 1969, after seeing his very first exhibition of photography at the Museum of Modern Art in New York, he decided to return to photograph in the Isle of Man. He worked in his father's pub at night returning to London on occasion to print his work. On a return visit to the USA in 1971, Lee Witkin, the New York gallery owner, commissioned a limited edition portfolio of the Isle of Man work, paying for it in advance so that Killip could continue to photograph. In 1972 he received a commission from The Arts Council of Great Britain to photograph Huddersfield and Bury St Edmunds for the exhibition Two Views - Two Cities. In 1975, he moved to live in Newcastle-upon-Tyne on a two year fellowship as the Northern Arts Photography Fellow. He was a founding member, exhibition curator and advisor of Side Gallery, Newcastle-upon-Tyne, as well as its director, from 1977-9. He continued to live in Newcastle and photographed throughout the North East of England, and from 1980-85 made occasional cover portraits for The London Review of Books. In 1989 he was commissioned by Pirelli UK to photograph the workforce at their tyre factory in Burton-on-Trent. In 1989 he received the Henri Cartier Bresson Award and in 1991 was invited to be a Visiting Lecturer at the Department of Visual and Environmental Studies, Harvard University. In 1994 he was made a tenured professor and was department chair from 1994-98. He retired from Harvard in December 2017 and continues to live in the USA. His work is featured in the permanent collections of major institutions such as the Museum of Modern Art, New York; George Eastman House; Fine Arts Museum of San Francisco; Museum Folkwang, Essen; the Stedelijk Museum, Amsterdam; National Gallery of Australia, Canberra; and the Victoria and Albert Museum, London. Source: chriskillip.com Skinningrove 1982 - 84 The village of Skinningrove lies on the North-East coast of England, halfway between Middlesbrough and Whitby. Hidden in a steep valley it veers away from the main road and faces out onto the North Sea. Like a lot of tight-knit fishing communities it could be hostile to strangers, especially one with a camera. "Now Then" is the standard greeting in Skinningrove; a challenging substitute for the more usual, "Hello". The place had a definite 'edge' and it took time for this stranger to be tolerated. My greatest ally in gaining acceptance was 'Leso' (Leslie Holliday), the most outgoing of the younger fishermen. Leso and I never talked about what I was doing there. but when someone questioned my presence, he would intercede and vouch for me with, 'He's OK'. This simple endorsement was enough. I last photographed in Skinningrove in 1984, and didn't return for twenty-six years. I was then shocked by how it had changed, as only one boat was still fishing. For me Skinningrove's sense of purpose was bound up in its collective obsession with the sea. Skinningrove fishermen believed that the sea in front of them was their private territory, theirs alone. Without the competitive energy that came from fishing, the place seemed like a pale reflection of its former self. Common Market and Health and Safety rules and regulations, coupled with increasing insurance costs, brought an end to the Skinningrove I'd known. When you're photographing you're caught up in the moment, trying to deal as best you can with what's in front of you. At that moment you're not thinking that a photograph is also, and inevitably, a record of a death foretold. A photograph's relationship to memory is complex. Can memory ever be made real or is a photograph sometimes the closest we can come to making our memories seem real. Chris Killip Remembering: Richard Noble (18) and David Coultas (34) drowned off Skinningrove on March 31 1984 Leslie Holliday - 'Leso' (26) and David Hinton (12) drowned off Skinningrove on July 29 1986 Source: Howard Yezerski Gallery
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