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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Win a Solo Exhibition in April 2026 + An Exclusive Interview!
Cardell Phillips
Cardell Phillips
Cardell Phillips

Cardell Phillips

Country: United States
Birth: 1952

I'm a photographer living in Chicago. I discovered photography when I was in high school. My uncle was a photographer, and he showed me what the world looked like through a viewfinder. What I enjoyed the most about it was the freedom to explore the world and then show everyone what I found. When I got a job, I bought my first camera, an Olympus Trip 35, and learned how to use it by taking photographs of family and friends. Basically, anyone who would put up with me taking their picture when they weren't expecting it. When I was in grammar school, my two sisters and I spent our summer vacations at our grandparents' farm in Michigan. It was there that I experienced what it was like to live close to the land. So, when I thought about what kind of photography I wanted to specialize in, I chose landscape photography. Enchanted by the images taken by Ansel Adams and others, I traveled to the Canadian Rockies for a weeklong workshop where I learned some of the finer aspects of photography and gained confidence as a photographer. For years, I only shot portraits and landscapes. My interest in street photography began around 2008, when I came across the work of Walker Evans. His vision of the beauty in everyday life led me to other masters like Henri Cartier-Bresson, Vivian Maier, Roy DeCarava, and Wayne Miller. Their humanist approach to photography, to explore what it means to be human, inspired me. It's what I think about when I'm out with my camera and immersing myself in the flow of life, seeking to capture its disillusionment, solitude, and indigence but also the beauty, joy, and everyday wonders. In September 2021, the Praxis Gallery in Minneapolis chose one of my images for its "Shape of Things," exhibit. It was my first gallery showing.

Statement
One of the best places to take photographs in Chicago is the Lakefront. There, the beaches are strung out along Lake Michigan, from north to south, like pearls on a string, where there are many opportunities to photograph both people and landscapes. The 57th Street Beach is my favorite. It's a small beach with trees at the north and south ends that give it a touch of wilderness. As I photographed there, I noticed the people who came out to the lake in the early morning to engage in creative or spiritual work. As I began photographing them, I got the idea for a project about the power of the lake and the people who go there to resonate with the sky and water and to energize their hopes and dreams.
 

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More Great Photographers To Discover

Richard Le Manz
For this engineer and self-taught photographer born in Spain in 1971, photography is equally essential both, to communicate the beauty and to reflect on the complex socio-environmental issues, which threaten our planet. He started in photography making landscape photography, but depicting nature is not enough. Pictures of great landscapes may not be the best way to move consciences and change our values and morals. His photography becomes what some journalist called "Philography", photography to philosophize, photography to make people think, to reflect. Photography used as a mean for expressing ideas, transmission of messages, and provoking reactions. Photography as a means to let out the images generated in his mind, imagination and creativity. For this purpose, the artist uses both the object and various photographic techniques like expression way, to delve into the plot of reflection, ideas and dreams. Photography to transmit a clear message, sometimes critical. His landscape photographs begin to turn to black and white and later they go unstructuring seeking to convey a clearer message. One of the first projects in which the search for new forms of expression begins is the "Unstructured Sunset" project that can be seen in this brief presentation. After receiving numerous national and international awards, he present in 2018 his first major project "Habitat, beyond photography", moving from local exhibitions to being invited to international festivals. In 2019 I present this project, together with the most recent "In Our Hands" at the Xposure International Photography festival in Sharjah (United Arab Emirates); different projects but both focuses on the future of our planet. The work "Habitat, beyond photography" explores the relationship between development and nature, between development and the environment and especially between the world of automotive and the environment. It focuses on the serious problem of the mobility habits of today's society, traffic and pollution. It uses internal elements of the explosion engine, (intake valves, exhaust valves, spark plugs, camshafts, injectors, timing chain, and so on) transforming and stamping these objects with a new meaning, creating visual metaphors where nothing is as it seems. In "In Our Hands" he uses multiple exposure in camera without digital manipulation to create images that show a stubborn reality, we are nature and his future is in our hands.
Elaine Mayes
United States
1936
Elaine Mayes has been an active visual artist since 1960. A main focus and emphasis for her work has been investigations of ‘seeing’ and documentary forms in photography. This interest led to a number of projects and seeking out various close at hand situations in the world as subject material for her photographs. Elaine majored in painting and art history at Stanford University and then studied at the San Francisco Art Institute with John Collier, Jr. Paul Hassel, Minor White, Nathan Oliviera and Richard Diebenkorn. Between 1961 and 1968 she was an independent photojournalist working in San Francisco for magazines and graphic designers. During 1967 and 1968 she was a rock and roll photographer and photographed the ‘Summer of Love’ and scene in the Haight Ashbury District of San Francisco. One of her assignments was to photograph the Monterey Pop Festival. This work was published in her book called, It Happened In Monterey. Elaine taught photography for thirty-five years, beginning at the University of Minnesota in 1968. Then she taught at Hampshire College from 1971 to 1981, at Bard College during 1982 and 1983, and at New York University’s Tisch School of the Arts from 1983 until 2001. Elaine was Chair of the Tisch Photography Department from 1997 until her retirement from teaching. Currently, she is Professor Emeritus and is living in the Catskill Mountains of New York actively continuing her work. Elaine’s photography has been exhibited extensively, with recent exhibitions connected with The Fiftieth Anniversary of the Summer of Love and The Monterey Pop Festival and includes the de Young Museum, The California Historical Society, The SFO Museums United Airlines Terminal, The Monterey Art Museum, The Grammy Musuem, Spazio Gerra - Comune di Reggio Emilia, Italy and the Joseph Bellows Gallery in La Jolla. Elaine has received a number of awards including three grants from the National Endowment for the Arts and a Guggenheim Fellowship. She also was awarded funding from The Atherton Foundation for her Hawaiian images and book production for a limited edition handmade book called, Ki i ‘no Hawai’i. Her newest publication is, Recently, Daylight Press, 2013. Elaine is affiliated with Getty Images, Joseph Bellows Gallery, Morrison Hotel Galleries, and Liberal Arts Roxbury.Source: www.elainemayesphoto.com
Pierre Verger
France
1902 | † 1996
Pierre Edouard Leopold Verger, alias Fatumbi or Fátúmbí was a photographer, self-taught ethnographer, and babalawo (Yoruba priest of Ifa) who devoted most of his life to the study of the African diaspora - the slave trade, the African-based religions of the new world, and the resulting cultural and economical flows from and to Africa. At the age of 30, after losing his family, Pierre Verger took up the career of journalistic photographer. Over the next 15 years, he traveled the four continents, documenting many civilizations that would soon be effaced by progress. His destinations included Tahiti (1933); United States, Japan, and China (1934 and 1937); Italy, Spain, Sudan (now Mali), Niger, Upper Volta, Togo and Dahomey (now Benin, 1935); the West Indies (1936); Mexico (1937, 1939, and 1957); the Philippines and Indochina (now Thailand, Laos, Cambodia and Vietnam, 1938); Guatemala and Ecuador (1939); Senegal (as a conscript, 1940); Argentina (1941), Peru and Bolivia (1942 and 1946); and finally Brazil (1946). His photographs were featured in magazines such as Paris-Soir, Daily Mirror (under the pseudonym of Mr. Lensman), Life, and Paris Match. In the city of Salvador, Brazil he fell in love with the place and people, and decided to stay for good. Having become interested in the local history and culture, he turned from errant photographer to a researcher of the African diaspora in the Americas. His subsequent voyages are focused on that goal: the west coast of Africa and Paramaribo (1948), Haiti (1949), and Cuba (1957). After studying the Yoruba culture and its influences in Brazil, Verger became an initiated of the Candomblé religion, and officiated at its rituals. During a visit to Benin, he was initiated into Ifá (cowrie-shell divination), became a babalawo (priest) of Orunmila, and was renamed Fátúmbí ("he who is reborn through the Ifá"). Veger's contributions to ethnography are embodied in dozens of conference papers, journal articles and books and were recognized by Sorbonne University, which conferred upon him a doctoral degree (Docteur 3eme Cycle) in 1966 — quite a feat for someone who dropped out of high school at 17. Verger continued to study and document his chosen subject right until his death in Salvador, at the age of 94. During that time he became a professor at the Federal University of Bahia in 1973, where he was responsible for the establishment of the Afro-Brazilian Museum in Salvador; and served as visiting professor at the University of Ifé in Nigeria. The non-profit Pierre Verger Foundation in Salvador, which he established to continue his work, holds more than 63,000 photos and negatives taken until 1973, as well as his papers and correspondence. Source: Wikipedia
Richard Dweck
United States
Photography has been Richard Dweck's vehicle for expressing what he sees and feels when he moves through the world. He has been through some extraordinarily difficult experiences in life but has been able to use them to see and feel the world more acutely. For him there is no greater pleasure than having someone who is looking at his photograph understand the feelings that he felt when he took that photograph. He also enjoys hearing them express very different feelings and show him things in his own photographs that he might never have seen or felt. The Old City of Jerusalem Last year, for the first time, I photographed at the Western Wall and other sites in the Old City of Jerusalem. The impetus for my travel to this area to photograph was the interplay between my Arabian and Jewish roots combined with my own deep self-reflection following a tragic family loss. When I found that so many people were dressed in black and white it only seemed natural that my photographs should be B&W as well. I shot my pictures from the same level as my subjects (or even from below when that was possible) giving me the sense that I could look into them more deeply and imagine their thoughts. The Gaze shows both the deep reflection of the elder along with the reverence of the child. The child's focus and that of my camera are on the elder. The backdrop is the historic 2000+-year old wall. My landscape and architectural photographs tend to the more abstract, while my portraits are more representational. Nonetheless, geometry and textures still play a big part in portraits. The main focus for me is the emotions that I can capture that can resonate deeply within me and very hopefully with the viewers of my work. I definitely look forward to returning for another emotional and introspective journey there one day.
Helen Levitt
United States
1913 | † 2009
Helen Levitt was an American photographer and cinematographer. She was particularly noted for her street photography around New York City. David Levi Strauss described her as "the most celebrated and least known photographer of her time." Helen Levitt was most well known and celebrated for her work taking pictures of children playing in the streets. She also focused her work in areas of Harlem and the Lower East side with the subjects of her work many of which were minorities. There is a constant motif of children playing games in her work. She stepped away from the normal practice set by other established photographers at the time by giving a journalistic depiction of suffering. She instead chose to show the world from the perspective of her children by taking pictures of their chalk art. She usually positions the camera and styles the photo in a way that gives the focus of her photography power. Her choice to display children playing in the street and explore street photography fights against what was going on at the time. Legislation being passed in New York at the time was limiting many of the working classes' access to these public spaces. Laws were passed that directly targeted these communities in an attempt to control them. New bans on noise targeted working-class and minority communities. There was a movement to also try to keep children from playing on the street believing it is unsafe for them out there. Instead encouraging safe new areas that were usually built more in upper and middle-class areas. Helen Levitt instead exploring the narrative of those who lived in these areas and played in these streets was a way further to empower the subjects of her photos. Levitt was born in Bensonhurst, Brooklyn, New York, the daughter of May (Kane), and Sam Levitt. Her father and maternal grandparents were Russian Jewish immigrants. She went to New Utrecht High School but dropped out in 1931. She began taking photography when she was eighteen and in 1931 she learned how to develop photos in the darkroom when she began working for J. Florian Mitchell, a commercial portrait photographer in the Bronx. She also attended many classes and events hosted by Manhattan Film and Photography League. This was also around the time she was exposed to the work of Henri Cartier-Bresson at the Julien Levy Gallery, who she was also able to meet through the league. His work became a major influence for her photography as it inspired her to change from her current more journalistic and commercial approach to photography to a more personal one. In 1936, she purchased a Leica camera (a 35 mm range-finder camera). In While teaching art classes to children in 1937 for the New York City's Federal Art Project, Levitt became intrigued with the transitory chalk drawings that were part of the New York children's street culture of the time. She began to photograph these chalk drawings, as well as the children who made them for her own creative assignment with the Federal Art Project. were ultimately published in 1987 as In The Street: chalk drawings and messages, New York City 1938–1948. She continued taking more street photographs mainly in East Harlem but also in the Garment District and on the Lower East Side, all in Manhattan. During the 1930s to 1940s, the lack of air conditioning meant people were outside more, which invested her in street photography. Her work was first published in Fortune magazine's July 1939 issue. The new photography section of the Museum of Modern Art, New York included Levitt's work in its inaugural exhibition in July 1939. In 1941, she visted Mexico City with author James Agee and took photos of the area. In 1943, Nancy Newhall curated her first solo exhibition Helen Levitt: Photographs of Children. In 1959 and 1960, she received two grants from the Guggenheim Foundation for her pioneering work in color photography. In 1965 she published her first major collection, A Way of Seeing. Much of her work in color from 1959 to 1960 was stolen in a 1970 burglary of her East 12th Street apartment. The remaining photos, and others taken in the following years, can be seen in the 2005 book Slide Show: The Color Photographs of Helen Levitt. A second solo exhibit, Projects: Helen Levitt in Color, was held at the Museum of Modern Art, New York in 1974. Her next major shows were in the 1960s; Amanda Hopkinson suggests that this second wave of recognition was related to the feminist rediscovery of women's creative achievements. In 1976, she was a Photography Fellow of the National Endowment for the Arts. Levitt lived in New York City and remained active as a photographer for nearly 70 years. However, she expressed lament at the change of New York City scenery: "I go where there's a lot of activity. Children used to be outside. Now the streets are empty. People are indoors looking at television or something." She had to give up making her own prints in the 1990s due to sciatica, which also made standing and carrying her Leica difficult, causing her to switch to a small, automatic Contax. She was born with Ménière's syndrome, an inner-ear disorder that caused her to "[feel] wobbly all [her] life." She also had a near-fatal case of pneumonia in the 1950s. Levitt lived a personal and quiet life. She seldom gave interviews and was generally very introverted. She never married, living alone with her yellow tabby Blinky. Levitt died in her sleep on March 29, 2009, at the age of 95.Source: Wikipedia
Justine Kurland
United States
1969
Justine Kurland was born in Warsaw, New York. She earned her B.F.A. from the School of Visual Arts in 1996. She went on to Yale University and graduated with an M.F.A. in 1998. Kurland first gained public notice with her work in the group show Another Girl, Another Planet (1999), at New York's Van Doren Waxter gallery. The show included her large c-print staged tableau pictures of neo-romantic landscapes inhabited by young adolescent girls, half-sprites, half juvenile delinquents. This was her first exhibition of a photographic interest that lasted from 1997, when she began taking pictures of her mentor Laurie Simmons's babysitter and her friends, to 2002. Altogether, Kurland published 69 pictures of girls in a series called Girl Pictures. The staged photos take place in urban and wilderness settings, with girls depicted as though to imply they are runaways, hopeful and independent. As landscapes, she chose the "secret places" of late childhood; wasteland on the edges of suburbia, "owned" only by a feral nature and unsupervised children. Her book Spirit West (2000) featured similar work on a more ambitious scale. In early 2001 Kurland spent several months in New Zealand, where she created similar work with schoolgirls there. In her show Community, Skyblue (2002), Kurland turned to document the utopian communes of Virginia and California, highlighting the unworldly aspirations of the communards by having them appear naked in her pictures and showing them as only distant figures in their landscape. In 2003 she had European solo shows Golden Dawn (London) and Welcome Home (Vienna), based around these series of commune images. Old Joy (2004) turns to men. She shows visionaries trekking naked into the wilderness, where they undergo spiritual experiences. In her 2004 show Songs of Experience, she explored medieval and Biblical imagery. In 2005 she had a solo show in Japan. After having a son, Kurland began to photograph pregnant women and new mothers (Mama Baby, 2004-2007). Her son's interest in trains would lead her to photograph hobos and trains from 2007 to 2011 (This Train Is Bound for Glory); as he grew up, she became interested in American masculinity, and created photographs of cars and mechanics (Sincere Auto Care, 2014-2015). Kurland's work appears on the cover and liner notes of French electronic/shoegaze group M83's 2004 album Dead Cities, Red Seas & Lost Ghosts, as well as the covers of the EP releases for the album. In an article in ArtForum (April 2000) she talked of her inspirations: "I'm always thinking about painting: nineteenth-century English picturesque landscapes and the utopian ideal, genre paintings, and also Julia Margaret Cameron's photographs. I started going to museums at an early age, but my imagery is equally influenced by illustrations from the fairy tales I read as a child." Selections from her work Highway Kind were published in the book The Open Road: Photography & the American Road Trip by David Campany.
Leo Rubinfien
United States
1953
Leo Rubinfien, born in Chicago, Illinois, is a photographer and essayist from the United States. He currently resides and works in New York City. Rubinfien rose to popularity in the 1970s as a member of a group of artist-photographers who experimented with new color processes and materials. In 1981, Leo Rubinfien had his first one-person exhibition at Castelli Graphics in New York, and he has since had solo exhibitions at the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Cleveland Museum of Art, the Seattle Art Museum, the Corcoran Gallery of Art in Washington, DC, the National Museum of Modern Art in Tokyo, and the Cantor Arts Center at Stanford University. He is the author of two photobooks, A Map of the East (Godine, Thames & Hudson, Toshi Shuppan, 1992) and Wounded Cities. Leo Rubinfien is also a prolific writer, having produced numerous extensive essays on famous twentieth-century photographers. He contributed a memoir, Colors of Daylight, to Starburst: Color Photography in America, 1970-1980 (Kevin Moore, Cincinnati Art Museum / Hatje Caantz 2010), and wrote Wounded Cities, a long personal and historical essay about the September 11th, 2001 attacks and the years that followed. He was the Guest Co-curator of Shomei Tomatsu's retrospective at the San Francisco Museum of Modern Art from 2001 to 2004, and he is the co-author of Shomei Tomatsu / Skin of the Nation (Yale University Press, 2004). Since 2010, he has served as Guest Curator for the San Francisco Museum of Modern Art's exhibition of Garry Winogrand's work, which will embark on a world tour in 2013. The Metropolitan Museum of Art, the Museum of Modern Art, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Cleveland Museum of Art, the Seattle Art Museum, the Tokyo Metropolitan Museum of Photography, the Corcoran Gallery of Art, the Bibliothèque Nationale de France, the Yale University Art Gallery, the Cantor Arts Center at Stanford University, and the Fogg Museum have all acquired Rubinfien's work. Leo Rubinfien has received fellowships from the Guggenheim Foundation, Japan Foundation, Asian Cultural Council, and New York University's International Center for Advanced Studies, and he was given the Gold Prize at the 5th Lianzhou International Photography Festival in 2009.
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Exclusive Interview with Anastasia Samoylova
Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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