All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.
LAST CALL PORTRAIT: Get Published in print and win $1,000 CASH PRIZES
LAST CALL PORTRAIT: Get Published in print and win $1,000 CASH PRIZES
Cecil Beaton
Self Portrait
Cecil Beaton
Cecil Beaton

Cecil Beaton

Country: United Kingdom
Birth: 1904 | Death: 1980

Born in 1904 in London and coming of age at the peak of the 20's, Cecil Beaton was in love with the worlds of high society, theater, and glamour. Beauty in his hands was transformed into elegance, fantasy, romance, and charm. His inspired amateurism led to a following among fashionable debutantes and eventually a full fledged career as the foremost fashion and portrait photographer of his day. He was so attunded to the changes of fashion that his career maintained its momentum for five decades; from the Sitwells to the Rolling Stones. Beaton died in 1980.

Source: Staley-Wise Gallery


Sir Cecil Beaton, in full Cecil Walter Hardy Beaton, photographer known primarily for his portraits of celebrated persons, who also worked as an illustrator, a diarist, and an Academy Award-winning costume and set designer. Beaton’s interest in photography began when, as a young boy, he admired portraits of society women and actresses circulated on picture postcards and in Sunday supplements of newspapers. When he got his first camera at age 11, his nurse taught him how to use it and how to process negatives and prints. He costumed and posed his sisters in an attempt to re-create the popular portraits that he loved.

In the 1920s Beaton became a staff photographer for Vanity Fair and Vogue magazines. He developed a style of portraiture in which the sitter became merely one element of an overall decorative pattern, which was dominated by backgrounds made of unusual materials such as aluminum foil or papier-mâché. The results, which combined art and artifice, were alternately exquisite, exotic, or bizarre, but always chic. Many of these portraits are gathered in his books The Book of Beauty (1930), Persona Grata (1953, with Kenneth Tynan), and It Gives Me Great Pleasure (1953).

During World War II, Beaton served in the British Ministry of Information, covering the fighting in Africa and East Asia. His wartime photographs of the siege of Britain were published in the book Winged Squadrons (1942). After the war Beaton resumed portrait photography, but his style became much less flamboyant. He also broadened his activities, designing costumes and sets for theatre and film. He won Academy Awards for his costume design in Gigi (1958) and for both his costume design and his art direction in My Fair Lady (1964). Several volumes of his diaries, which appeared in the 1960s and ’70s, were summarized in Self Portrait with Friends: The Selected Diaries of Cecil Beaton, 1926–1974 (1979). Beaton was knighted in 1972.

Source: www.britannica.com


© All photographs wer scanned and released by the Imperial War Museum on the IWM Non Commercial Licence. The work was created by Cecil Beaton during his service for the Ministry of Information during the Second World War as an official photographer of the Home Front.
 

Cecil Beaton's Video

Selected Books

Inspiring Portfolios

Call for Entries
AAP Magazine #57 Portrait
Publish your work in our printed magazine and win $1,000 cash prizes
 
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

More Great Photographers To Discover

E. J. Bellocq
United States
1873 | † 1949
Ernest Joseph Bellocq was an American professional photographer who worked in New Orleans during the early 20th century. Bellocq is remembered for his haunting photographs of the prostitutes of Storyville, New Orleans' legalized red-light district. These have inspired novels, poems and films. Bellocq was born into a wealthy family of French créole origins in the French Quarter of New Orleans. He became known locally as an amateur photographer before setting himself up as a professional, making his living mostly by taking photographic records of landmarks and of ships and machinery for local companies. However, he also took personal photographs of the hidden side of local life, notably the opium dens in Chinatown and the prostitutes of Storyville. These were only known to a small number of his acquaintances. He had been something of a dandy in his early days, while he lived alone in the latter part of his life and acquired a reputation for eccentricity and unfriendliness. According to acquaintances from that period, he showed little interest in anything other than photography. Bellocq died in 1949, and was buried in Saint Louis Cemetery No. 3 in New Orleans. After his death, most of his negatives and prints were destroyed. However, the Storyville negatives were later found. After many years, they were purchased by a young photographer, Lee Friedlander. In 1970, a show of Friedlander's posthumous prints on gold tone printing out paper from Bellocq's 8" x 10" glass negatives were mounted by curator John Szarkowski at the Museum of Modern Art in Manhattan. A selection of the photographs were also published concurrently in the book, Storyville Portraits. These photographs were immediately acclaimed for their unique poignancy and beauty. A more extensive collection of Friedlander's prints, entitled Bellocq: Photographs from Storyville, was published with an introduction by Susan Sontag in 1996. In recent times, a significant number of prints from Bellocq's own studio have come to light. They are typical professional photographs of the day, such as portraits, copy work for the Louisiana State Museum, and local views, yet few if any Storyville portraits printed by Bellocq's hand exist. A number of early posthumous prints from Bellocq's negatives by photographer Dan Leyrer have also surfaced. The Storyville photographs All the photographs are portraits of women. Some are nude, some dressed, others posed as if acting a mysterious narrative. Many of the negatives were badly damaged, in part deliberately, which encouraged speculation. Many of the faces had been scraped out; whether this was done by Bellocq, his Jesuit priest brother who inherited them after E. J.'s death or someone else is unknown. Bellocq is the most likely candidate, since the damage was done while the emulsion was still wet. In a few photographs the women wore masks. Some prints made by Bellocq have since surfaced. These are far more conventional than the full-negative prints made by Friedlander. The Storyville photographs not only serve as a record of the prostitutes, but also the interiors of the businesses that housed them.
John R. Pepper
John Randolph Pepper, (1958) is an Italian photographer, screenwriter, theatre and film director, the son of sculptress Beverly Pepper and journalist/writer Curtis Bill Pepper, editor of Newsweek and manager of its Rome office. He was born and raised in Rome; lives in Palermo and works worldwide. Pepper started his career in Black & White analogical photography with an apprenticeship to Ugo Mulas at 14. He published his first photograph at 15 and had his first show at 17. He studied History of Art at Princeton University, where he was also the youngest member of the exclusive painting program, '185 Nassau Street'. He then became a 'Directing Fellow' at The American Film Institute, (Los Angeles) and subsequently worked as a director in theatre and film for 20 years. For thirty years, he dedicated himself to photography while directing both theatre and film. During that time he continued to take photographs with his Leica camera always using the same Ilford HP5 film stock. John R. Pepper, represented by the Art of Foto Gallery (St. Petersburg, Russia) and The Empty Quarter Gallery (Dubai, UAE), is a 'Cultural Ambassador' of numerous Italian Institutes of Culture in may parts of the world. Since 2008 he has exhibited his different projects 'Rome: 1969 - An Homage to Italian Neo-Realist Cinema', 'Sans Papier', 'Evaporations' in the United States, France, Italy, the Middle East and Russia. He has published three books and is represented in several major museums around the world. Since 2015 Pepper has been working on his project 'Inhabited Deserts', where he explores deserts and their effect on time, history and people. 'Inhabited Deserts' debuted in Paris in November 2017; in September 2018, with the support of the Italian Embassy in Iran and the Italian Foreign Ministry, Pepper exhibited at the Aaran Projects Gallery in Tehran where he was one of the first Italian photographers since the Iranian Revolution of 1979. In November 2018, after participating at Paris Photo with the Galerie Sophie Scheidecker, 'Inhabited Deserts' went to Tel Aviv, Israel, representing Italy at the 6th International Photo Festival 'Photo Is:Rael'. From December 12th 2018 to February 15th Inhabited Deserts was presented at The Empty Quarter Gallery in Dubai, U.A.E. with curatorial text by Kirill Petrin. Subsequently the show opened on March 19, 2019 in Saint Petersburg, Russia, at the Art of Foto Gallery and shortly thereafter, on April 18th, it returned to Tel Aviv at the NOX Contemporary Gallery. In 2020 Inhabited Deserts will be seen in the United States and Italy. Per John Pepper "When talking about photography, we're talking about time. The image is fixed in time. We also talk about black and white and color, digital and film, reality and punctum - the critical concept of the French philosopher Roland Barthes, denoting the wounding, personally touching detail, which establishes a direct relationship with the object or person within it. Is a photographer an artist or not? The ones who feel they are, modestly define themselves as artisans. Still others, who do not think of themselves as photographers will snap photos relying on destiny's outcome. Finally, there are the ones who fantasize conceptual sequences snapped in extravagant situations - most of which without interest. About photography, much has been said. There are established masters, schools of thought, and many hopes. Yet whoever is sufficiently open to a vision within himself, who has cherished and assimilated the masters, will emerge with something new. Passion triumphs when backed by culture. When looking at one of John Pepper's photographs - the one with the group of people, friends and family, in front of their home, for example - I think of Paul Strand's image in his book, published with Zavattini 'Un paese' del 1955. There is a similar gathering of characters at the doorstep of their home. Time here is not just in the shutter time and lens aperture - a sixtieth of a second at eight - but in the transformation of the people, in the process of revealing themselves. With John, however, the appearances differ from those of Strand - moved up in time as evident in the shoes and pants, the motorcycle helmet, the technology of the wheelchair and the modern necklace of the young girl. They appear happy and to be speaking to the photographer. Despite some apparently expensive upper-class possessions, we perceive they are of a modest condition. In Strand's photograph, there is no doubt they are of peasant culture. Motionless, they stare at the photographer with a serious gaze, though ignorant of the world of images. Today, image is consumerism. It goes beyond diffidence. Everyone can have a camera, a motorcycle helmet and Nike shoes. People are well nurtured; they have even grown in height. With John the scene is of movement. The characters interact with ease, and the photographer is part of the game. He uses black and white film enhanced by the fine art of printing - images stemming from classical photography. John was just a boy when he came to my house in Milan, in piazza Castello, above the studio that once belonged to Ugo. I like to think that the darkroom at that time influenced him. Who knows? However, I do believe that Ugo's work helped him to become a photographer. His reportage in Italy is filtered through the memory of many great photographers - Diane Arbus, Cartier Bresson, Robert Frank, the first Richard Avedon, and William Klein to name a few. He has also traveled through Italy, in the streets and byways of youth, finding dramatic, enlightened faces in the theater of life. His portrait of the religious procession is most beautiful, with a perfect, compact, composition, among astonished angels and those bearing a religious float against a sharp background of light. John lives and works in Palermo, an outward antithesis of New York. An American born and raised in Italy, it is as an Italian that he grasps the vital spirit, the soul, and the humanity of people. His choice to live in a region like Sicily, so full of contradictions and archaic values, will surely help him in chronicling the history of change in our era. Then, apart from making art, he will have absorbed it as his own - a part of his life that will recur in defining time, space, and the evolution of the human condition." Antonia Mulas, Todi, May 5, 2012
Michael Ernest Sweet
Michael Ernest Sweet is a Canadian photographer and arts writer. He is the author of two photography monographs, The Human Fragment and Michael Sweet's Coney Island, both from Brooklyn Arts Press in New York. Michael is best known for his gritty black and white images of people composed at odd angles, which often omit people's faces. His work has been praised by such master photographers as Roger Ballen, Martin Parr, and Jay Maisel. A recipient of many awards, Michael holds both a Prime Minister's Award and a Queen Elizabeth II Medal from Canada for significant contributions to education and the arts. In 2018, Michael appeared in the film, Garry Winogrand: All Things Are Photographable, and again in 2021 in the film, Fill The Frame. Michael is a senior contributing writer for Photo Life Magazine and a former writer for HuffPost. He holds several degrees including a Master of Liberal Arts from The Johns Hopkins University. Michael lives and teaches in New York City. Statement: My photography is about pleasing myself. I do not photograph for an audience. Quite frankly, that would be too hard for me. I make photographs of things that interest me. I like weird angles and odd compositions because they tend to tell a better story. As a writer, I look for the story, not just the image. Photographs need to be able to be read from left to right, all across the frame, just like a good book. Everything in the frame matters. Everything that is not in the frame matters. Most people don't get my work. They don't try hard enough. My photos cannot be consumed in 10 seconds on an iPhone. Those who put in the effort get to see what I saw, get to feel what I felt, and, most importantly get to enjoy the moment as I did when I made the image. For me, a photo that is easy to look at and quick to understand is a boring, pedestrian photograph. I am not here to photograph aunt Betty's Birthday party.
Valerie Laney
United States
1964
Valerie Elizabeth Laney was born in sunny San Diego, California, and was raised in rural North Carolina, where she spent endless summers catching tadpoles and chasing fireflies and exploring the surrounding woods, creeks and tobacco fields. Growing up in and around nature inspired her to spread her wings, and she has spent years exploring and photographing our wondrous planet. Valerie holds a degree in Visual Design from North Carolina State University, College of Design which, when combined with a career as a Graphic Designer, enhances her skill in composition as well as visual story telling. Photography was a natural outcome of her love of nature and her skill as an artist; and it has become her passion to capture images of unique places, diverse landscapes and fascinating cultures. A love of adventure sends her on photo expeditions to places like Iceland, Madagascar and the steppes of Mongolia, where her photographs capture majestic landscapes, native cultures, wildlife and underwater marine life. Valerie loves sharing her photography and hopes it inspires dreams, travel and memories for her growing audience. Statement Photography allows one to capture the world in a way that is unique to the beholder. Photos are visual story telling, but yet, everyone is left to their own interpretation of the story that is being told. So in that way, photography allows both the photographer and the onlooker to take part in the creative process. I compose photos to give a sense of what is happening in the shot: viewers should feel the cold, smell the air, and feel like they can anticipate the moments that followed as if they were present.
Matthew Brandt
United States
1982
Matthew Brandt (born 1958 in Los Angeles) is a American photographer and visual artist. Calling his approach "a little bit messy and experimental," Brandt produces large-scale photographs through labor-intensive processes recalling the 19th-century origins of photography, often incorporating the physical matter of the subject itself. Attuned to the history of his medium — and its resolute physicality — and inspired by classical American landscape photographs, Brandt traverses the West, photographing and collecting material samples from nature and cities. The reciprocal relationships that Matthew Brandt creates between his subjects and the materials used to represent them are always conceptually grounded, often in response to social and environmental issues. He is deeply inquisitive, even fearless, in his exploration of subjects, materials, and processes, reinvigorating the medium of photography with a sense of wonder.Source: The Lapis Press Matthew Brandt received his BFA from Cooper Union and MFA from UCLA. Brandt has been the subject of institutional solo shows at the Newark Museum, the Columbus Museum of Art, Virginia Museum of Contemporary Art and SCAD Museum of Art, Savannah. Recent group exhibitions include works in New Territory: Landscape Photography Today at the Denver Art Museum, The Magic Medium at the Los Angeles County Museum of Art; Light, Paper, Process: Reinventing Photography at the J. Paul Getty Museum, Los Angeles; Second Chances at the Aspen Art Museum; What is a Photograph? at the International Center of Photography, New York; and Land Marks at the Metropolitan Museum of Art, New York. Brandt was shortlisted for the prestigious Prix Pictet Award in 2015 and had his work showcased in an exhibition at the Musée d’Art Moderne de la Ville de Paris. His work can be found in the permanent collections of the Metropolitan Museum of Art, New York; National Gallery of Art, Washington, DC; J. Paul Getty Museum, Los Angeles; Guggenheim Collection, NY; Brooklyn Museum, New York; Art Gallery of South Wales, Sydney, Australia; Virginia Museum of Fine Arts, Richmond; Cincinnati Art Museum; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Royal Danish Library, National Museum of Photography, Copenhagen; Denver Art Museum, Colorado; High Museum, Georgia; Detroit Institute of Arts, Michigan; and the Columbus Museum of Art, among others. In 2014 a monograph devoted to Brandt’s work was published by Damiani. Matthew Brandt lives and works in Los Angeles.Source: matthewbrandt.com Matthew Brandt's photography conflates subject and material, incorporating physical elements from the sources he’s depicting to create unique compositions that are technically inventive and conceptually sly. For Lakes and Reservoirs, his landscapes were bathed in the water of their subjects; 2014’s Dust featured reproductions of historical photographs of demolished structures, rendered in pigments borne of debris collected from those buildings’ contemporary sites. For 1864, his first exhibition at Jackson Fine Art, Matthew Brandt again turns to the archives, reinterpreting George N. Barnard’s photographs of a post-Sherman Atlanta by making images of a shattered city into peach pie.Source: Jackson Fine Art
Advertisement
AAP Magazine #57 Portrait
Win a Solo Exhibition in June
AAP Magazine #57 Portrait

Latest Interviews

Exclusive Interview with Carolyn Moore
American photographer Carolyn Moore explores the inner landscape of emotion, memory, and personal transformation through a deeply intuitive photographic practice. Her work unfolds as a quiet dialogue between artist and viewer, where images become a space for reflection, vulnerability, and connection.
Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
For over seven years, Of Lilies and Remains has explored the depths of the goth and darkwave underground, unfolding in Leipzig—a city long associated with a vibrant and enduring subcultural scene. Moving between iconic gatherings such as Wave-Gotik-Treffen and more intimate moments on the fringes, the project offers a rare and immersive glimpse into a world often misunderstood, yet rich in expression and community. Created by Luca in collaboration with Laura Estelle Barmwoldt, the work embraces a cinematic and deeply personal approach. Rather than documenting from a distance, it moves within the scene itself, capturing its atmosphere, its codes, and its quiet contradictions. The title Of Lilies and Remains hints at this duality—where beauty and darkness, fragility and strength coexist. As the book prepares for its release, we spoke with both artists about the origins of the project, their process, and what it means to document a subculture that continues to evolve while remaining true to its spirit.
Exclusive Interview with Matthew Finley
American photographer Matthew Finley turns inward, using photography as a way to explore identity, memory, and emotional truth. Based in Los Angeles, his practice moves between performance, gesture, and found imagery, creating a visual language that is both intimate and deeply personal
Exclusive Interview with Jan Janssen
Dutch photographer Jan Janssen explores universal human experiences through his long-term project It Matters, winner of the May 2025 Solo Exhibition. Begun in 2016, the series captures intimate moments of everyday life—love, loss, connection, and belonging—across Central and Eastern Europe. Working in countries such as Turkey, Azerbaijan, and Armenia, Janssen spends extended time within communities, building relationships based on trust and respect. His approach allows him to move beyond observation, revealing deeply human and authentic moments. Rooted in travel and personal discovery, It Matters reflects Janssen’s search for what connects us all in an increasingly divided world. The project is ongoing and will culminate in a photobook scheduled for publication in 2026.
Exclusive Interview with Henk Kosche
German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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.
Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
Call for Entries
AAP Magazine #57 Portrait
Publish your work in our printed magazine and win $1,000 cash prizes