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Francis A. Willey
Francis A. Willey
Francis A. Willey

Francis A. Willey

Country: Canada
Birth: 1969

Francis A. Willey is part indigenous and is proud of his Cree Ancestors on his mother's side and respects the history, languages, and cultures of the First Nations, Métis, Inuit, and all First Peoples of Canada, whose presence continues to enrich his practice.

Francis A. Willey acknowledges that he is located on the traditional territories of the people of the Treaty 7 region in Southern Alberta, which includes the Niitsitapi (inclusive of the Siksika, Piikani, and Kainai First Nations), the Tsuut’ina First Nation, and the Iyarhe Nakoda (including the Chiniki, Bearspaw, and Wesley First Nations). The City of Calgary is also home to the Métis Nation of Alberta, Region III.

Francis A. Willey Canadian (Born, July 21st, 1969) Self-taught, 35mm film photographer. He is deeply fascinated by fabric and historical textiles and is a collector of rare books and antiquities. He writes poetry and also enjoys composing music on the piano in his spare time. All his images are created in-camera without post-production. He has been referred to as a portraitist or a neo-pictorialist in his photographic pursuits by the academic art world. He searches for depth in storytelling, continuity, and mystery to the narrative, and spirit of each individual, he has the pleasure of photographing.

He received his first KODAK camera when he was 12 years old from his mother June. The first frame ever captured with the aperture of his camera was a portrait of his mother.

He believes that a deeper, more compassionate culture can be created through the arts. As an outsider artist, he has always been questing for and seeking refuge in a higher beauty.

Francis composes on the piano and also writes songs and poetry, creates collages, and draws from life's observations. His school was the value of nature and dreams, people, intuition, that one develops by sharing empathy.
 

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More Great Photographers To Discover

Hsuan Chung
Taiwan
1985
Hsuan Chung is a passionate photographer who started his interest in photography when he was seventeen. During his college years in Taiwan, he taught himself all the skills and techniques of photography and became a professional newspaper journalist before graduation. He wasn't satisfied with his works and wanted improvement. That is when he decided to relocate to Atlanta to work on his M.F.A degree in Photography at Savannah College of Art and Design. During his time working on his degree, he participates in many events and works hard to promote his photography works. With less than a year from graduation, he plans to participate in fundraisers, exhibitions, and other artwork presentation platforms in order to show his works to the public and spread his messages. Edge Since ancient times, human beings have continuously given life to the land and civilization. We constantly create stories and memories in each land which has its own temperature and culture. Everything on the land experiences a cycle of weathering, squeezing, and accumulating, then they disintegrate, and reconstruct to irregular solids. The project is based on my thoughts about the boundary between sea and land. The gravel in the soil is cracked by hitting each other under the lap of the waves, thus forming a new state. The minerals and gravel are brought back to the sea by the waves and become nutrients for microorganisms. The boundary between the sea and the land, that surges at all times but exists forever, is the birthplace of land and life. For me, that is also the end of human civilization. I used the square composition of a medium format camera to metaphorically refer to the concept of 'time' in nature that only humans have. I pressed the shutter after a series of precise calculations, and each square perfectly framed the time and scenery of the moment. In order to let the negative and the seawater fully interact, I soaked the negative in the seawater took from the shooting location. So that the salt and minerals in the seawater are able to remain on the negative. During the development, sea salt and minerals that stay on the negative produce chemical reactions with chemistry and silver halides. Human intervention and uncertain chemistry allow the whole process to create a memory journey between the earth and the sea, human beings and nature. The final images fulfill the purpose of recreating memories of different times and spaces and making them eternal. They not only record the memory of the ocean for 4500 million years but also witness the vitality of everything and the inseparable connection between human beings and the earth.
Keith Carter
United States
1948
Keith Carter is an American photographer who is known for his dreamlike black and white photographs of the figure, animals, and meaningful objects. He began photographing new and unknown realities in his native East Texas environment. This setting, with heavy folklore, religious, and cultural motifs, inspired Carter to create some of his most iconic images. Since his start in Texas, his work continues to push imaginative realms in his travels within the United States and across oceans. In 1970, Carter earned a Business Management degree from Lamar University and began his career as a commercial photographer while working on personal projects. These personal projects have resulted in a long career and over twelve published monographs. Carter currently teaches photography at Lamar University as a Distinguished Faculty Lecturer. He travels worldwide providing photography lectures and workshops for artists. Carter's fine art career has made him the recipient of an array of awards such as the 2009 Texas Medal of Arts, 2009 Artist of the Year presented by the Art League Houston and, in 1991 the Center for Documentary Studies at Duke University presented Carter with the Lange-Taylor Prize. His work has also been featured in print and online publications, television, and film. In 2006, the Anthropy Arts in New York filmed a documentary about Carter's photographic work, and in 1997 CBS made an art segment on Carter's work for public television. He has extensively exhibited his work throughout the world and participated in over 100 solo exhibitions. Permanent collections of his work can be found in many private and public institutions including the San Francisco Museum of Modern Art, the George Eastman House, the Museum of Fine Arts, Houston, Dallas Museum of Art, the Amon Carter Museum of American Art, the Smithsonian American Art Museum, and the Art Institute of Chicago.
Alfred Eisenstaedt
Germany
1898 | † 1995
Alfred Eisenstaedt (December 6, 1898 – August 24, 1995) was a German-born American photographer and photojournalist. He is best known for his photograph of the V-J Day celebration and for his candid photographs, frequently made using a 35mm Leica camera. Eisenstaedt was born in Dirschau (Tczew) in West Prussia, Imperial Germany in 1898. His family moved to Berlin in 1906. Eisenstaedt was fascinated by photography from his youth and began taking pictures at age 14 when he was given his first camera, an Eastman Kodak Folding Camera with roll film. Eisenstaedt served in the German Army's artillery during World War I, and was wounded in 1918. While working as a belt and button salesman in the 1920s in Weimar Germany, Eisenstaedt began taking photographs as a freelancer for the Pacific and Atlantic Photos' Berlin office in 1928. The office was taken over by Associated Press in 1931. Eisenstaedt successfully became a full-time photographer in 1929. Four years later he photographed a meeting between Adolf Hitler and Benito Mussolini in Italy. Other notable, early pictures by Eisenstaedt include his depiction of a waiter at the ice rink of the Grand Hotel in St. Moritz in 1932 and Joseph Goebbels at the League of Nations in Geneva in 1933. Although initially friendly, Goebbels scowled for the photograph when he learned that Eisenstaedt was Jewish. Because of oppression in Hitler's Nazi Germany, Eisenstaedt emigrated to the United States in 1935 where he lived in Jackson Heights, Queens, New York, for the rest of his life. He worked as a staff photographer for Life magazine from 1936 to 1972. His photos of news events and celebrities, such as Dagmar, Sophia Loren and Ernest Hemingway, appeared on 90 Life covers. Eisenstaedt was awarded the National Medal of Arts in 1989 by President George Bush in a ceremony on the White House lawn. Eisenstaedt, known as "Eisie" to his close friends, enjoyed his annual August vacations on the island of Martha's Vineyard for 50 years. During these summers, he would conduct photographic experiments, working with different lenses, filters, and prisms in natural light. Eisenstaedt was fond of Martha's Vineyard's photogenic lighthouses, and was the focus of lighthouse fundraisers organized by Vineyard Environmental Research, Institute (VERI). Two years before his death, Eisenstaedt photographed President Bill Clinton with wife, Hillary, and daughter, Chelsea. The photograph session took place at the Granary Gallery in West Tisbury on Martha's Vineyard, and was documented by this photograph published in People magazine on September 13, 1993. Eisenstaedt died in his bed at midnight at his beloved Menemsha Inn cottage known as the "Pilot House" at age 96, in the company of his sister-in-law, Lucille Kaye (LuLu), and friend, William E. Marks. Source: Wikipedia Born in Dirschau (now Poland), Alfred Eisenstaedt studied at the University of Berlin and served in the German army during World War I. After the war, while employed as a button and belt salesman in Berlin, he taught himself photography and worked as a freelance photojournalist. In 1929, he received his first assignment that would launch his professional career--the Nobel Prize ceremony in Stockholm. From 1929 to 1935 he was a full-time photojournalist for the Pacific and Atlantic Picture Agency, later part of the Associated Press, and contributed to the Berliner Illustrierte Zeitung and other picture magazines in Berlin and Paris. In 1935, he came to the United States, where he freelanced for Harper's Bazaar, Vogue, Town and Country, and other publications. In 1936, Henry Luce hired him, along with Margaret Bourke-White, Peter Stackpole, and Thomas McAvoy as one of four staff photographers for the new LIFE magazine. Eisenstaedt remained at LIFE for the next 40 years and was active as a photojournalist into his eighties. In 1988, he was honored with ICP's Infinity Master of Photography Award. Eisenstaedt was among those Europeans who pioneered the use of the 35-millimeter camera in photojournalism as they brought their knowledge to American publications after World War I. He was also among the earliest devotees of available-light photography. Unlike many photojournalists in the postwar period, he was not associated with a particular kind of event or geographic area: he was a generalist. As such, he was a favorite among editors, not only for his quick eye, but also for his ability in making good photographs of any situation or event. His nonjudgmental but acutely perceptive eye and his facility with composition have made his photographs memorable documents of his era both historically and aesthetically. Source: ICP
Wiktoria Wojciechowska
Born 1991, Lublin, Poland, Wiktoria Wojciechowska lives and works in Lublin and Paris. Graduated from the Academy of Fine Arts in Warsaw, Poland, Wiktoria was the 2015 winner of the Oskar Barnack Leica Newcomer Award for Short Flashes, portraits of drenched cyclists captured on the streets of Chinese’s metropolis. Between 2014 and 2016 she worked on the series Sparks, a portrait of a contemporary war based on the stories of people living in the Ukrainian conflict. This series received several awards, such Rencontres Internationales de la Photographie New Discovery award’s public prize, Madame Figaro prize and the Prix pour la Photographie, Fondation des Treilles. Labirinto (2017-2019) Labirinto explores the architecture seen as a vector for an ideology, spreading in the inhabitants' thoughts. Architecture stays longer than its creators and might still smuggle fundamental ideas and atmosphere of passed days. Labirinto project is a starting point to discuss how the architecture influence inhabitants and if a city, structured as a symbol of fascist ideology, can become a dwelling for strangers. Wiktoria Wojciechowska works in the area of Agro Pontino in Italy: formerly marshes, which were, throughout centuries, a challenge for the authorities. The Romans, Popes and Napoleon have all tried to drain, recultivate it and build new settlements. The one who achieve the goal was Benito Mussolini, with the help of the hard work of World War I combatants. At the beginning of the '30s, the project of the foundation of the New Cities (Città nuove) started. The best Italian architects of these times were involved to draw the net of streets on the Pontine plain as on a blank page. They were to arrange the monuments and neighborhood buildings - following the current of rationalist architecture, adopted by the fascist as the official style of the ideology - of five cities: Littoria, Pontinia, Sabaudia, Aprilia and Pomezia. Designed in the model of "the rural city", they should serve as a renewal of civilization (Bonifica della cultura) and the so-called Mussolini's Arcadia for a "purified nation" of New Italians. This is how Littoria has been conceived, in 1932, from the mud and has been raised as the first of the five Mussolini's New Cities. Littoria was called the "jewel of Mussolini" and radiated by the combination of a stellate network of streets and curved ring roads, all converging towards the central square (Piazza del Littorio, now Piazza del Popolo). The labyrinth-like city was awaiting the new residents coming from the entire Italy to live in the empty buildings and appreciate the monumental solutions drawn upon the Roman Empire tradition. After World War II, the city was rebaptized to Latina to obliterate its fascist past and became a temporary asylum for displaced Italians and migrants. Between 1957 and 1991, 80 000 foreigners passed by the refugee camp. They were coming from Eastern Europe, fleeing the communist regimes, from Vietnam, Northern Africa, etc. Despite the official closing of the camp in 1991, migration is still an ongoing process. Today, the majority of newcomers originate from sub-Saharan Africa, Nigeria, Gambia, Ghana, Mali… The artist describes her work: In the middle of the day, during "the siesta", when the city is hot and stuffy, the streets become empty. The pale facades of the buildings reflect the sunlight like mirrors and hurt the eyes. As in De Chirico's paintings, the palisades are playing with lights and shades. The emptiness creates an illusion that we are back in the 30s. Only the scratches and colored patches on the walls unmask the timeworn city. From time to time, human figures flash by in the sun. These are those who get lost in this labyrinth, not knowing the rules of the city. They barely arrived there, but who gets into the labyrinth once, might not be able to wriggle out ever. Today in front of Palazzo M - built in the shape of the initial of Mussolini, a queue of immigrants is standing and waiting for their documents. Wiktoria Wojciechowska observes the city - silent witness of changing times - and recent immigrants, far from being integrated. During the conversations, they often mention the discrimination, preconceived ideas, and the fear of locals; their superiority coming from the colonial past, racism. They feel suspended, awaiting decisions and documents, trapped in the city space. The locals expect to move the immigrants out of the cities; they are not to be seen, as they "change the landscape", they should be invisible. The ideology, which sponsored the construction of the cities, is still lying under their foundation. Hidden but yet vivid, deep inside the consciousness. Looking further, Labirinto can be the metaphor of the current sociopolitical situation of all Europe, where newcomers from other continents are seeking asylum and acceptance. The fear of locals (who might have been migrants too) remains, and politics don't promote reconciliation. The policy of fear enables the authorities to seize control of the population's thoughts and define the enemy. The works of Wiktoria Wojciechowska are juxtaposing the fascist architecture - undefined corners of streets, scattered walls, and remains of fascist sculptural iconography - and the portraits of recently arrived migrants. As they wander through a temporarily deserted city, occupying the scene of a petrified ideology, the public space, they reveal a striking contrast with this ideology embodied in the architecture.
Brett Weston
United States
1911 | † 1993
Brett Weston (originally Theodore Brett Weston; December 16, 1911, Los Angeles–January 22, 1993, Hawaii) was an American photographer. Van Deren Coke described Brett Weston as the "child genius of American photography." He was the second of the four sons of photographer Edward Weston and Flora Chandler. Weston began taking photographs in 1925, while living in Mexico with Tina Modotti and his father. He began showing his photographs with Edward Weston in 1927, was featured at the international exhibition at Film und Foto in Germany at age 17, and mounted his first one-man museum retrospective at age 21 at the De Young Museum in San Francisco in January, 1932. Weston's earliest images from the 1920s reflect his intuitive sophisticated sense of abstraction. He often flattened the plane, engaging in layered space, an artistic style more commonly seen among the Abstract Expressionists and more modern painters like David Hockney than other photographers. He began photographing the dunes at Oceano, California, in the early 1930s. This was a favorite location of his father Edward and a location that they later shared Brett's with wife Dody Weston Thompson. Brett preferred the high gloss papers and ensuing sharp clarity of the gelatin silver photographic materials of the f64 Group rather than the platinum matte photographic papers common in the 1920s and encouraged Edward Weston to explore the new silver papers in his own work. Brett Weston was credited by photography historian Beaumont Newhall as the first photographer to make negative space the subject of a photograph. Donald Ross, a photographer close to both Westons, said that Brett never came after anyone. He was a true photographic equal and colleague to his father and "one should not be considered without the other." "Brett and I are always seeing the same kinds of things to do - we have the same kind of vision. Brett didn't like this; naturally enough, he felt that even when he had done the thing first, the public would not know and he would be blamed for imitating me." Edward Weston - Daybooks - May 24, 1930. Brett Weston used to refer to Edward Weston lovingly as "my biggest fan" and there was no rivalry between the two photographic giants. Brett and his wife Dody loyally set aside their own photography to help Edward after he was unable to print his own images due to Parkinson's disease, which claimed Edward's life in 1958. Brett Weston married and divorced four times. He had one daughter, Erica Weston. Brett Weston lived part time on the Big Island of Hawaii and in Carmel, California for the final 14 years of his life. He maintained a home in Waikoloa that was built by his brother Neil Weston, and later moved to Hawaii Paradise Park. He died in Kona Hospital on January 22, 1993 after suffering a massive stroke. Works by Brett Weston are included in collections of the Colorado Springs Fine Arts Center, the Honolulu Museum of Art, the Los Angeles County Museum of Art, the Museum of Contemporary Art, Los Angeles, the Oklahoma City Museum of Art and the San Francisco Museum of Modern Art. In November of 1996, Oklahoma City collector Christian Keesee acquired from the Brett Weston Estate the most complete body of Weston’s work. Source: Wikipedia
Vassi Koutsaftis
Vassi Koutsaftis has explored the globe for over 30 years, specializing in travel photography – of the extreme kind, especially in the mountainous regions of Himalayan, the Karakoram, Hindu Kush and other very remote areas of Asia. Born in 1952 in Athens, Greece and crossed the world’s oceans working on cruise ships and freighters. That was just the beginning for he continued to examine our planet traveling to remote areas on his own, then from the air, when he went on to study aeronautics and became a pilot in the U.S. He leads treks and exploratory tours in Afghanistan, Mongolia, Tibet, Nepal, Pakistan, Iran, Bhutan, Burma, Turkey and India, and he contributes essential research to unusual and remote itineraries for Geographic Expeditions one of the best and most respected expedition companies in the US. Vassi’s photographs have been published in a number of magazines including Geo (European edition), Photografos, USA Today, Asia Week, National Geographic Traveler, and Marin Magazine. He serves as Conde Nast’s Tibet expert and is well known for his compelling images of the Dalai Lama. His photographic and travel expertise has been instrumental in scouting for films including productions by CBS, PDI and Dreamworks and a number of independent filmmakers. Vassi’s work is included in the collections of U.C. Berkeley’s Blum Center, Steve Wynn Casinos, Stanford University’s Center for Buddhist Studies. Vassi has exhibited his work widely in a number of galleries in the United States and Overseas including The Hellenic American Union in Athens, Greece and enjoys giving presentations of his photographs while sharing stories of extensive travels around the world.
Francis Malapris
Schizothymic baby-boomer, at the age of 12 Francis takes refuge in computer science and excels in this field despite social and academic failure. In 1996, as he becomes an engineer, he meets the need to preserve memories of the Moment and tries photography. Gradually, this utopia fades to give way to the sensitivity he has so long repressed. 20 years later, he is an accomplished self-taught artist through the study of technique and the masters who inspire him such as Raymond Depardon, Rafael Minkkinen and Daido Moriyama. Key encounters have formed his photographic approach to bring him to social contact and staging. He then abandons computer sciences to exploit his bubbling creativity, full of sensitivity. The human being is then at the center of his work, after the fashion of the "Self" (Freud), which lies between unconscious desires and moral standards. Affected by the death of a friend, he undertakes a strong introspection that will highlight neuroses that he crystallizes through nude photography. In 2011, he begins the IN SITU project about mental escape, a phenomenon that concerns him. In 2014, he develops a shooting process to build the AQUATIC series. In 2017, the images encounter a great success, are published and exhibited at the FEPN in Arles, namely with the festival bill. With his installation in the heart of the Saint Anne chapel, Francis goes beyond photography to offer a contemporary art installation which sublimates female energy. Artist Statement "The human element is a fantastic material. I like observing bodies, their movements and expressions, sometimes with the idea of appropriating them. The part that fascinates me the most, because almost inaccessible, is the soul, at the head of the personality with its tastes, emotions and especially its history. Then comes the complex relationship to society, which evolves with environment and time. I approach the person naturally with openness and sensitivity, on the lookout for singularities that may resonate in me. From object, 'the other' becomes a proper individual, whose distinguishable particles and sub-particles I highlight. The main theme of the work I am presenting is that of the relation to reality: whereas the physical body is submitted to the present, imagination is free to roam without constraint in time and space. The ambiguity of this permanent oscillation between rational and irrational, resignation and escape, motivates me in my research where letting go is the motto. The plurality of my projects illustrates the richness of mental spaces that I have visited. Whether dreamlike or real, I put limits only on the possible interpretation of the codes that I use."
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AAP Magazine #57 Portrait
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