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Landry Major
Landry Major
Landry Major

Landry Major

Country: United States

Landry Major is an American artist based in Los Angeles, California. Her work explores the ideas of home, culture and our relationship to the land and animals that we steward. Her work has led her to connect her family's heritage ranching in Canada, with the family-owned ranches in the American West. It is this connection that brings the grace and poetry to her images. Her work has been exhibited in a number of notable exhibitions, including a solo exhibition at The Griffin Museum of Photography in Boston, Massachusetts.

Keepers of the West
My childhood summers were spent on a family dairy farm in Nova Scotia. Waking at dawn and herding cows alone in the field, where the only sounds were the birds waking and the gentle murmurs of the cows. The smell of fresh milk and fields of grass were the touchstones of my youth. The barn where I helped my uncle hand-milk the cows is now gone back into the earth.

My ongoing series Keepers of the West took me back to fields at dawn, this time on the family-run ranches of the American West. Visions of the West have long been central to our culture, but the way of life of the cowboy and the family-run ranch is fast disappearing.

Over half of all family owned ranches in Montana are run by people over 65 and many of their children are not choosing to remain in ranching.

It is because I recognize these struggles that my series celebrates the beauty of family-run ranches. The lives of these people are framed by hardship, yet they thrive in the simpler way of life that remains their routine, and in the stewardship of the land and the animals they tend.

Over the past four years I have witnessed the strength, determination and commitment of these families to continue this way of life, and pass it on to their children. The images are made up of the places, people, and creatures that have welcomed me into their world to remind us of the arresting moments of grace and beauty found in a life lived under the wide-open western skies.

Something will have gone out of us as a people if we ever let the remaining wilderness be destroyed ... We simply need that wild country available to us, even if we never do more than drive to its edge and look in. Wallace Stegner, The Sound Of Mountain Water
 

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Petros Kotzabasis
Petros Kotzabasis was born in Komotini, a small town in north of Greece, where he has chosen to live. He has teaching photo, to the cultural club of students of Democritos University of Thrace, since 2007.The procedure of taking pictures has an affect on him, similar to psychoanalysis, as he says, he feels as if he is the one and only viewer of an act that takes place daily and his camera is the diary that captures, in this moving reality which surrounds us, pictures that only last for split seconds. Lines and shapes formed and get lost instantly, changing every minute and in this constant alteration and movement he works by isolating several instant expressions of real through this lens. A photo is a creation of the reality, in which there are not the spots of the world that he does not want to include in his picture. It' s the total of the thinks that the photographer has lived, others that he has read, listen or he has imagined. The power of an artist is his knowledge that, by using something real simple, such as a different composition of colours, or the change of the contrast, or the standing of a head, or the shoot from a lower angle, makes the difference between the indifferent and the genius. His pictures are spontaneous and quite personal. There are no special events in them, he searches for magic in common people of the street, his neighbors, passers-by. He believes that the everyday routine of the object is what leaves plenty of space for elements to create the "art" of photography. He takes photographs of "everyday life" on a daily basis, urged by a habit he used to have when he was little. As he describes: "Every day I used to stand on our doorstep with my grandmother and observe the street and the passers-by for hours, making up stories between us. Without exchanging a single word, we had absolute communication. That habit, as I was growing up, directed me to photography." With a canon 5D and a 35 mm lens he tries to create a photograph which possesses elements of poetry, he would call it 'visual poetry', thus intending to communicate with the viewers as he used to do with his grandmother, without explanations and messages, permitting them total freedom. His starting point is the phrase by Odysseas Elytis, the great Greek poet that says: "with lime twigs you may capture birds, yet you never capture their singing. It takes a different kind of twig...." This very singing is what he tries to capture with his photographs.All about Petros Kotzabasis:AAP: When did you realize you wanted to be a photographer?It’s rather hard to answer such a question as I still haven’t realized that I am a photographer. What I am doing is actually due to an urge to create and express myself. Here in Greece, you see, you are deemed a photographer if you are professionally involved with wedding photography or photojournalism.AAP: Where did you study photography?I haven’t actually studied photography; I am self-taught. I have come upon everything by looking up in books.AAP:Do you have a mentor?Strange though it may sound, I could regard as my “mentor” the distinguished Greek poet, Odysseas Elytis, Fernando Pessoa or Marcel Proust, as they help me find my way whenever I reach a deadlock.AAP: How long have you been a photographer?I became involved with photography in 1985 but in 1994 I reached a stalemate and for almost a decade I stopped photographing. I didn’t shoot a single photo. I couldn’t even lay my hands on the camera; not even on holidays when a tourist asked me to take a photo. Then a certain incident urged me to take it up again in 2004 and since then I keep on photographing on a daily basis. I have never seen the photos of that first phase and I dumped the films in the basement of the house I used to live at that time.AAP: Do you remember your first shot? What was it?It’s been quite a while and I can’t remember my first shot. Instead, I could recount the story of a photo of mine, which may be indicative of the way I act. A few years ago, I set off for a traditional fete that takes place on the mountains, almost a two-hour drive from home. I set off equipped with several memory cards with a view to taking loads of photos during the 3 days the fete lasted. As soon as I reached my destination and opened the car door, I saw the frame that was created , took the picture and felt such a fulfillment that I realized there was no point in taking any more photos; so I instantly closed the door and returned with that one single photo.AAP: What or who inspires you?Literature and poetry have always been a source of inspiration for me.AAP: How could you describe your style?I would characterize what I am trying to do as visual poetry. In my photos there are no extraordinary events; I seek magic in the ordinary people on the street, in my neighbors, in passers-by. I seek the moment when narration is no longer needed with the aim of creating a new universe where all will be evident yet something will be left unrevealed, not with symbols but with hints. Starting point for me has been a quote by Odysseas Elytis “with lime twigs you may capture birds; yet you will never capture their singing…”AAP: What kind of gear do you use? Camera, lens, digital, film?The gear that I use is rather simple; a digital camera-Canon 5D- and a 35mm/f1,4 lens. I am against using several kinds of gear that may give you more opportunities; I like putting limitations and making particular choices, as they render you less “garrulous” and more conscious.AAP: Do you spend a lot of time editing your images?Once I take a picture, I don’t spend so much time on it. At the end of the day I have a look at what I’ve shot and in very few minutes I sort out the one or ones that I am interested in. I always show the selected lot to a specific person who is not in any way involved with photography or any other form of art, but who I trust otherwise, and once I get their opinion, I make my final choice. 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Max Waldman
United States
1919 | † 1981
Max Waldman was a well-known American photographer who made significant contributions to the field of performing arts photography. Waldman, who was born in 1919 in Brooklyn, New York, developed an early interest in photography. He became well-known for capturing the energy, emotion, and theatricality of the performing arts. In the 1940s, Waldman's career took off when he began photographing Broadway shows, ballet performances, and opera productions. His photographs provided a one-of-a-kind visual documentation of the performing arts, immortalizing iconic performances and highlighting the talents of renowned actors, dancers, and musicians. Waldman's photographs captured the essence of live performances, providing viewers with a glimpse into the stage's magic. He had an extraordinary ability to anticipate and freeze moments that encapsulated the performers' emotion and energy. His images captured the theatrical lighting, expressive gestures, and dynamic movement that defined each performance, conveying a sense of drama. Aside from the stage, Waldman documented the world of the performing arts behind the scenes. His photographs provided an up-close look at rehearsals, costume fittings, and the camaraderie between performers. He revealed the human side of the performers through his lens, emphasizing their dedication, passion, and vulnerability. Waldman's work was widely exhibited in galleries and museums throughout his career, and his photographs graced the pages of prestigious publications. He rose to prominence as one of the most sought-after performing arts photographers of his generation, working with well-known artists and institutions. Waldman experimented with other genres besides performing arts photography, such as portraiture and street photography. His diverse body of work demonstrated his photographic versatility and ability to capture the essence of his subjects, whether on stage or in everyday life. Waldman's influence went beyond his photographs. As a teacher, he also shared his knowledge and expertise, inspiring aspiring photographers through workshops and lectures. He wrote several books about photography, offering insights and advice to other photographers. Max Waldman's photographs continue to captivate audiences because they capture the ephemeral nature of live performances as well as the timeless beauty of the performing arts. His photographs bear witness to the power of the stage and the talents of those who bring it to life. Waldman has left an indelible mark on the world of performing arts photography with his exceptional skill and artistic vision, preserving the magic and emotion of the stage for future generations.
Liu Bolin
China
1973
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Jared Ragland
United States
1977
Jared Ragland is a fine art and documentary photographer and former White House photo editor. He currently teaches and coordinates exhibitions and community programs in the Department of Art and Art History at the University of Alabama at Birmingham and is at work on a long-term documentary on methamphetamine users living in northeast Alabama. He is the photo editor of National Geographic Books' "The President's Photographer: Fifty Years Inside the Oval Office," and has worked on assignment for NGOs in the Balkans, the former Soviet Bloc, East Africa and Haiti. His photographic work is rooted in his lifelong exposure to the landscapes, people, aesthetics, and storytelling traditions of the American South, and his work has been exhibited internationally and featured by The Oxford American, The New York Times, and TIME Magazine. Jared is an alumni of LaGrange College and a 2003 graduate of Tulane University with an MFA in Photography. He resides in his hometown of Birmingham, Alabama. Statement: The rise in use of methamphetamine across the United States over the last decade has led to increased cultural anxiety about the drug and those who use it, while the general perception of the meth-head is perpetuated by popular television programs and pervasive anti-meth campaigns. These limited representations typically paint one-dimensional, demonized characters whose chronic drug use is epitomized by obsessiveness, paranoia, and monstrous physical side effects. But while there are certainly deleterious consequences to meth use and stereotypes often ring too true, existing cultural narratives too often fall short of more complex, individually considered realities. Photographed over 18 months in collaboration with University of Alabama at Birmingham sociologist Heith Copes, Ph.D., GOOD BAD PEOPLE documents the tumultuous lives of meth users from Sand Mountain, a sandstone plateau in northeast Alabama infamous for extreme poverty, poultry processing plants, Pentecostal snake-handlers, and meth production. The images simultaneously reinforce and undermine assumptions of what it means to be a methamphetamine user and present an intimate look into the lives of those who struggle amidst drug use and diminished social status.
David Plowden
United States
1932
David Plowden was a renowned American photographer known for his evocative and poignant images of America's vanishing landscapes. Plowden's work documented the changing face of the American landscape, particularly the decline of small towns, historic structures, and industrial sites, with a deep sense of reverence for the past. Plowden's interest in photography began at a young age, and he honed his skills while studying at the Institute of Design at the Illinois Institute of Technology, where he was mentored by renowned photographer Harry Callahan. Plowden's work was influenced by the work of Edward Steichen and Walker Evans, and he developed a distinct style that combined technical precision with emotional depth that resonated with viewers. Plowden's photography focused on capturing the essence and character of a rapidly disappearing America throughout his career. His black-and-white photographs were hauntingly beautiful, providing a glimpse into the past while raising questions about progress and preservation. Plowden's documentation of small towns and rural landscapes is one of his most notable bodies of work. He sought out areas untouched by modern development, photographing the fading facades of main streets, weathered barns, and decaying structures. He revealed the stories etched into the architectural details through his lens, conveying a sense of nostalgia and longing for a simpler time. David Plowden’s work is sometimes compared to that of the great WPA photographers—Walker Evans, Bernice Abbot, Russell Lee, Dorothea Lange—but he’s been in the field decades longer than any of them were. What he has done is nothing less than capture a whole nation passing through fifty years of changes as momentous as those unleashed by the Industrial Revolution. -- Richard Snow (from the forward of Vanishing Point) Plowden also focused on America's disappearing industrial landscape. He chronicled the decline of once-thriving industries like steel mills, factories, and coal mines. His photographs captured the stark beauty and melancholy atmosphere of these abandoned spaces, conveying the human impact of industrial decline and its toll on communities. Plowden's work was not limited to photography. He was a successful author, having written a number of books that combined his stunning images with thoughtful narratives. His books, such as "Vanishing Point: Fifty Years of Photography," provided an extensive visual record of his lifelong investigation of disappearing landscapes. Plowden's work received critical acclaim and was shown in prestigious galleries and museums around the world throughout his career. He received numerous honors for his contributions to photography, including a Guggenheim Fellowship. David Plowden's photographs are a visual testament to the importance of preserving our common history and America's vanishing landscapes. His photographs convey a sense of loss, prompting viewers to consider the impact of progress and the fragility of our built environment. The legacy of Plowden as a master photographer lives on, inspiring future generations to document and appreciate the landscapes and structures that define our collective memory.
Yasmine Chatila
Yasmine Chatila was born in Cairo in 1974, growing up between Cairo, Italy, France, and Canada. She graduated with a Bachelor in fine Arts from Parsons School of Design in New York, and Masters in Fine Arts from Columbia University School of Arts in 2002. She is the recipient of numerous awards, including a Tag Heuer scholarship for eight consecutive years, and a Columbia fellowship. Her work has been exhibited worldwide, including locations like Centre Pompidou in Paris, The Reina Sofia Museum in Madrid, and Ludwig Museum in Cologne. Stolen Moments have been published by Rizzoli press in the book New York: A Photographer's City and World Atlas Street Photography published by Yale Press. She has been featured in international publications including Vogue Italia, NBC News, IO Donna, Interview Magazine, Foam Magazine, Art in America, Exit Art, New York Post, Wired Magazine, Blackbook, and many more. Her website has attracted millions of viewers, making her work synonymous with voyeurism in art and conceptual photography. All about Stolen Moments On a quiet winter night, I looked out a window. I could see a building far away, the windows were illuminated, and I could vaguely make out people inside their apartments. When I imagined what they might be doing, my mind fluttered between wild fantasies and mundane clichés. I was curious to compare my expectations to the reality of their lives. After months of continuous observation in different parts of the city, I collected hundreds of photographs of strange, comical, and often haunting moments. At times, I was lucky enough to catch a glimpse of human nature when it was not guarded, not self-conscious, and completely uninhibited. This provided me with a stage where it was possible to observe myself in the most secret and vulnerable moments of others. In order to render the subjects unrecognizable, and in an attempt to render them more archetypal, they are taken out of context and displaced from their original habitat.
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