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Cheryl Clegg
Cheryl Clegg
Cheryl Clegg

Cheryl Clegg

Country: United States
Birth: 1964

Cheryl Clegg grew up in NJ, attended the Rochester Institute of Technology, receiving a BFA in Photographic Illustration and moved to Boston to start her commercial photography career. Fast forward over 30 years, Cheryl’s work has appeared in numerous, publications, billboards and annual reports as well as exhibiting in numerous group exhibitions. Cheryl was named a 2020 critical Mass finalist for her series, Downeast Harborside, a visual story about the lobster fishing village of Corea, Maine.

Cheryl embraces any medium of photography always striving to evoke emotion in an image. More than filling white space, each project tells a story or burns an impression into the mind of its audience.

Websites

www.cleggphoto.com

@cherylcleggphoto

 

Inspiring Portfolios

Marjolein Martinot
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More Great Photographers To Discover

Giorgio Negro
Giorgio Negro
Italy/Switzerland
1959
Giorgio Negro is born in Turin in 1959 and spends his childhood and youth in the peaceful environment of the Italian province, in Susa. At the University he obtains a degree in Electronic Engineering but after 10 years of computer work he decides to join the International Committee of the Red Cross. He will work in many parts of the world to carry out humanitarian activities in war zones: Chechnya, Colombia, Peru, Chad, Sudan, Israel, Libya, Iraq and other countries. In 2005 he meets Ernesto Bazan and Dario De Dominicis, the Italian photographers who will make him discover the world of the black and white photography and who will become his friends and mentors. It is the beginning of a magical journey into the world of humanistic photography. In the little free time that his work allows him, Giorgio photographs in Latin America, alone or under the guidance of Bazan and De Dominicis. In 2017, he quits his humanitarian job to devote himself to the family and photography. In 2019, the personal vision project on Latin America is published as a book with the title "Pathos". It is an intimate journey, an empathic confrontation with the many contrasts of that continent, which the 59 B&W images of the book try to narrate. Giorgio is currently working on a photographic project about his homeland Switzerland, always using B&W film.
Brad Patocka
Brad Patocka
United States
Born in Upstate NY, USA to a blue-collar upbringing, I was quickly drawn to the rugged environments of the outdoors. This inevitably led to an unrelenting quest for exploration and travel, always driven by a curiosity of what the world is and what it can be. Like many, I first became interested in the photography from Nat Geo magazines, looking at images of the vastly different cultures and habitats around the globe produced by the countless photographers who would grow to be my idols. The aesthetic quality of a physical print really drew me in, photos that can depict a specific situation while also speaking to a larger issue or narrative resonated with me and inspired me to first pick up a camera. I believe we are all story tellers in some way, shape, or form. For me being able to effectively do just that in a single frame has always been the goal. Having the opportunity to cover important issues, and to present them in a powerful light that will ideally create some sort of change or impact others to consider the world we live in, is the ultimate goal. Traveling the globe in pursuit of various projects, I have found my works range from humanitarian aid, human rights, and environmental issues. Discover Brad Patocka's Interview
Gabriel Isak
Gabriel Isak
Sweden
1990
Gabriel Isak was born in 1990 in Huskvarna, Sweden. In 2016, he received his Bachelor of Fine Arts Degree in Photography at Academy of Art University in San Francisco, California. Isak has exhibited his work at solo exhibitions at The Cannery Gallery, San Francisco, California and his works have been included in various important exhibitions including "Acclimatize" at Museum of Modern Art, Stockholm, Sweden and "Culture Pop" at M Contemporary, Sydney, Australia. Isak lives and works in Stockholm, Sweden, from where he travels all around the world for personal and commissioned projects. Artist Statement Gabriel Isak's art entails surreal and melancholic scenes where he invites the viewer to interact with the inner world of solitary figures that symbolize our own unconscious states. He uses photography as a medium to draw and paint surreal images, minimal and graphic in its aesthetic, rich in symbolism and emotion, focusing on themes inspired by human psychology, dreams and romanticism, as well as his own experiences, especially the years he went through depression. Isak's work is a serene and melancholic meditation that stills the chaos of life and transforms into an introspective journey that questions the depths of existence. The objective of Gabriel Isak's art is to shine a light on the experiences of being and the states of mind those brings along. His subjects are anonymous, imprisoned in monochromatic settings, so the viewer can envision oneself as the subject, reflecting back on one's own experiences and journey in life.
Rafał Milach
Rafał Milach
Poland
1978
Rafał Milach is a Polish visual artist and photographer. His work is about the transformation taking place in the former Eastern Bloc, for which he undertakes long-term projects. He is an associate member of Magnum Photos. Milach's books include 7 Rooms (2011), In the Car with R (2012), Black Sea of Concrete (2013), The Winners (2014) and The First March of Gentlemen (2017). He is a co-founder of the Sputnik Photos collective. He won a 2008 World Press Photo award. 7 Rooms won the Pictures of the Year International Best Photography Book Award in 2011. In 2017 his exhibition Refusal was a finalist for the Deutsche Börse Photography Prize. Milach was born in 1978 in Gliwice, Poland. He graduated from the Academy of Fine Arts in Katowice in 2003 and the Institute of Creative Photography (ITF), Silesian University in Opava, Czech Republic. With ten other Central Eastern European photographers, he co-founded Sputnik Photos, a collective documenting transition in post-Soviet states. For his first book, 7 Rooms (2011), Milach accompanied and photographed seven young people for several years living in the Russian cities of Moscow, Yekaterinburg and Krasnoyarsk. In the Car with R (2012) was made on a 10-day road trip, driving 1450 kilometers around Iceland's circular Route 1. Milach made photographs and his local guide, the writer Huldar Breiðfjörð [de], made diary entries. Black Sea of Concrete (2013) is about the Ukrainian Black Sea coast, about its people, of whom he made portraits, and the abundant Soviet-era geometric blocks strewn along the coastline. Milach spent two years in Belarus from 2011 exploring its dire economic and political situation. Belarus is "a country caught between the ultra-traditional values of an older Soviet era and the viral influence of western popular culture." Milach was interested in the clean, tidy glamorous facade maintained by the state. His book The Winners (2014), portraits of winners of various "Best of Belarus" state and local contests promoted by the government, is a typology of state propaganda. It depicts mostly people, but also anonymous interiors that had won awards. The obscure official prizes are intended to foster national pride but to an outside audience might appear tragicomic. Milach travelled around the country working in the role of "an old-fashioned propaganda photographer". He was guided by the authorities as to who, where and how to photograph, a process which only improved his revealing the ideology of the state. Milach has said "the winners are everywhere, but the winnings are not for the winners – they are for the system", "the state is not interested in individuals, only in mass control." The First March of Gentlemen (2017) was made on a 2016 residency at Kolekcja Września to make work about life in Września. The town is synonymous with the Września children strike, the protests of Polish children and their parents against Germanization that occurred between 1901 and 1904. In 2016, there were many demonstrations by Citizens of Poland, a civic movement engaged in pro-democracy and anti-fascist actions, opposed to the political changes brought about by the government led by the Law and Justice (PiS) party. Milach's book of collages mixes illustrations of the children's strike with characters that lived in Września during the communist era in the 1950s and 1960s taken by local amateur photographer Ryszard Szczepaniak. This "delineates a fictitious narrative that can be read as a metaphor, commenting on the social and political tensions of the present day." Milach is an associate member of Magnum Photos. He is married to Ania Nałęcka-Milach and is currently based in Warsaw.Source: Wikipedia Rafał Milach was born in 1978 in Gliwice and is currently based in Warsaw. He graduated in graphic design from the Academy of Fine Arts in Katowice, as well as studies at the Institute of Creative Photography of the Silesian University in Opava, Czech Republic, where he’s offering lectures. He’s also a professor at the Krzysztof Kieślowski Film School in Katowice Poland. In 2008, he received first prize in the Grand Press Photo competition and in 2011 he received an honorable mention in the Magnum Expression Award Competition. In 2008 he received first prize in the Grand Press Photo competition and in 2011 he received an honorable mention in the Magnum Expression Award Competition. In 2013 he was among the 10 laureates of Magnum’s 2013 Emergency Fund grants, which allowed him to continue his Winners project, set in Belarus and giving viewers an intimate look at the "last dictatorship in Europe." At the 2012 edition of the Month of Photography in Bratislava Milach’s 7 Rooms were announced the best contemporary books in the CEE Region this year, along with two other albums published by Sputnik Photos – Stand By and Distant Place. About his style of photography, he says the key to his craft is filtering his subject through his own consciousness to find a novel, distinctive perspective on an object or issue, even if it has been portrayed by dozens of photographers. "It’s about finding something interesting for us", he told, "something we want to speak about. I believe there are no bad subjects, there are only bad productions."Source: Culture.pl
Dennis Stock
Dennis Stock
United States
1928 | † 2010
Dennis Stock (July 24, 1928 – January 11, 2010) was an American photojournalist and documentary photographer and a member of Magnum Photos. He was born in New York City and died in Sarasota, Florida. Stock served in the United States Army from 1947-1951. Following his discharge, he apprenticed under photographer Gjon Mili. In 1951, he won a first prize in a Life magazine competition for young photographers. That same year, he became an associate member of the photography agency Magnum. He became a full partner-member in 1954. In 1955, Stock met the actor James Dean and undertook a series of photos of the young star in Hollywood, Dean's hometown in Indiana and in New York City. He took a photograph of Dean in New York's Times Square in 1955 (the year Dean died) that became an iconic image of the young star. It appeared later in numerous galleries and on postcards and posters and was one of the most reproduced photographs of the post-war period. The black and white photograph shows the actor with a pulled up collar on a casual jacket and a cigarette in his mouth on a rain-soaked, gray day. From 1957 until the early 1960s, Stock aimed his lens at jazz musicians, photographing such people as Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington. With this series of photographs he published the book Jazz Street. In 1962, he received the first prize at the International Photo Competition in Poland. In 1968, Stock left Magnum to start his own film company, Visual Objectives Inc., and made several documentaries, but he returned to the agency a year later, as vice president for new media and film. In the mid-1970s, he traveled to Japan and the Far East, and also produced numerous features series, such as photographs of contrasting regions, like Hawaii and Alaska. In the 1970s and 1980s he focused on color photography of nature and landscape, and returned to his urban roots in the 1990s focusing on architecture and modernism.(Source: en.wikipedia.org) Dennis Stock was born in 1928 in New York City. At the age of 17, he left home to join the United States Navy. In 1947 he became an apprentice to Life magazine photographer Gjon Mili and won first prize in Life's Young Photographers contest. He joined Magnum in 1951. Stock managed to evoke the spirit of America through his memorable and iconic portraits of Hollywood stars, most notably James Dean. From 1957 to 1960 Stock made lively portraits of jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create Visual Objectives, a film production company, and he shot several documentaries. In the late 1960s he captured the attempts of California hippies to reshape society according to ideals of love and caring. Then throughout the 1970s and 1980s he worked on color books, emphasizing the beauty of nature through details and landscape. In the 1990s he went back to his urban origins, exploring the modern architecture of large cities. His recent work was mostly focused on the abstraction of flowers. Stock generated a book or an exhibition almost every year since the 1950s. He taught numerous workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan. He worked as a writer, director and producer for television and film, and his photographs have been acquired by most major museum collections. He served as president of Magnum's film and new media division in 1969 and 1970.(Source: Magnum Photos)
William Eggleston
William Eggleston
United States
1939
William Eggleston was born in Memphis, Tennessee and raised in Sumner, Mississippi. His father was an engineer and his mother was the daughter of a prominent local judge. As a boy, Eggleston was introverted; he enjoyed playing the piano, drawing, and working with electronics. From an early age, he was also drawn to visual media, and reportedly enjoyed buying postcards and cutting out pictures from magazines. At the age of 15, Eggleston was sent to the Webb School, a boarding establishment. Eggleston later recalled few fond memories of the school, telling a reporter, "It had a kind of Spartan routine to 'build character'. I never knew what that was supposed to mean. It was so callous and dumb. It was the kind of place where it was considered effeminate to like music and painting." Eggleston was unusual among his peers in eschewing the traditional Southern male pursuits of hunting and sports, in favor of artistic pursuits and observation of the world. Nevertheless, Eggleston noted that he never felt like an outsider. "I never had the feeling that I didn't fit in," he told a reporter, "But probably I didn't." Eggleston attended Vanderbilt University for a year, Delta State College for a semester, and the University of Mississippi for about five years, but did not complete any degree. Nonetheless, his interest in photography took root when a friend at Vanderbilt gave Eggleston a Leica camera. He was introduced to abstract expressionism at Ole Miss by visiting painter Tom Young. Eggleston's early photographic efforts were inspired by the work of Swiss-born photographer Robert Frank, and by French photographer Henri Cartier-Bresson's book, The Decisive Moment. Eggleston later recalled that the book was "the first serious book I found, from many awful books...I didn't understand it a bit, and then it sank in, and I realized, my God, this is a great one." First photographing in black-and-white, Eggleston began experimenting with color in 1965 and 1966 after being introduced to the medium by William Christenberry. Color transparency film became his dominant medium in the later 1960s. Eggleston's development as a photographer seems to have taken place in relative isolation from other artists. In an interview, John Szarkowski describes his first encounter with the young Eggleston in 1969 as being "absolutely out of the blue". After reviewing Eggleston's work (which he recalled as a suitcase full of "drugstore" color prints) Szarkowski prevailed upon the Photography Committee of MoMA to buy one of Eggleston's photographs. In 1970, Eggleston's friend William Christenberry introduced him to Walter Hopps, director of Washington, D.C.'s Corcoran Gallery. Hopps later reported being "stunned" by Eggleston's work: "I had never seen anything like it." Eggleston taught at Harvard in 1973 and 1974, and it was during these years that he discovered dye-transfer printing; he was examining the price list of a photographic lab in Chicago when he read about the process. As Eggleston later recalled: "It advertised 'from the cheapest to the ultimate print.' The ultimate print was a dye-transfer. I went straight up there to look and everything I saw was commercial work like pictures of cigarette packs or perfume bottles but the colour saturation and the quality of the ink was overwhelming. I couldn't wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed fantastic and each one seemed better than the previous one." The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling, of which Eggleston said, "The Red Ceiling is so powerful, that in fact I've never seen it reproduced on the page to my satisfaction. When you look at the dye it is like red blood that's wet on the wall.... A little red is usually enough, but to work with an entire red surface was a challenge." At Harvard, Eggleston prepared his first portfolio, entitled 14 Pictures (1974). Eggleston's work was exhibited at MoMA in 1976. Although this was over three decades after MoMa had mounted a solo exhibition of color photographs by Eliot Porter, and a decade after MoMA had exhibited color photographs by Ernst Haas, the tale that the Eggleston exhibition was MoMA's first exhibition of color photography is frequently repeated, and the 1976 show is regarded as a watershed moment in the history of photography, by marking "the acceptance of colour photography by the highest validating institution" (in the words of Mark Holborn). Around the time of his 1976 MoMA exhibition, Eggleston was introduced to Viva, the Andy Warhol "superstar", with whom he began a long relationship. During this period Eggleston became familiar with Andy Warhol's circle, a connection that may have helped foster Eggleston's idea of the "democratic camera", Mark Holborn suggests. Also in the 1970s Eggleston experimented with video, producing several hours of roughly edited footage Eggleston calls Stranded in Canton. Writer Richard Woodward, who has viewed the footage, likens it to a "demented home movie", mixing tender shots of his children at home with shots of drunken parties, public urination and a man biting off a chicken's head before a cheering crowd in New Orleans. Woodward suggests that the film is reflective of Eggleston's "fearless naturalism—a belief that by looking patiently at what others ignore or look away from, interesting things can be seen." Eggleston's published books and portfolios include Los Alamos (completed in 1974, but published much later), William Eggleston's Guide (the catalog of the 1976 MoMa exhibit), the massive Election Eve (1977; a portfolio of photographs taken around Plains, Georgia, the rural seat of Jimmy Carter before the 1976 presidential election), The Morals of Vision (1978), Flowers (1978), Wedgwood Blue (1979), Seven (1979), Troubled Waters (1980), The Louisiana Project (1980), William Eggleston's Graceland (1984; a series of commissioned photographs of Elvis Presley's Graceland, depicting the singer's home as an airless, windowless tomb in custom-made bad taste), The Democratic Forest (1989), Faulkner's Mississippi (1990), and Ancient and Modern(1992). Some of his early series have not been shown until the late 2000s. The Nightclub Portraits (1973), a series of large black-and-white portraits in bars and clubs around Memphis was, for the most part, not shown until 2005. Lost and Found, part of Eggleston's Los Alamos series, is a body of photographs that have remained unseen for decades because until 2008 no one knew that they belonged to Walter Hopps; the works from this series chronicle road trips the artist took with Hopps, leaving from Memphis and traveling as far as the West Coast. Eggleston's Election Eve photographs were not editioned until 2011. Eggleston also worked with filmmakers, photographing the set of John Huston's film Annie (1982) and documenting the making of David Byrne's film True Stories (1986). In 2017 an album of Eggleston's music was released, Musik. It comprises 13 "experimental electronic soundscapes", "often dramatic improvisations on compositions by Bach (his hero) and Haendel as well as his singular takes on a Gilbert and Sullivan tune and the jazz standard On the Street Where You Live." Musik was made entirely on a 1980s Korg synthesiser, and recorded to floppy disks. The 2017 compilation Musik was produced by Tom Lunt, and released on Secretly Canadian. In 2018, Áine O'Dwyer performed the music on a pipe organ at the Big Ears music festival in Knoxville. Source: Wikipedia William Eggleston assumes a neutral gaze and creates his art from commonplace subjects: a farmer's muddy Ford truck, a red ceiling in a friend's house, the contents of his own refrigerator. In his work, Eggleston photographs "democratically"--literally photographing the world around him. His large-format prints monumentalize everyday subjects, everything is equally important; every detail deserves attention. A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted "Color Photographs" a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston's Guide , in which Szarkowski called Eggleston's photographs "perfect," accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. Source: The Getty Museum
Vee Speers
Vee Speers
Australia
or over two decades, Australian Paris-based artist Vee Speers has established herself in the art world with her unforgettable portraits. Her carefully choreographed images are painterly and ethereal, with a visual and metaphorical ambiguity which challenges established narratives. In her iconic series The Birthday Party, she eternalises the innocence of childhood with timeless portraits that are at once hauntingly beautiful and provocative. She dresses, styles and sometimes masks her characters, creating enigmatic stories to blur the line between reality and fiction and highlighting our need to escape into fantasy. Speers succeeds in choreographing characters that offer allegorical glimpses into life, triggering memories and emotions from our own childhood. From the legend of the Phoenix, Speers draws inspiration for her most recent work Phoenix, an evocative story about passion, love and loss and an homage to the anonymous women. In this series Phoenix, the battles are over and the flames and ashes disappear. Emerging is the emboldening force of liberation as these women of all ages are on the threshold of new beginnings. At once powerful and vulnerable, Speers' portraits are timeless symbols of transformation between life and loss and the renaissance of a new identity. Speers' work has been exhibited in museums, galleries, art fairs and festivals around the world, and published in features and on covers of more than 60 international magazines, with 3 sold-out monographs of her work. Her photographs have been acquired by Sir Elton John Collection, Michael Wilson Collection, Hoffman Collection U.S. , Carter Potash Collection, Morten Viskum Collection, Alan Siegel, Lawrence Schiller, DZ Bank, Museum of Fine Arts Houston, Museum 21C, Kentucky, George Eastman House, Beth Rudin Dewoody, Hudson Bay Company Art Fund, CB Collection, Tokyo. More about Vee Speers: AAP: When did you realize you wanted to be a photographer? Vee Speers: I’ve always thought photography was magical as my father had his own darkroom. When I went to art school, I realized that the instant way of capturing an image suited my impatient personality. Where did you study photography?QCA, Brisbane, Australia Do you have a mentor or role model?Not really. I don’t like to follow. What or who inspires you?The cinema is a constant source of inspiration. A story is told, and the way it is filmed can transport you to another time or place. Still images can be the same. How could you describe your style?Playful, beautiful, strange, melancholic, obvious and unexpected. Do you have a favorite photograph or series?The Birthday Party and Bulletproof This is two series photographed 6 years apart using the same children. What kind of gear do you use?Polaroid film and medium format cameras. Do you spend a lot of time editing your images? For what purpose?No, I know right away when I’ve taken a good shot. Or if I haven’t. What advice would you give a young photographer?Know what you want and don’t be distracted from your goal. Don’t listen to what anybody else says. What mistake should a young photographer avoid?Accepting to shoot anything that will compromise his or her personal journey. An idea, a sentence, a project you would like to share?Don’t be afraid.What are your projects?Portraits, portraits and more portraits. Your best memory as a photographer?There are so many. Every time I take a great image, I feel so excited, like everything has lined up perfectly. These are the best memories. The compliment that touched you most?A woman once told me that my work had changed her life. If you were someone else who would it be?Diane Arbus, with all those wonderful and strange people to photograph. Your favorite photo book?Lord of the Flies by William Golding.
Hiroshi Watanabe
Hiroshi Watanabe
Japan
1951
Hiroshi Watanabe is a California-based Japanese photographer. Born in Sapporo, Hokkaido, Japan in 1951, Watanabe graduated from the Department of Photography of Nihon University in 1975 and moved to Los Angeles where he worked as a production coordinator for Japanese television commercials and later co-founded a Japanese coordination services company. He obtained an MBA from UCLA in 1993, but two years later his earlier interest in photography revived; from 2000 he has worked full-time at photography. After five self-published books, Watanabe's first to be published conventionally was I See Angels Every Day, monochrome portraits of the patients and other scenes within San Lázaro psychiatric hospital in Quito, Ecuador. This won the 2007 Photo City Sagamihara award for Japanese professional photographers. In 2005, a portfolio of his work was featured in Nueva Luz photographic journal, volume 10#3. In 2007 Watanabe won a "Critical Mass" award from Photolucida that allowed publication of his monograph Findings. Watanabe's works are in the permanent collections of the Houston Museum of Fine Arts, George Eastman House and Santa Barbara Museum of Art. Galleries Benrubi Gallery Photo-Eye Gallery Takeda Art Micheko Galerie Utopica
Eduardo Soler
Eduardo Soler
United States
Eduardo started his career working for renown photographers in Los Angeles and San Francisco. Later he worked full time as a staff photographer for The Sharper Image catalog company in San Francisco. His most recent clients include Bayer HealthCare, Novartis, Intuit, Boehringer Ingelheim, among others. He's also an award-winning street photographer. Eduardo lives in Oakland, California with two fun cats, Sprinkler and Tiger.
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Interview
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.
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