Jon Wollenhaupt

For more than 20 years I have been dedicated to photography and fine art printmaking. During this span of time, I have I provided photography services to corporations, not-for-profit organizations, and news and media outlets. My street photography has been exhibited nationally in the United States and published internationally.

I have a degree in Fine Art from Grossmont College and further studies in Studio Arts at San Francisco State University. Other current work includes a series called Awakening, which is a series of photomontage works that involve the overlaying of disparate images that reflect the workings of the unconscious mind and amorphous embedded memories. I also experiment extensively with alternative printing processes such as platinum pallidum and cyanotype.

About Tales of a City: San Francisco

Artist North Beach
© Jon Wollenhaupt

For more than 10 years I prowled the streets of San Francisco taking photos without a particular theme in mind. Or, you could say the city itself was the theme. I was more interested in trying to reveal something about the fabric of the city than looking only at specific threads. I hope these photos display a faithful chronicle of everyday life, in which there is glimmer of what John Szarkowski calls “ineffable dramatic possibilities.” Can it be that the capture of those small daily dramas that take place on busy streets, in alleys, and between tall buildings, can tell the story of a city as complex and unique as San Francisco? Perhaps. The story of a great city is always unfolding, and each day a page of a new chapter begins."

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jonwollenhauptphotography.com

@photobuono

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More Great Photographers To Discover

Fokion Zissiadis

Greece
1956

Fokion Zissiadis was born in Thessaloniki in 1956. He studied architecture at the Aristotle University of Thessaloniki and went on to do a Masters degree at the University of Pennsylvania in Philadelphia USA, graduating in 1983. His career to date has been in the hotel and tourism sector, continuing the family tradition as a shareholder in the well-known Sani Resort in Halkidiki and Vice President of Sani S.A. He first took an interest in photography - mainly photographing buildings and urban landscapes - during his years as an architecture student. Later it was nature, on a small or large scale, which became his narrative priority, while he gradually developed more personal, interpretative views of the landscapes he sought to capture. His photography expressed a desire to preserve a wide-angle "view through a personal window" on the world around him. An active man with a passion for the natural world and a love of adventure, he planned journeys to particular destinations where nature reveals the primitive building blocks of which she is made, where the great age of the natural landscape is to be seen, where the visitor is challenged to engage fully and completely with the natural world around him. His photographic work covers a wide range of geological phenomena and diverse terrains: deserts, glaciers, savannahs, volcanoes, rivers, seas, mountain ranges and uplands. He has visited and photographed locations as varied as Peking, Moscow, New York, Los Angeles, Buenos Aires, the capital cities of Europe, Egypt, Patagonia, Botswana, Namibia, South Africa, the Bahamas, Israel, Cappadocia, Constantinople, Malta, Oman, Qatar, Dubai and, most recently, Iceland. His photographs use a keen geometrical sense to interpret the quintessence of the landscape with all those features through which the genius loci is expressed. Through his personal photographic idiom, Fokion Zissiadis expresses his own aesthetic sense of moment and place. The dwarfed human figures almost always included in his photographic compositions create a strong sense of the insignificance of man when confronted with the grandeur and majesty of the natural world. On all his photographic journeys he is accompanied by his lifetime partner and advisor - his wife Mata Tsolozidi Zissiadis. An active man with a passion for the natural world and a love of adventure "Passion under fate becomes pathos. The Aristotelian adage denotes not only my relationship with the Arctic Line, yet my overall feelings towards the area. Intimate sentiments about the burning issue of climate change become the vehicle for the lens to capture the unfathomable beauty of Greenland. Icebergs that flawlessly exemplify a celebration of random wandering and ceaseless transformation. Water as the ultimate procreator. Time that grows into one's living; life that metamorphoses into one's chronos. At the end, it's all about the Analogue Line. Nature seems to be on line. And so is myself. Perhaps, it is also a line that connected me to the publishing of my first book on Iceland with teNeues, and now to my fruitful collaboration with Rizzoli Libri and the upcoming printing, in 2020, of a book with my photos on Vietnam." - Fokion Zissiadis

Nanna Heitmann

Germany/ Russia

Nanna Heitmann is a German/ Russian documentary photographer, based between Russia and Germany. Her work has been published by TIME Magazine, M Le Magazine du Monde, De Volkskrant, Stern Magazine and she has worked on assignments for outlets including The New York Times, TIME Magazine, The Washington Post and Stern Magazine. She has received awards that include the Leica Oscar Barnack Newcomer Award, the Ian Parry Award of Achievement. Nanna Heitmann joined Magnum as a nominee in 2019. Hiding from Baba Yaga "Vasilisa was running faster than she had ever run before. Soon she could hear the witch, Baba Yaga's mortar bumping on the ground behind her. Desperately, she remembered the thin black cat's words and threw the towel behind her on the ground. The towel grew bigger and bigger, and wetter and wetter, and soon a deep, broad river stood between the little girl and Baba Yaga. Vasilisa threw the comb behind her, and the comb grew bigger and bigger, and its teeth sprouted up into a thick forest, so thick that not even Baba Yaga could force her way through. And Baba Yaga the witch, the bony-legged one, gnashing her teeth and screaming with rage and disappointment, finally turned round and drove away back to her little hut on hen's legs." From time immemorial people have sought protection and freedom on the banks of the Yenisei and the adjacent wild taiga. For a long time, the banks of the Yenisei have been pervaded by nomadic peoples. The Russians, coming from the west, chased by the greed for valuable fur, did not reach the river until 1607. Criminals, escaped serfs, apostates or simply adventurers, joined together in wild rider associations and expanded ever deeper into the vast wild Taiga. The life of the settlers in Siberia was free and self-determined for the time. Old believers settled on lonely banks of the Yenisei to escape the persecution of the Tsar and later the Soviets. With Stalin the Yenisei became a place of exile and forced labor. The Soviets not only chained the native peoples, but also the Yenisei. With two giant dams they created lakes of almost 400km length. Villages sank in the water, the climate changed. A dense fog swept over the river. The USSR is history. Today, most people are drawn to big cities like Moscow or St Petersburg. Therefore the Yenisei turns more and more into a space for dreamers and loners to escape the worldly world. Not far from the banks of the Yenisei lives Yuri, who has built a small hut on a landfill. Here he can find food for his 15 former street dogs, here he lives freely. Nothing keeps him in the city, where thick coal dust covers the white snow in winter. "All my friends are in the cemetery. Drugs or alcohol." Following the stream of the Yenisei north one encounters Valentin. An self claimed anarch ecologist - a former officer, traumatized by war missions. Today he lives on his small property in the forest. Even at minus 50 degrees, he sleeps outside by the fire. From endless wars he has enough. "All the people of this world, live together in peace and protect your forests." Only to those who threaten the Siberian forests he declares war. "We have a wonderful forest. How many tress grow here. But we need more forests to breathe. Humanity destroyed our forests. These must be revived immediately. " Not far from the source of the Yenisei, Vaselisa lives in the village of Old Believers. Her parents are both deaf and the only heathens in a village that lives strictly to century-old rituals. She doesn't like the children in her village. Her only friend lives in the village of Sissim. While summer holidays the Yenisei and a walk separates them from each other. Encountering all this different people, there is a bond which connects them with each other. The seek of freedom, protection, imprisonment and isolation. The Yenisei and its woods become a metaphor of a dreamscape: Loneliness, unfulfilled dreams, death, abandoned hopes shape people as much as the vast nature, which at the same time gives so much freedom and places of retreat.

Shinji Isobe

Japan
1976

Started street photography in 2009. While traveling in Asia, I mainly work on documentary photography. Exhibitions: Held three photo exhibitions in Japan Artist statement: Started photography in 2009, and currently captures urban landscapes in Japan and abroad through street photography. At the same time, I regularly visit slums in various parts of Asia and record people's daily lives through my lens. Through these activities, I aim to capture moments of joy, suffering, and hope. I am deeply attracted to both street photography and documentary photography. What these two genres have in common is the act of capturing a moment as it is. I am particularly interested in how such fleeting moments can convey people's stories and emotions.

Anna Grevenitis

France / United States
1974

French-born visual artist Anna Grevenitis found photography in a meandering way: her formative years were filled with the study and teaching of the English language and literature, but when her daughter was born--and a year later her son--her world naturally morphed into full-time mothering. Drawing on the experiences of the domestic to inform her daily practice, she uses her home as a stage and her body and the body of others in her familial sphere as characters to deliver, in her photographs, the essence of what she wants to express about family and the self. For her work, the act of performing is an essential step in image making. Nowadays she divides her time between research and creation, and she is interested in building long term projects in photography as an act of establishing visual memory and engaging in social visibility. Her photographs have been exhibited both in the United States and internationally. Statement REGARD /ʁə.ɡaʁ/ verb 1. To consider or think of (someone or something) in a specified way. When my daughter was born, I was told that she had the “physical markers” for Down syndrome. A few days later, the diagnosis of Trisomy 21 was confirmed with a simple blood test. Today, years later, Luigia is a lively teenager, yet these “markers” have grown with her, and her disability remains visible to the outside world. As we try to go about our ordinary lives in our community--getting ice cream after school, going grocery shopping or walking to the local library--I often catch people staring, gawking, or side-glancing at her, at us. Even though their gaze feels invasive, I perceive it as more questioning than judging, at least most of the time. With this on-going series REGARD, I am opening a window into our reality. To emphasize control over my message, these everyday scenes are meticulously set, lit up; they are staged and posed. The performers are my daughter and me. The double self-portraits are purposefully developed in black and white, for by refusing the decorative and emotionally evocative element of color, I aim to maintain a distance between us and them. The composition of the photographs expresses routine, domestic acts in which I address the viewers directly: look at us bathing; look at us grooming; here we are at bedtime; this is us on a random day at the beach. In each scene, the viewers are plunged into the outside perspective. At first glance, it may seem that I am offering us as vulnerable prey to their judgment, yet in fact I am guarding our lives, and the viewers are caught gawking--my direct gaze at the camera. My series is very basic in its concept: it shows a child, it shows a mother, it shows them living at home, performing familial acts. Because I believe in the connective power offered by the depiction of domesticity, I hope that REGARD helps the audience rethink some of their assumptions about people living with disabilities and with this, I hope my series finds a humble spot within the movement that helps people with disabilities gain visibility.

Julius Shulman

United States
1910 | † 2009

Julius Shulman was an American architectural photographer best known for his photograph Case Study House #22, Los Angeles, 1960. Pierre Koenig, Architect. The house is also known as the Stahl House. Shulman's photography spread the aesthetic of California's Mid-century modern architecture around the world. Through his many books, exhibits, and personal appearances his work ushered in a new appreciation for the movement beginning in the 1990s. His vast library of images currently resides at the Getty Center in Los Angeles. His contemporaries include Ezra Stoller and Hedrich Blessing photographers. In 1947, Julius Shulman asked architect Raphael Soriano to build a mid-century steel home and studio in the Hollywood Hills. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to wider attention by Shulman's photography. The clarity of his work added to the idea that architectural photography be considered as an independent art form in which perception and understanding for the buildings and their place in the landscape informs the photograph. Many of the buildings photographed by Shulman have since been demolished or re-purposed, lending to the popularity of his images. I’m not modest about myself. I know for a fact that I am good. But good in the sense that I can put things together. I expound vociferously to students of architecture and photography, the significance of design. A photograph is a design in which you assemble thoughts in your mind. -- Julius Shulman Julius Shulman was born in Brooklyn to Russian-Jewish parents on October 10, 1910, and grew up on a small farm in Connecticut before moving to Los Angeles while still a boy. He briefly attended the University of California, Los Angeles and the University of California, Berkeley, and earned pocket money by selling his photographs to fellow students. In 1936 he returned to Los Angeles, where he was enlisted by a friend, working as a draftsman for Richard Neutra, to take photographs of a new, Neutra-designed Kun Residence in Hollywood with his amateur Kodak Vest Pocket camera. When Neutra saw the pictures, he asked to meet the photographer and proceeded to give him his first assignments which assisted Shulman in launching his career in architectural photography. Shulman opened a studio in Los Angeles in 1950, by that time drawing much of his work from magazines based in New York. He remained in business full-time until the late 1980s. In 2000, Shulman gave up retirement to begin working with business partner Juergen Nogai. The Getty Research Institute held a 2005–2006 exhibition of Shulman's prints entitled Julius Shulman, Modernity and the Metropolis. The exhibition included sections entitled Framing the California Lifestyle, Promoting the Power of Modern Architecture, The Tools of an Innovator and The Development of a Metropolis. The exhibition traveled to the National Building Museum and to the Art Institute of Chicago. In 1987, the Shulman House was designated a Cultural Heritage Monument by the city of Los Angeles. Shulman himself had a Golden Palm Star on the Palm Springs Walk of Stars dedicated to him in 2006. He died at his home in Los Angeles, California on July 15, 2009; he was 98 years old. He was buried at Hillside Memorial Park Cemetery in Culver City, California.Source: Wikipedia I sell architecture better and more directly and more vividly than the architect does... The average architect is stupid. He doesn’t know how to sell. He’s not a merchandiser. He doesn’t know how to express his own image. He doesn’t know how to create a design of his image... And I do it. I’ve done it all my career over half a century, and it gets better. -- Julius Shulman

Dale Niles

United States

Born in Norfolk, Virginia, Niles' formative years were spent with her family living in small, southern towns in Virginia and North Carolina. Inspired by the heritage of these locales, neighbors, and friends, she developed deep-seated southern roots that richly inform her photography practice with visual storytelling. Niles celebrates the diverseness of the human spirit, appreciating those qualities that make us delightfully unique, yet connected in many ways, particularly through shared experiences and preserved visual memories. Niles majored in sociology at Lenoir Rhyne College in Hickory, North Carolina. While exploring opportunities in her chosen field, she pursued her artistic interests, ultimately discovering that photography was her passion. The medium offers Niles a wide berth of options for technique, subject matter, and her creative process. Exhibitions include group and solo installations across the United States, Canada, Paris, France, and Venice, Italy. Her prints are held in many private collections as well the Museum of Contemporary Art of Georgia (MOCA GA) and the Ogden Museum of Southern Art. A selection of her work is currently exhibited at Mayo Clinic, Jacksonville, Florida. She was selected for Photolucida's Critical Mass Top 200, Ones to Watch , the Fence, an exhibition at Hartsfield International Airport, and she won the Virginia Twinam Purchase Award. Featured publications include: Light and Shadow Magazine, SouthxSoutheast Magazine, Shots, Lenscratch, The HAND Magazine, and Oxford American. Her book, What Lies With: the Eclectic Collections of Andrea Noel received recognition from Elizabeth Avedon as best photography book of 2021. What We Keep The passing of a loved one is a life moment everyone is forced to face and walk through in their own way. A person dies and items of their existence remain. This process is often emotionally and physically overwhelming and taxing. There may be cumbersome items as well as very minuscule things. Some may even have an element of an obscure nature like a set of false teeth. How and what do we choose to keep? Do we keep something as a way to hold on to the person that left us? Is there an emotion that is triggered just by seeing or touching it? Is it valuable or something trivial that has an attached memory that only we can relate to? Does something remind us of the home we once knew that no longer exists? A homesickness feeling may be eased by its presence? Is there a guilt or regret in letting things go or a feeling of obligation? Do we hope that we can pass on these obtained pieces of our heritage as a bridge from past to present to preserve family legacy to those who follow?Is it a way to not only say that your loved one existed but that you too existed as well? People say 'these are just things' and yes they are but a person you loved put meaning to them. I am not one to judge or help in this matter as I kept the teeth.

Karoline Schneider

Germany
1970

Born in 1970, Karoline Schneider is an artist and photographer living in the heart of Berlin. She currently teaches at Film University Babelsberg. After graduating from the University of Arts, Berlin and Film University, Potsdam/ Babelsberg, Karoline began her working life as a graphic artist and animation filmmaker with a love of photography. Since 2008 she has been working with the wet plate method as a way to challenge the limitations of the photographic form and reintroduces the random and the accidental to her artwork. Her most recent works combine images with text and installation to create pieces of complex narrative. Pears in the afternoon All images belong to the portrait series PEARS IN THE AFTERNOON that was created between 2010 and 2018. My artistic focus is on the portrait in the broadest sense: I’m always looking for the special quality of my subject, whether person, prop or situation.   For me, it is never about the portrait of an individual, it’s about a portrait of the human being per se.

Richard Sandler

United States
1946

Richard Sandler is a street photographer and documentary filmmaker. He has directed and shot eight non-fiction films, including The Gods of Times Square, Brave New York and Radioactive City. Sandler’s still photographs are in the permanent collections of Brooklyn Museum, Center for Creative Photography - University of Arizona, Houston Museum of Fine Arts, Museum of the City of New York, New York Historical Society, New York Public Library. He was awarded a New York Foundation for the Arts fellowship for photography, a John Simon Guggenheim Fellowship for Filmmaking, and a New York State Council on the Arts fellowship for Filmmaking. The Eyes of the City was published by powerHouse Books in 2017.Source: www.richardsandler.com

Lala Deen Dayal

India
1844 | † 1905

Lala Deen Dayal, (famously known as Raja Deen Dayal) born in 1844 in Sardhana, Uttar Pradesh, is revered as one of India's most influential photographers. His journey into photography began after he completed his education in engineering at Thomason College of Civil Engineering (now IIT Roorkee). Initially working as a draftsman for the Public Works Department, Deen Dayal's interest in photography soon turned into a passionate pursuit, transforming him into a pioneer of the craft in India. In the late 19th century, when photography was still a nascent field, Deen Dayal's talent quickly garnered attention. He established his first studio in Indore, gaining the patronage of Maharaja Tukoji Rao II. His reputation for capturing intricate details and the essence of Indian life, architecture, and landscapes soon spread, leading to numerous commissions from Indian royalty and British officials. This period marked the beginning of his illustrious career, during which he documented India's rich cultural heritage with a distinctive artistic vision. Deen Dayal's photographic expertise reached new heights when he was appointed the court photographer for the sixth Nizam of Hyderabad, Mahbub Ali Pasha, in 1885. This prestigious position allowed him unparalleled access to the royal family and their opulent lifestyle. His photographs from this era are renowned for their exquisite composition and detail, providing a rare glimpse into the grandeur of princely India. Deen Dayal's work from this period includes portraits, architectural studies, and documentation of royal ceremonies, all characterized by their meticulous attention to detail. Throughout his career, Deen Dayal's contributions to photography extended beyond his royal commissions. He established studios in Mumbai, Indore, and Hyderabad, training a generation of Indian photographers and expanding the reach of professional photography in the country. His innovative techniques and commitment to quality earned him international recognition. In 1897, he was awarded the Royal Warrant by Queen Victoria, a testament to his exceptional skill and the impact of his work on a global scale. Lala Deen Dayal passed away in 1905, but his legacy endures through his extensive body of work that continues to be celebrated for its historical and artistic significance. His photographs are invaluable records of India's architectural and cultural history, capturing the essence of a bygone era with clarity and depth. Deen Dayal's pioneering spirit and dedication to his craft have left an indelible mark on the history of photography, establishing him as a true trailblazer in the field. His work remains a source of inspiration for photographers and historians alike, preserving the rich tapestry of 19th-century India for future generations.

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