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LAST CALL TO Win a Solo Exhibition in July 2026 + An Exclusive Interview!
LAST CALL TO Win a Solo Exhibition in July 2026 + An Exclusive Interview!
Jimmy Nelson
Jimmy Nelson

Jimmy Nelson

Country: United Kingdom
Birth: 1967

Jimmy Nelson, born in 1967, embarked on a transformative journey across Tibet at age 17, captured by English National Geographic. He became a photojournalist, covering war zones and producing "Literary Portraits of China" for Shell Oil. Later, he celebrated global diversity with "Before they Pass Away" and "Homage to Humanity. " Through his lens, Nelson immortalized indigenous cultures, inspiring cultural preservation and appreciation worldwide.

James Philip Nelson, born in 1967 in Sevenoaks, Kent, led a diverse childhood marked by travels across Africa, Asia, and South America alongside his father, a geologist for International Shell. At 16, he developed Alopecia totalis, triggered by stress and malaria medication. A year later, he embarked on a two-year trek across Tibet, capturing the journey with a small camera. Upon his return, his images were published by English National Geographic. Subsequently, Nelson ventured into photojournalism, documenting war zones and later commissioned by Shell Oil for Literary Portraits of China. Transitioning to commercial advertising in 1997, he continued to document remote cultures.

In 2010, Nelson embarked on his second book, Before they Pass Away, a three-year endeavor photographing over 35 indigenous tribes worldwide. Using a 50-year-old 4x5in camera, Nelson drew inspiration from Edward S. Curtis, aiming to romantically portray his subjects. He emphasized that the project was not about factual accuracy but rather his artistic interpretation of diversity and beauty. Tribes photographed included the Huli and Kalam tribes of New Guinea, the Tsaatan of Mongolia, and the Mursi people of Ethiopia's Omo River valley. Financing came from Dutch billionaire Marcel Boekhoorn, resulting in a published book with photographs, texts, and limited editions.

In September 2018, Nelson released his third book, Homage to Humanity, featuring over 400 photographs showcasing 30 indigenous cultures. The book includes interviews with tribal members, infographics about the depicted locations and cultures, and an application incorporating 360° film material linked to the images, along with behind-the-scenes videos and travel background information. Nelson collaborated with assistant Stephanie van der Wiel, whom he met at Leiden's National Museum of Ethnology. "Homage to Humanity" aims to be more inclusive than Nelson's previous work, addressing criticisms of his earlier book, "Before they Pass Away." Papuan chief Mundiya Kepanga emphasizes in the foreword the importance of preserving cultural values and identity for future generations.
 

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More Great Photographers To Discover

Urszula Tarasiewicz
Urszula Tarasiewicz, Photographer, organizer of events and photo exhibitions. Studied at the National Film School in Łódź, Poland. I produce pictures with a medium format Hasselblad, which for me retains a particular sort of magic. The quality, the way light works on film, always elevates my interest when I decide to shoot a particular subject. The 'truth in photography' is a continuous debate. But that idea has always fascinated me. I observe the space around me, searching for a contrast between people and their environments. At times I allow the subject to play different roles or use simple props to alter the mood in the picture. There are many stories you can choose from when you observe the picture. I like the viewer to question its authenticity. For me, it's the interpretation that creates the magic. - Urszula Tarasiewicz Her photographs are the effect of acute observation of her surroundings and the ability to notice intriguing details and phenomena which are sometimes absurd and marginal, sometimes sentimental reminiscences of the People's Republic of Poland and the birth of the capitalism in Poland. Marcin Krasny The artist's eye focuses on the margins of reality, the kitsch and grotesque public space. Simple, plain and ascetic compositions, or quite the opposite - full of details, colorful - frames of Urszula Tarasiewicz's works depict the world as a place which is not as much absurd as it is pleasant and charming- Anna Czaban - Art Historian Urszula Tarasiewicz /b. 1975/ studied Photography at the Leon Schiller National Higher School of Film, Television and Theatre in Łódź, Poland. The works from the series New Urban Legends which are on display at the andel's Hotel in Łódź /curator Lucyna Sosnowska/ have won the portrait category at the 2010 Curator's Contest of the Photo District News Magazine, the 2012 New Talent Award of the German edition of the FotoMagazine, as well as the contest of the Norwegian photography magazine Fotografii for a place at the 17#Debutantutstilling 2012 exhibition in Oslo. The New Urban Legends series has been exhibited in, among others, the Milk Gallery NYC (2010). Other photo series by Urszula Tarasiewicz have been shown internationally: in the US at the Critical Mass exhibition (2012), the series The Future Is So Bright created in Norway during the Artist in Residence program at the Halsnøy monastery was presented at a group exhibition in Norway in 2013 and in Warsaw in 2015 at the Ja to Ktoś Inny show /curator Klima Boheńska/, at the Krinzinger Galerie in Vienna during the group exhibition Call Me on Sunday (2014, curator Ursula Maria Probst), at the Jam Factory gallery in Oxford (2014), in Stuttgart at the Face to Face show (2014), at the Bunkier Sztuki gallery in Kraków during the show Kasa z Widokiem /curator Lidia Krawczyk. Ogrodowa/Garden Street Garden Street, A project documenting flats after evictions on Garden Street. 150 families left the building. It was the first residential complex for workers in 1880 in the new industrial city of Lodz. Izrael Poznański wealthy entrepreneur (1833-1900) is regarded as being one of the icons of Łódź. His monumental factory just across Ogrodowa street along with the labourers' tenement houses, is a true city within a city. In its best years, nearly 7000 people in total worked and lived here. The moment Poznański's empire fell after World War II was the beginning of the estate's and all of its inhabitants' long agony. Its fate was concluded with the decommissioning of the Poltex company in 1991. Famuły became a no man's land, its residents left to their own devices. The project 100 Tenement houses in Łódź, thanks to which a major renovation of the Poznański's factory housing estate started in 2014 was preceded by a long process of relocating all the residents. It was during this time I began to document the empty flats. The famuły rooms stun with their ruthlessness, their coldness, with the visibly absent inhabitants. The artist guides us around the world which is already gone, lost. Looking at Tarasiewicz's photos, we're confronted with desolate rooms, dilapidated walls out of which someone ripped off electrical wiring and where time imprinted the ghosts of furniture and lost artworks.
Nicholas White
United Kingdom
1989
Nicholas JR White is a photographer based in the UK. His work examines our relationship with landscape and the ways in which we interact with our natural spaces. He has been featured in numerous publications internationally as well as being named in notable photographic awards such as the Magenta Foundation Flash Forward, Royal Photographic Society IPE, Landscape Photographer of the Year and the World Photography Organisation ZEISS Photo Awards. In 2017 Nicholas was awarded the Royal Photographic Society Under 30's Environmental Bursary in association with The Photographic Angle and was a winner in the Lens Culture Emerging Talent Awards. His debut monograph, 'Black Dots', was published by Another Place Press in February 2018. About Black Dots 'Black Dots' is an exploration of mountain bothies and bothy culture throughout the United Kingdom. Far from civilisation and mostly accessible only by foot, bothies are secluded mountain shelters scattered across the British Isles and tirelessly maintained by volunteers from the Mountain Bothies Association. Unlocked and free to use, they provide a refuge from the vast terrain that surrounds them and have become an iconic feature of the British landscape over the past fifty years. Bothies are synonymous with the outdoor experience in the UK and from day trippers to mountaineers, the growing community of bothy-users is hugely diverse. 'Black Dots' is the result of almost three years spent traversing our most remote landscapes in an attempt to better understand what these buildings are, where they're located and the culture that surrounds them. Drawn not only by the primitive beauty of the bothies and the landscapes they sit within, the work also investigates the human element to the bothy story, capturing the faces of those who trek for hours to temporarily inhabit these spaces, many miles from the nearest settlements.
Jürgen Schadeberg
South Africa
1931 | † 2020
Jürgen Schadeberg was a German-born South African photographer and artist. He photographed key moments in South African history, including iconic photographs such as Nelson Mandela at Robben Island prison. He also lived, worked and taught in London and Spain, and photographed in many African countries. Jürgen Schadeberg was born in Berlin, Germany, in 1931 where he grew up during the Nazi regime and World War II. In the aftermath of the war, his mother began a relationship with a British officer in the army of occupation and emigrated with him to South Africa in 1947. Schadeberg learned to be a photographer at the Deutsche Presseagentur (German Press Agency). He moved to South Africa to rejoin his family in 1950 and, the following year, found employment on Drum magazine as an official photographer and layout artist. Schadeberg became the senior figure of the group and a teacher and mentor to some of the most creative South African photographers of his time, including Bob Gosani, Ernest Cole, and later Peter Magubane. As one of the few white photographers who photographed daily life among the black community, he became knowledgeable about black life and culture. As a result, he captured on film the beginnings of the freedom movement, the effects of apartheid, and the vibrancy of township life. Schadeberg photographed many historic and pivotal events in the 1950s among them the Defiance Campaign of 1952, the 1956 Treason Trial, the Sophiatown removals of 1955, the Sophiatown jazz and social scene, the Sharpeville funeral of 1960, and pictures of Robben Island inmates. Some of the famous people he photographed include Nelson Mandela, Walter Sisulu, Oliver Tambo, Trevor Huddleston, and Govan Mbeki. He also documented 1950s jazz legends such as Thandi Klaasen, Hugh Masekela, Kippie Moeketsi and Miriam Makeba. He made documentation of everyday life. When Drum wanted the singer Dolly Rathebe to be the cover girl for one of their issues, Schadeberg took her to a Johannesburg mine dump and photographed her in a bikini. The two were arrested for contravening the Immorality Act which forbade interracial relationships. In 1959, Schadeberg left Drum to become a freelancer. He was part of an expedition led by Professor Phillip V. Tobias from the University of the Witwatersrand to study the Bushmen, publishing images in The Kalahari Bushmen Dance in 1982. Schadeberg felt forced by increasing civil unrest to leave South Africa, and in 1964 went to London, where he was picture editor of Camera Owner magazine (forerunner of Creative Camera), into which he incorporated a stronger sense of design and increased its pictorial content, and from April to July 1965 he was its editor. He also taught and curated photographic exhibitions in England, notably for the Whitechapel Art Gallery. He then moved to Spain where he focused on a career as an artist. In 1972, he returned to Africa where he accepted a position as a photographer for Christian Aid in Botswana and Tanzania. In 1973 he traveled to Senegal, Mali, Kenya, and Zaire, taking photographs. In 1985, Schadeberg returned to South Africa, where he lived with his wife Claudia. He continued to work as a photojournalist, and also made documentaries about the black community until 2007 when he returned to Europe. Schadeberg died from a stroke at his home in La Drova [ca], Valencia, Spain, on 29 August 2020, aged 89. His work is held in the collections of the UK Arts Council, National Portrait Gallery, Tate and the Victoria and Albert Museum in London.Source: Wikipedia Jurgen has edited and published over 30 photographic books including The Finest Photos from the Old Drum, The Fifties People of South Africa, Mandela & The Rise of the ANC, Voices from Robben Island, Sof’town Blues, The Black & White Fifties, The San of the Kalahari & Soweto Today 2002, Witness - 52 years of pointing lenses at Life 2004, Voices from the Land 2006. Jazz, Swing & Blues – 56 years of SA Jazz and Tales from Jozi 2007– Six decades of documentary photography in Europe, Africa and America published by Hatje Cantz 2008, Great Britain 1964/84 , 2011 Jurgen Schadeberg visits Germany – 6 decades 2012, and Six decades of South African Photography 2014. Together with his producer wife Claudia, Jurgen established The Schadeberg Movie Company to produce a series of some 15 documentaries and dramas about South African social, cultural and political history. Jurgen Schadeberg, sometimes known as “The Father of South African Photography”, is a principle figure in South African and World Photography. His major body of work, which spans 70 years and incorporates a collection of some 200,000 negatives, captures a wealth of timeless and iconic images.Source: www.jurgenschadeberg.com
Bob Willoughby
United States
1927 | † 2009
Bob Willoughby, whose photographs transformed the images of Hollywood’s biggest stars, is a true pioneer of 20th century photography. He was the first “outside” photographer hired by the major studios to create photographs for the magazines, and was the link between the filmmakers and major magazines of the time, such as Life and Look. Born June 30th, 1927 in Los Angeles, his parents were divorced by the time he was born and he was raised by his mother. Bob was given an Argus C-3 camera for his twelfth birthday, providing the catalyst for what would become the key to his future. After high school, he studied cinema at night at the USC Cinema Department and design with Saul Bass at the Kahn Institute of Art. At the same time he apprenticed with a number of Hollywood photographers; Wallace Seawell, Paul Hesse, and Glenn Embree, gleaning technical and business know-how. His first magazine assignments were for Harper's Bazaar in the early ’50s when famed art director Alexey Brodovitch became aware of his work. His career took off in 1954 when Warner Bros. asked him to photograph Judy Garland’s final scene on the set of A Star Is Born. His portrait of the freckle-faced star became his first Life cover. From then on his production was phenomenal. His images were in print literally every week for the next twenty years. As the first “special” he covered the making of over 100 films, including the 1960s movies The Graduate, My Fair Lady, Rosemary’s Baby and Who’s Afraid of Virginia Woolf?. His body of work, documenting this historic era of filmmaking, is unsurpassed. He captured with wonderful perception the most famous actors and directors of the time on and off the set, in unguarded moments of repose, vulnerability and high drama. He had a unique ability to capture what was essential to each film. Bob also had a remarkable understanding of the needs of each individual magazine; he could be shooting for seven different publications and know exactly what each one needed in terms of editorial content and design layout. While Willoughby is most famous as the great chronicler of Hollywood, before he began covering film production he had already made an astonishing series of images of jazz musicians. Willoughby had a huge appreciation of jazz both in its technical aspects and its ability to raise the roof in performance. He had a masterful feel for the character of the artists, and he was able to convey it even in the difficult lighting conditions of recording studios and stage. He was responsible for a number of technical innovations, including the silent blimp for 35mm still cameras, which became common on film sets. He was the only photographer working on films at the time to use radio-controlled cameras, allowing him unprecedented coverage in otherwise impossible situations, and he had special brackets built to hold his still cameras on or over the Panavision cameras. The Academy of Motion Picture Arts and Sciences in Hollywood honored Willoughby with a major retrospective exhibition of his work. He was awarded the Lucie Award for Outstanding Achievement in Still Photography in New York in 2004. His photographs are in the permanent collections of the National Portrait Gallery, Washington, D.C.; the National Portrait Gallery, London; the National Museum of Photography, Bradford, UK; Bibliothèque Nationale de France, Paris; the Museum of Modern Art, Film Department, New York; the Academy of Motion Picture Arts and Sciences, Beverly Hills; the Metropolitan Museum of Art, New York; the Tate Gallery Collection, London; Théâtre de la Photographie et de l’Image, Nice; and Musée de la Photographie, Charleroi, Belgium. In December 2009, Bob passed away at his home in Vence in the South of France, surrounded by his wife Dorothy and four children.Source: willoughbyphotos.com
Ludovica Limido
Born in 1995 in Varese, Italy, Ludovica Limido is a documentary photographer whose work centers on countercultures and human connection. After graduating from art school, her travels through Australia and Southeast Asia deepened her need for photography. In 2019, Ludovica was awarded a photography scholarship at Milan’s John Kaverdash Academy, which led to new collaborations and recognition. Her projects explore diverse themes, from life in small Italian villages to European body suspension subcultures, folklore, and the experiences of adolescence in provincial settings. Her work delves into the complexities of belonging, identity, and the interplay between individuality and group dynamics. In 2023, she discovered an online community in the world of love dolls, inspiring her project The Doll Next Door, which focuses on the companionship between humans and their synthetic counterparts. Her photography has earned her recognition in several competitions and festivals. In 2024, Ludovica was a finalist at the InCadaqués Photo Festival, the Indian Photo Festival, the ND Awards, the Golden Shot Awards, Les Boutographies, and was shortlisted for the 2024 Un/Fund Artist Grant. In addition, she received honorable mentions at both the Passepartout Photo Prize and the International Photography Awards, and was a finalist at the Gomma Grant Awards. The Doll Next Door: For centuries, humanity has been intrigued by the idea of artificial companionship. Rumors suggest that as far back as the 1600s, sailors carried early versions of sex dolls crafted from cotton and fabric on their long sea voyages. Despite the ambiguity surrounding their origins, the allure of these synthetic companions has persisted through time. In the modern era, the landscape of synthetic relationships has undergone a profound transformation. Since 2018, catalyzed further by the upheavals of the Covid era, the adult doll market has seen rapid growth, fostering a global community of individuals who opt for “synthetic” relationships. Far from fitting the stereotype of isolated introverts, doll owners defy easy categorization. They come from diverse backgrounds, span various age groups, and pursue a range of professions, challenging societal norms with their embrace of unconventional connections. Their homes become gateways to a secret, private world dedicated to their dolls; neat, compact spaces filled with accessories, clothes, jewelry, shoes—everything their dolls might need if only they were alive. Despite the undeniable significance of these relationships, most remain shrouded in secrecy. Fueled by societal stigma and misconceptions, many who are part of this subculture often find themselves hiding it from even their closest friends and family. Through private forums, blogs, and social media, doll enthusiasts build connections, share advice, and celebrate the intricacies of their lives. These online networks serve as lifelines, offering a sense of belonging in a world that often fails to understand their reality. As technology advances, love dolls represent the brink of a new era—the emergence of genuine robot companionship. With each innovation, the line between fantasy and human reality blurs, offering a glimpse into a future where the boundaries of intimacy are redefined. “The Doll Next Door” explores the deep emotional connections formed between individuals and their synthetic counterparts, revealing how companion dolls serve as confidants, companions, and even surrogate family members. Moreover, it delves into the concept of identity for both doll owners and their synthetic companions. Through this project, I aim to highlight the depth within these unconventional relationships and bring to life a contemporary, romantic story that reflects something deeply human: our need for connection, acceptance, and the desire to feel understood.
Thomas Barbèy
Switzerland
Thomas Barbey grew up in Geneva, Switzerland, across the street from the “Caran D'ache” factory, the largest manufacturer of art supplies. He started drawing seriously at the age of 13, using black “encre de Chine” and gouaches for color. His influences were Philippe Druillet, Roger Dean and H.R. Giger. After living in Geneva for 17 years and designing posters for musical bands, he decided to move to Italy, where he lived in Milan for 15 years making a living as a successful recording artist, lyricist and fashion photographer. Today, he resides in Las Vegas and travels the world, taking his camera wherever he goes. Thomas has been a photographer for over twenty years now and prefers to use his old Canon AE1s when he shoots in 35mm or his RB67 when he shoots in medium format. More recently, he has been doing Black and White Photomontages for the sole purpose of doing Fine Art, without working for a specific client. He has combined several images taken over a period of twenty years to create surreal situations with the help of the enlarger in a dark room. His work has a specific style and is very characteristic. He only works with Black and White, including Sepia toning at times. Every single one of his images has to pass what he likes to call the “So what?” test. If a combination of two or more negatives put together doesn't touch him or have any particular meaning, he starts over. At times, he tries to combine images and sometimes the results can be disappointing. A giant clock in the middle of the ocean can be an unusual image, but if he looks at it and says to himself, “So what?”, this means it isn't good enough.” If, instead, an ocean liner is going down a “funnel-type” hole and he titles it “Shortcut to China”, it takes on a whole new meaning. The picture takes you into an imaginary world where you can see the captain telling the passengers to fasten their safety belts and get prepared for the descent, and so on. At times Thomas comes up with ideas beforehand, try to materialize them and it works. At other times, it comes as an accident, where the ideas come afterwards, when the image is already finished and the concept has yet to be understood. Thomas claims he is learning constantly through the process of creation. Thomas travels 2-3 times a year to take photographs of different things and places. Sometimes he uses an image several years later, but only when it fits, like the perfect piece in a puzzle, and completes his latest project. Some images are composed of negatives that are separated by a decade in the actual time that he has taken them and only come to life when they found their perfect match. It's the combination of two or more negatives that give birth to a completely unusual vision, but most of all, the title he gives the final image is the glue and the substance of the piece. Source: thomasbarbey.com
Andrew Keedle
United Kingdom
1969
Yousuf Karsh
Canada
1908 | † 2002
Yousuf Karsh is the most renowned portrait photographer of our time. He has perceptively photographed the statesmen, artists, and literary and scientific figures that have shaped our lives in the 20th century. Known for his ability to transform "the human face into legend," many of the portraits that he created have become virtually the image of the great man or woman they portray, whether Winston Churchill, Ernest Hemingway, Albert Einstein, Georgia O'Keefe or Helen Keller. In other words, "to experience a Karsh photograph is to feel in the presence of history itself." His photographs are in major private and public collections throughout the world, the Museum of Fine Arts in Boston holding the largest collection in the US.Source: Weston Gallery Yousuf Karsh was an Armenian-Canadian photographer and one of the most famous and accomplished portrait photographers of all time. ousuf or Josuf (his given Armenian name was Hovsep)[citation needed] Karsh was born in Mardin, a city in the eastern Ottoman Empire (present Turkey). He grew up during the Armenian Genocide where he wrote, "I saw relatives massacred; my sister died of starvation as we were driven from village to village." At the age of 16, his parents sent Yousuf to live with his uncle George Nakash, a photographer in Sherbrooke, Quebec, Canada. Karsh briefly attended school there and assisted in his uncle’s studio. Nakash saw great potential in his nephew and in 1928 arranged for Karsh to apprentice with portrait photographer John Garo in Boston, Massachusetts, United States. His brother, Malak Karsh, was also a photographer famous for the image of logs floating down the river on the Canadian one dollar bill. Karsh returned to Canada four years later, eager to make his mark. In 1931 he started working with another photographer, John Powls, in his studio on the second floor of the Hardy Arcade at 130 Sparks Street in Ottawa, Ontario, close to Parliament Hill. When Powls retired in 1933, Karsh took over the studio. Karsh's first solo exhibition was in 1936 in the Drawing Room of the Château Laurier hotel. He moved his studio into the hotel in 1973, and it remained there until he retired in 1992. Canadian Prime Minister Mackenzie King discovered Karsh and arranged introductions with visiting dignitaries for portrait sittings. Karsh's work attracted the attention of varied celebrities, but his place in history was sealed on 30 December 1941 when he photographed Winston Churchill, after Churchill gave a speech to Canadian House of Commons in Ottawa. The image of Churchill brought Karsh international prominence and is claimed to be the most reproduced photographic portrait in history. In 1967, he was made an Officer of the Order of Canada and in 1990 was promoted to Companion. Of the 100 most notable people of the century, named by the International Who's Who [2000], Karsh had photographed 51. Karsh was also the only Canadian to make the list. Karsh was a master of studio lights. One of Karsh's distinctive practices was lighting the subject's hands separately. He photographed many of the great and celebrated personalities of his generation. Throughout most of his career he used the 8×10 bellows Calumet (1997.0319) camera, made circa 1940 in Chicago. Journalist George Perry wrote in the British paper The Sunday Timesthat "when the famous start thinking of immortality, they call for Karsh of Ottawa." Karsh had a gift for capturing the essence of his subject in the instant of his portrait. As Karsh wrote of his own work in Karsh Portfolio in 1967, "Within every man and woman a secret is hidden, and as a photographer, it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize." Karsh said "My chief joy is to photograph the great in heart, in mind, and in spirit, whether they be famous or humble." His work is in permanent collections of the National Gallery of Canada, New York's Museum of Modern Art and Metropolitan Museum of Art, George Eastman House International Museum of Photography and Film, Bibliothèque Nationale de France, the National Portrait Gallery in London, the National Portrait Gallery of Australia and many others. Library and Archives Canada holds his complete collection, including negatives, prints and documents. His photographic equipment was donated to the Canada Science and Technology Museum in Ottawa. Karsh published 15 books of his photographs, which include brief descriptions of the sessions, during which he would ask questions and talk with his subjects to relax them as he composed the portrait. Some famous subjects photographed by Karsh were Field Marshal Lord Alanbrooke, Muhammad Ali, Marian Anderson, W. H. Auden, Joan Baez, Zulfiqar Ali Bhutto, Humphrey Bogart, Alexander Calder, Pablo Casals, Fidel Castro, Madame Chiang Kai-Shek, Joan Crawford, Ruth Draper, Albert Einstein, Dwight Eisenhower, Princess Elizabeth, Robert Frost, Clark Gable, Indira Gandhi, Grey Owl, Ernest Hemingway, Audrey Hepburn, Pope John Paul II, Chuck Jones, Carl Jung, Helen Keller and Polly Thompson, Grace Kelly, Jacqueline Kennedy, John F. Kennedy, Peter Lorre, Pandit Nehru, Georgia O'Keeffe, Laurence Olivier, General Pershing, Pablo Picasso, Pope Pius XII, Prince Rainier of Monaco, Paul Robeson, the rock band Rush, Albert Schweitzer, George Bernard Shaw, Jean Sibelius, Pierre Elliott Trudeau, Andy Warhol, Frank Lloyd Wright, and, arguably his most famous portrait subject, Winston Churchill. The story is often told of how Karsh created his famous portrait of Churchill during the early years of World War II. Churchill, the British prime minister, had just addressed the Canadian Parliament and Karsh was there to record one of the century's great leaders. "He was in no mood for portraiture and two minutes were all that he would allow me as he passed from the House of Commons chamber to an anteroom," Karsh wrote in Faces of Our Time. "Two niggardly minutes in which I must try to put on film a man who had already written or inspired a library of books, baffled all his biographers, filled the world with his fame, and me, on this occasion, with dread." Churchill marched into the room scowling, "regarding my camera as he might regard the German enemy." His expression suited Karsh perfectly, but the cigar stuck between his teeth seemed incompatible with such a solemn and formal occasion. "Instinctively, I removed the cigar. At this the Churchillian scowl deepened, the head was thrust forward belligerently, and the hand placed on the hip in an attitude of anger." The image captured Churchill and the Britain of the time perfectly — defiant and unconquerable. Churchill later said to him, "You can even make a roaring lion stand still to be photographed." As such, Karsh titled the photograph, The Roaring Lion. However, Karsh's favourite photograph was the one taken immediately after this one where Churchill's mood had lightened considerably and is shown much in the same pose, but smiling. In the late 1990s Karsh moved to Boston and on July 13, 2002, aged 93, he died at Boston's Brigham and Women's Hospital after complications following surgery. He was interred in Notre Dame Cemetery in Ottawa. Source: Wikipedia
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