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Alex Lobo
Alex Lobo
Alex Lobo

Alex Lobo

Country: Spain
Birth: 1978

I was born and raised in Madrid, Spain. Being passionate about all kinds of visual arts since an early age, I graduated from an audiovisual technical school and moved to London in 2005, where I soon developed a passion for photography that has also accompanied me to Japan, my home since 2013. I specialise in fine art and portrait photography.

Statement:
Art is for me a way of transforming reality with an expressive purpose. My favourite artworks are those that use the expressive tools of the chosen media form to materialise a very subjective vision of the human experience.

In my personal case, I have always been attracted to darkness. Exploring the murky corners of the human soul has always been more appealing to me than indulging in rosy views of it. I’ve also been passionate about films and their power to provoke the most intense emotions since I was a child. I originally wanted to become a filmmaker. With photography, I found a different way to tell stories through images while still delving into the shadows.

Maybe that explains why my work is dominated by dark key images and dramatic light, and why there seems to be a latent narrative component to them.

Websites

alexlobo25.wixsite.com/imagesintheshadows

@images_in_the_shadows

 

Inspiring Portfolios

Marijn Fidder
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Marcus Yam
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C.E. Morse
C.E. Morse
United States
1952
"I was born in Camden, Maine and loved vintage cars since I can remember; I bought my 1936 Pontiac at age 15 as soon as I had my driver's license. I didn't pick up a camera until I was in college at Rhode Island School of Design. I remembered all the incredible images that I used to see in vintage auto boneyards while I was sourcing parts for my '36 Pontiac and various other classic cars that I had collected,including a '29 Essex, a'41 Packard & 'a 54 Nash, so I started to bring my camera to the boneyards instead of my wrenches and shot abstract details of dented car fenders, old safety glass, rusty doors, and old chrome. I was so excited by this photography that I switched majors from sculpture to photography and was fortunate enough to study with Aaron Siskind; graduating with a BFA in photography in 1974. I also attended The Maine Photographic Workshops (now Maine Media Workshops), where I mentored with Paul Caponigro, Arnold Gassen and John Loengard. later on I took courses in digital printing at MECA (Maine College of Art). I hunt "Wild Art" : abstract details of found objects. I particularly like the contradictions of what I capture: the images are abstract, yet they are real the images are painterly, yet they are photographs the images are beautiful, yet come from discarded deteriorating derelict objects the images are from seemingly permanent subjects yet the are prone to disappear overnight (often my photographs are all that is left). I also appreciate the mystery of the unknown history of my various discoveries as well as acknowledging their wabi sabi nature. When people view my work they have to reach deep into personal experience and imagination. Being abstract and virtually unrecognizable my images may evoke a memory, an emotion, or a reminder of something visually similar and are sure to beg the question: 'what is it?', thereby starting the conversation..." -- C.E. Morse "It's not what you look at that matters, it's what you see." -- Henry David Thoreau
Cardell Phillips
Cardell Phillips
United States
1952
I'm a photographer living in Chicago. I discovered photography when I was in high school. My uncle was a photographer, and he showed me what the world looked like through a viewfinder. What I enjoyed the most about it was the freedom to explore the world and then show everyone what I found. When I got a job, I bought my first camera, an Olympus Trip 35, and learned how to use it by taking photographs of family and friends. Basically, anyone who would put up with me taking their picture when they weren't expecting it. When I was in grammar school, my two sisters and I spent our summer vacations at our grandparents' farm in Michigan. It was there that I experienced what it was like to live close to the land. So, when I thought about what kind of photography I wanted to specialize in, I chose landscape photography. Enchanted by the images taken by Ansel Adams and others, I traveled to the Canadian Rockies for a weeklong workshop where I learned some of the finer aspects of photography and gained confidence as a photographer. For years, I only shot portraits and landscapes. My interest in street photography began around 2008, when I came across the work of Walker Evans. His vision of the beauty in everyday life led me to other masters like Henri Cartier-Bresson, Vivian Maier, Roy DeCarava, and Wayne Miller. Their humanist approach to photography, to explore what it means to be human, inspired me. It's what I think about when I'm out with my camera and immersing myself in the flow of life, seeking to capture its disillusionment, solitude, and indigence but also the beauty, joy, and everyday wonders. In September 2021, the Praxis Gallery in Minneapolis chose one of my images for its "Shape of Things," exhibit. It was my first gallery showing. Statement One of the best places to take photographs in Chicago is the Lakefront. There, the beaches are strung out along Lake Michigan, from north to south, like pearls on a string, where there are many opportunities to photograph both people and landscapes. The 57th Street Beach is my favorite. It's a small beach with trees at the north and south ends that give it a touch of wilderness. As I photographed there, I noticed the people who came out to the lake in the early morning to engage in creative or spiritual work. As I began photographing them, I got the idea for a project about the power of the lake and the people who go there to resonate with the sky and water and to energize their hopes and dreams.
Navid Memar
Navid Memar
Iran
1996
Navid Memar is a Tehran-based artist who has had experience as an director and designer. He is working on post-dramatic and space-making in art. His main interest in art is on illustrating base. Navid Memar is working in different tendencies such as architecture, visual arts like collage, sculpture, short film, video art, and theatre. He has had many influences from Romeo Castellucci, and he produces his own plays about the theatre ideology of Romeo Castellocci. Of course, in combination with Iranian elements and his personal ideology from "amata studio". He spent his childhood and youth in Kashan and has a special interest in Iran's history and native culture and Iranian writers. He is studying directing in Tehran University Fine arts. In 2015 he established a studio named Amata. Since then he starts his professional work. Statement " 'افلا تتفکرون' means 'Do you not think?' It is a part of a Quranic verse. This name invites the audience to think independently in each frame, regardless of the overall issue of the collection. And each audience can build their mental world according to the signs they see in the photo. 'افلا تتفکرون' collection is the narrative of creation through paintings related to each event in a historic men's public bath that has been turned into a museum. Baths are in direct contact with the body. My approach to the narrative of creation has been a combination of the views of Islam and Christianity in this regard. In this collection, a look is taken at the issue of women's absence in the first Qajar family photos, as an example of which I have addressed the issue of women's absence in public baths. The alternative was a baby girl instead of a wife / Eve. In most frames, the presence of paintings helps to narrate and emphasize the signs. And give us this It informs that the problem of creation has been repeated again and again and this process will continue." -- Navid Memar
Germán Rodriguez Laverde
Germán Rodriguez Laverde
Colombia
Colombian cinematographer, thanks to his work he has managed to develop a particular style in his projects, managing to project emotions and feelings by becoming one with the camera. He also works as an assistant director, director, and cinematographer and has had the experience of working for large production houses and projects that have been mentioned worldwide. Throughout his career, Germán has been the winner twice consecutively in the categories (best photography and best short film) for Canon Colombia. He has also been recognized worldwide by Sony International Photography in the category "moving image", has won several awards as Cannes with an advertising campaign in which he worked; He was a finalist in a Vans USA contest for the best short film. He studied in Los Angeles California thanks to a stimulus scholarship that he won at the school (Global Cinematography Institute) of the member of the American Film Association (ASC) Yuri Neyman ASC.
Laura Heyman
Laura Heyman
United States
Laura Heyman was born in Essex County, New Jersey. She received a B.F.A in photography from University of the Arts in Philadelphia, PA, and an M.F.A. from Cranbrook Academy of Art in Bloomfield Hills, MI. Heyman’s work has been exhibited at Luggage Store Gallery, San Francisco, CA, Deutsches Polen Institute, Darmstadt, DE, Ampersand International Arts, San Francisco, CA, Senko Studio, Viborg, DK, Silver Eye Gallery, Pittsburgh, PA, The Palitz Gallery, New York, NY, Light Work Gallery, Syracuse, NY, The Ghetto Biennale, Port-au-Prince, Haiti, Philadelphia Photographic Arts Center, Philadelphia, PA, The Laguna Art Museum, Laguna, CA, The United Nations, New York, NY and The National Portrait Gallery, London, UK.In 2010, she was nominated for a John Guttman Photography Fellowship, and was awarded a Light Work Mid-Career Artist Grant. She has received the Silver Eye Fellowship, a Ragdale Fellowship and multiple NYFA Strategic Opportunity Stipends. Heyman has curated exhibitions and panel discussions at Vox Pouli, Philadelphia, PA, Wonderland Art Space, Copenhagen DK and the Clocktower Gallery, New York, NY, and her work has been reviewed and profiled in The New Yorker, Contact Sheet, Frontiers, and ARTnews.Pa Bouje Ankò: Don’t Move Again uses the studio portrait to explore embedded hierarchies between photographers, subjects and viewers. The work is driven in part by longstanding questions around photographic representation, specifically those involving the voyeurism and objectification of so-called “third world” subjects by “first world” artists. Seeking to examine these questions in depth, I established an outdoor portrait studio in the Grand Rue neighborhood of Port-au-Prince, Haiti in late November 2009. Advertisements circulated news about a photography studio in the area, where members of the local community could schedule appointments to have their portraits made for free. Working in black and white with an 8x10 camera, I photographed one hundred and twenty people over a period of two weeks.Three weeks later, the meaning of those images shifted with the earthquake. They became both records and memorials. That event also changed the focus of the project, which evolved to include various expanding populations in Port-au-Prince tied to future development and reconstruction.Issues of representation, visual sovereignty and cultural protocol, central to the project from the beginning, became more complicated after the earthquake. When I first arrived in Port-au-Prince, I imagined that positioning myself as a “studio photographer” would allow me to escape or subvert the complex tangle of hierarchies at play in Haiti, as well as in the exchange between photographer and subject. Neither has been the case. Instead, layers of meaning and intention continue to reveal themselves, expanding the project's framework and engaging the myriad contradictions and impossibilities present in the work’s original question.All about Laura Heyman:AAP: When did you realize you wanted to be a photographer?I began making photographs in high school, and knew I wanted to be a photographer before going to college.AAP: Where did you study photography?At University of the Arts in Philadelphia, I studied with Jack Carnell and Alida Fish. At Cranbrook Academy of Art, where I got my MFA, I studied with Carl Toth, and also Grant Kester, who taught Critical Theory at the school during my first year there.AAP:Do you have a mentor or role model?I don’t know that I’d say I have a mentor – there are peers I look to regularly for advice and feedback on my work.AAP: Do you remember your first shot? What was it?One of my first shots was the stream in my grandparent’s backyard in Phonecia, New York. My grandfather fished there, and my older sister and I used to run around and catch salamanders and frogs.AAP: What or who inspires you?Artists like Collier Schorr, An-My Lê, Roni Horn, Robert Adams, Mark Ruwedel, Pieter Hugo; David Shrigley, Jennifer Dalton Ai Wei Wei; Richard Mosse and Liz Cohen. I’m inspired by artists whose work makes me think, those using humor in their practice, and artists who really put themselves on the line. Books and essays, movies and performance – I’m inspired by a lot of different people and things.AAP: How could you describe your style?The visual style of my work changes according to the subject – a constant is subjects or projects that can and do express a layered viewpoint, or pose a series of questions.AAP: What kind of gear do you use? Camera, lens, digital, film?While I sometimes shoot digital, mostly I work analogue, with a medium or large format camera. 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The images captured the moment and the subjects very precisely – although this was over twenty years ago, they still have an immediacy that thrills me.AAP: Your worst souvenir as a photographer?A little while ago I was shooting some portraits on a very sunny day, and forgot to flag the lens. The negatives l ended up with were completely fogged and unusable.AAP: If you could have taken the photographs of someone else who would it be?Either Robert Adams What We Bought, or Collier Schorr’s Jens F. Both books have a real hold on me – I’m completely consumed every time I open one up. And after years of looking at them, they still surprise and fascinate me.
Erwin Blumenfeld
Erwin Blumenfeld
Germany/United States
1897 | † 1969
Born in Berlin in 1897 to Jewish parents, Erwin Blumenfeld began his career working as an apprentice dressmaker to Moses and Schlochauer in 1913. He opened his own company in Amsterdam in 1923, the 'Fox Leather Company', a leather goods store specialising in ladies handbags. After moving to new premises in 1932, Blumenfeld discovered a fully equipped dark room and began to photograph many of his -predominantly female- customers. The company went bankrupt in 1935, just as Blumenfeld's photographic career was beginning to take an upward turn. Following a move to Paris in 1936, Blumenfeld was commissioned to take the portraits of personalities including George Rouault and Henri Matisse and secured his first advertising work for Monsavon. Blumenfeld quickly captured the attention of photographer Cecil Beaton who helped him secure a contract with French Vogue. After World War II in 1941, Erwin Blumenfeld moved to New York where he was immediately put under contract by Harper's Bazaar and after three years, he began freelance work for American Vogue. Over the next fifteen years, Blumenfeld's work was featured on numerous Vogue covers and in a variety of publications including Seventeen, Glamour and House & Garden. During this period, he also worked a photographer for the Oval Room of the Dayton Department Store in Minneapolis and produced advertising campaign for cosmetics clients such as Helena Rubinstein, Elizabeth Arden and L'Oreal. In the late 50s, he also began to create motion pictures, hoping to use them commercially and began work on his biography and his book My One Hundred Best Photos which, despite being a renowned fashion photographer, only included four of his fashion images. Following Blumenfeld's death in 1969, numerous books on his work have been published, namely The Naked and the Veiled by his son, Yorick Blumenfeld, and his photographs have been exhibited at international galleries including the Pompidou Gallery in Paris, The Barbican in London and The Hague Museum of Photography in the Netherlands. In the 1960s, he worked on his autobiography which found no publisher because it was considered to be too ironic towards society, and was published only after his death.Source: Wikipedia Erwin Blumenfeld is considered to be one of the early pioneers of fashion photography alongside George Hoyningen-Huene, Cecil Beaton, and Horst P. Horst. It was not only his employment of experimental techniques in the darkroom, Dada and Surrealist influences, and groundbreaking street work, but Blumenfeld’s unique and masterful combination of elegance and eroticism that transformed fashion into high art and paved the way for Richard Avedon, Irving Penn, Herb Ritts, and other photographers who enjoyed such prominence and recognition in the history of art. In addition to holding the record for the most covers of Vogue, Blumenfeld’s works were abundantly reproduced within the pages of Cosmopolitan, Harper’s Bazaar, Life and Vogue during the 1930s, '40s and '50s. Many of the images from these shoots will be featured in this exhibition and have since become icons of the history of fashion photography. Some have never been seen before. But all of the prints showcase not only Blumenfeld’s innovation as a photographer of fashion but also his spectacular skill as a printmaker. In his retrospective examination of Blumenfeld’s work, William Ewing writes, “His highly original and visionary work was a seamless blend of the negative and positive: taking the picture in the studio and making it in the darkroom.” In the studio, Blumenfeld often employed mirrors, glass, and backgrounds reproduced from paintings, images of cathedrals, or mosaics of magazine covers. He often used veils, which could distort or elongate the figure, confident that a woman partially concealed was more erotically charged that one seen fully nude. He also believed the printing of the image was as every bit as important as the process of capturing it, and like Man Ray, he was tirelessly inventive in the darkroom, deploying a variety of optical and chemical tricks, including multiple exposures, solarization and bleaching.Source: Edwynn Houk Gallery
John Armstrong
John Armstrong
United States
John Armstrong is a Seattle-based photographer who shoots a broad range of subjects with both "normal" and toy cameras. While he photographs just about anything, a sense of irony, mystery and the bizarre are common in much of his work. He has won numerous photographic awards and his work is held in many public and private collections. John has been an active member of the Photographic Center Northwest in Seattle for many years, as both a student and as a volunteer. His photographs are available through the Seattle Art Museum's Rental/Sales Gallery. In addition, he has published several books of photographs through Blurb.com.
Mo Kwang
Mo Kwang
Korea
1979
Kwang Mo was formally trained in photography at the Kaywon School of Art and Design in Korea. He was awarded the 13th Young Photographer’s Prize during the Daegu Photo Biennale and a place in the SeMA (Selected Emerging Artists) Support Program from Seoul Art Museum in 2010. In 2010, Mo was also nominated for the Prix Pictet award in France. In his sepia-tinted photographs selected for “New Photography in Korea II”, Kwang Mo blurs the line that separates fantasy and reality. He skillfully manipulates his images into semblances of the childhood memories and dreams that people stubbornly cling onto, inviting audiences into timeless, limitless universes, otherworldly spaces that his characters seem more than comfortable in.Source Art Radar Journal
Ray K. Metzker
Ray K. Metzker
United States
1931 | † 2014
Ray K. Metzker (10 September 1931 – 9 October 2014) was an American photographer known chiefly for his bold, experimental B&W cityscapes and for his large "composites", assemblages of printed film strips and single frames. His work is held in various major public collections and is the subject of eight monographs. He received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts and Royal Photographic Society. Metzker was born in Milwaukee and lived in Philadelphia from the 1960s until his death. He was married to the photographer Ruth Thorne-Thomsen. He was a student of Harry Callahan and Aaron Siskind at the Institute of Design in Chicago. He taught for many years at the Philadelphia College of Art and also taught at the University of New Mexico. After graduate studies at the Institute of Design in Chicago, Metzker travelled extensively throughout Europe in 1960-61, where he had two epiphanies: that "light" would be his primary subject, and that he would seek synthesis and complexity over simplicity. Metzker often said the artist begins his explorations by embracing what he doesn't know.Source: Wikipedia After a career that spanned five decades and saw him pioneer a new and singular visual idiom, Ray K. Metzker has been recognized as one of the great masters of American photography. Characterized by composites, multiple-exposures, solarization, the superimposition of negatives, and the juxtaposition of images, Metzker’s work pushed the boundaries of what seemed formally possible in black and white photography. Metzker enrolled at the Institute of Design, Chicago in 1956, a school which at that time was being referred to as the New Bauhaus, where he studied with fellow modernist photographers Harry Callahan and Aaron Siskind. After obtaining a master’s degree from the Institute in 1959, Metzker’s work began to garner increasing attention and critical regard, first and foremost from Edward Steichen, who, at that time, was the curator of photography at the Museum of Modern Art, New York. Metzker’s first solo show would happen at the Museum of Modern Art in 1967. Retrospectives of his work were organized in 1978 by the International Center of Photography in New York and in 1984 by the Museum of Fine Arts in Houston, a show which then traveled to the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Philadelphia Museum of Art, the High Museum of Art, Atlanta, the International Museum of Photography, Rochester, and the National Museum of American Art, Washington, DC. In 2011 a major career retrospective of Metzker’s work was organized by the Nelson-Atkins Museum of Art in Kansas City, which traveled to the The J. Paul Getty Museum in Los Angeles and the Henry Art Museum in Seattle. Ray K. Metzker died in October of 2014, at 83 years of age, in the city of Philadelphia.Source: Howard Greenberg Gallery Metzker has dedicated his career to exploring the formal potentials of black-and-white photography, but they are not his exclusive concern. "When you look at the multiples, you are aware of patterning and so forth," he says, "but there is still identifiable subject matter; frequently there are people there; there is a rhythm to those people." Metzker's 1959 thesis project, My Camera and I in the Loop, takes downtown Chicago as its subject, but renders it in experiments that tell more about photography than they do about the city. The pictures from this project were exhibited at the Art Institute of Chicago (1959-1960), and included in the issue of Aperture devoted to the students and professors of the Institute of Design at the Illinois Institute of Technology in Chicago (1961). Ray Metzker's images question the nature of the photograph and photographic "reality." Through cropping, multiple imagery, and other formal inventions, his work explores options for transforming the vocabulary of the photograph. Untitled from 1969 illustrates the simple method of manipulating objective information through juxtaposition: two distinct women on the beach enter into a yin-yang relationship of line and gesture. The photograph is part of a series of pictures made from 1968 to 1975 of beach-goers in New Jersey. "The more fashion conscious probably go to other beaches, but what Atlantic City has – and what attracted me to it – is diversity," Metzker said. Of the content of the pictures and his working method, Metzker added, "What appears in the pictures was the subject's decision, not mine. I took what they presented – delicate moments – unadorned and unglamorous, yet tender and exquisite." Metzker used a 1975 National Endowment for the Arts fellowship to pull the series together as Sand Creatures, later published as a book in 1979. There are no diptychs in the book, though the woman in sunglasses at the bottom of Untitled (1969) is included as a solo picture. In a July 1992 letter, Metzker wrote the following about two untitled Sand Creatures pictures from 1969: "The photograph of the double image is from the series entitled Couplets and predates the single image by a number of years. Both pictures were made at beaches along the New Jersey coast: the couplet at Atlantic City, the single frame at Cape May. With both, my camera was an Olympus half-frame, a small amateurish piece of equipment that let me move about freely. The choice of the camera was essential to the development of the series."Source: Museum of Contemporary Photography
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