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Evan Murphy
Evan Murphy
Evan Murphy

Evan Murphy

Country: United States
Birth: 2000

I was born and raised in Las Vegas; ever since I can remember, my parents would get my twin brother and I cameras, and they always pushed us to be creative. We just fell in love with it. We grew up making movies, doing photoshoots, and creating stuff with our friends. Living in a vibrant and cinematic city, storytelling grew into this passion that both of us had for visual art, which has guided us throughout our entire life. As I continued to get older, photography grew more and more personal to me. My eye for photography truly stemmed from my twin brother. I am completely self taught. I never took any photography or editing classes.

Since moving to New York City two years ago at 21 years old, my fuel of inspiration has been endless. My true goal with photography at this point in my life is to perfect my craft. My eye has developed based on experience, inspiration, and studying. In the past two years I’ve participated in group exhibitions in Paris, New York, and most recently pieces from my photographic series “I.D.” were shown in Venice, Italy during Venice Biennale. I plan to continue to develop my skill set and storytelling abilities with photography in New York City.

Exhibition

I.D.

Websites

www.evanmurphyphoto.com

@evan.murphy

 

Evan Murphy's Video

Inspiring Portfolios

Aleksander Rodchenko
© Aleksander Rodchenko
Fabien Dendiével
© Fabien Dendiével
Umberto Verdoliva
© Umberto Verdoliva
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More Great Photographers To Discover

René Burri
René Burri
Switzerland
1933 | † 2014
René Burri is a Swiss photographer known for his photos of major political, historical and cultural events and key figures of the second half of the 20th century. Burri worked for Magnum Photos and has been photographing political, military and artistic figures and scenes since 1946. He has made portraits of Che Guevara and Pablo Picasso as well as iconic pictures of São Paulo and Brasília. Burri studied in Zurich, Switzerland at the School of Applied Arts from 1949 to 1953, where he worked under Hans Finsler, Alfred Willimann and Johannes Itten. From 1953 to 1955 he began working as a documentary filmmaker while completing military service. During this time he also began working with Leica cameras. Then he worked for Disney as a cameraman until 1955. From 1956 to 1959 he traveled extensively to places including Turkey, Egypt, Syria, Iraq, Jordan, Lebanon, Italy, France, Spain, Greece, Brazil, and Japan, which led to publications in Life, Look, Stern, Paris-Match, Epoca, and New York Times, as well as a photographic essay "El Gaucho" which appeared in Du. Burri first began working with Magnum Photos in 1955 through Werner Bischof, becoming a full member in 1959 and being elected chair of Magnum France in 1982. His first report "Touch of Music for the Deaf" on deaf-mute children was published by Life. In 1965 he assisted with the creation of Magnum Films which lead to his work on the Magnum-BBC joint production of, The Two Faces of China. In 1967 he produced a documentary on the Six-Day War in Jerusalem for German television. He produced the film Jean Tinguely in 1972. In 1963 Burri was working in Cuba when he was able to photograph the revolutionary Che Guevara; these images of Guevara smoking a cigar have become iconic. Notably, after taking the photos, Burri remembers Guevara "scaring the hell out of him". Describing a situation where an angry Che was pacing his tiny office like "a caged tiger", while being interviewed by an American woman from Look. While "hectoring" the reporter and "chomping on his cigar", Che suddenly looked Burri straight in the eye and told him "if I catch up with your friend Andy, I'll cut his throat" (while slowly drawing his finger across his neck). Andy was Andrew St. George, a fellow Magnum photographer, who had travelled with Che in the Sierra Maestra, and then later filed reports for American intelligence. Source: Wikipedia René Burri studied at the School of Applied Arts in his native city of Zurich, Switzerland. From 1953 to 1955 he worked as a documentary film-maker and began to use a Leica while doing his military service. Burri became an associate of Magnum in 1955 and received international attention for one of his first reportages, on deaf-mute children, Touch of Music for the Deaf, published in LIFE magazine. In 1956, he traveled throughout Europe and the Middle East and then went to Latin America, where he made a series on the Gauchos that was published by Du magazine in 1959. It was also for this Swiss periodical that he photographed artists such as Picasso, Giacometti, and Le Corbusier. He became a full member of Magnum in 1959, and started work on his book Die Deutschen, published in Switzerland in 1962, and by Robert Delpire the following year with the title Les Allemands. In 1963, while working in Cuba, he photographed Ernesto ‘Che’ Guevara during an interview with an American journalist. His images of the famous revolutionary with his cigar appeared around the world. Burri participated in the creation of Magnum Films in 1965 and afterwards spent six months in China, where he made the film The Two Faces of China produced by the BBC. He opened the Magnum Gallery in Paris in 1962, while continuing his activities as a photographer; at the same time, he made collages and drawings. In 1998, Burri won the Dr. Erich Salomon Prize from the German Association of Photography. A big retrospective of his work was held in 2004-2005 at the Maison Européenne de la Photographie in Paris and toured many other European museums. René Burri passed away at the age of 81 on October 20, 2014. Source: Magnum Photos
Nina Nelson
Nina Nelson
United States
1971
Born in London, England and raised on a 1,000-acre farm in Missouri, I’ve had a camera in my hands since I was ten. My path eventually led me to New York City, where I spent time on the other side of the lens as a model and actress. While pregnant, I didn’t look pregnant enough to book any modeling jobs, and I was just pregnant enough that I couldn’t book non-pregnant jobs, so I turned to another love—writing. My manuscript won the Ursula Nordstrom Fiction Contest and was published by HarperCollins under the name N.A. Nelson. While struggling with my second book, I enrolled in VCFA and earned an MFA in Creative Writing for Children and Young Adults. Writing is still hard. I now use my fancy Master’s degree to write imagined backstories for each item in my neglected Etsy store, The Vintage Bundt Cake. While taking a break from writing, I learned to shoot manually with my camera and after three years and four workshops on honing my visual voice, I realized I was still telling stories...only this time with my camera. Ha! Funny that. Acting, modeling, writing, vintage thrifting, photography—it all comes back to storytelling. Statement I’m steered by intuition. Intuition in what workshops to sign up for, on what locations to shoot, what vintage outfits to wear, what books to read, what music to listen to, what people to steer clear of and which ones to welcome. When I was growing up, we didn’t have a lot of money; I couldn’t compete on the same level as my peers in aspects of clothes, cars, and the things we build our identity on as a young person. I remember one day—realizing that wasn’t going to change, simply accepting that and thinking, “Well if I can’t be them, I can only be me.” The stillness that followed was filled with both the ineffable question of “Okay, but who am I?” and a true openness to the answer. Something clicked. Something aligned within me and as woo-woo as that sounds, every time I tune into that, there is a “rightness” in my work and my decisions that I can’t explain and I almost feel guilty taking credit for. I believe that teaming up with that internal GPS is what makes our art unique, our voices distinct. I continue to learn about photography, I continue to try new things, I continue to both succeed and make mistakes. So, the overall Statement About my Work is that the images are me as a photographer walking through this world still asking the same question my 14 year-old self asked: “Okay, but who am I?” followed by “And why am I here?” AAP Magazine AAP Magazine 55 Women
Francesco Junior Mura
Francesco Junior Mura
Italy
1990
Francesco Junior Mura, a photographer from Tuscany, has transformed his passion for dogs and agility dog sports into a celebrated professional career. His journey began with the arrival of Steel, his first Siberian Husky, which sparked his interest in dog photography. Specializing in capturing dogs in action, Francesco won the title of "Dog Photographer of the Year" in the Action category with one of his Agility Dog photos. This recognition paved the way for many others, including the Fine Art Photography Awards and the Annual Photography Awards, as well as the Sony and IPA awards. Bringing his work to international stages has given Francesco new opportunities to introduce the niche of agility dog photography to the world. Living in Tuscany with his partner and three dogs, two Border Collies and a Husky, he finds daily inspiration in his loyal companions, who not only enrich his life but also fuel his creativity. His photos not only capture the action but also tell stories of connection and trust between dogs and handlers, reflecting the passion and energy of the sport. Through his lens, Francesco documents not only the competition but also the deep bond that develops on the field, showing how photography can explore and communicate the complex dynamics between man and his faithful companion.
Alberto del Hoyo Mora
Alberto del Hoyo Mora
Spain
1979
Alberto del Hoyo is a Spanish photographer living in Tenerife. He holds an MBA from the Instituto de Empresa Business School and is a graduate in Business Administration and Photography. His own curiosity about the different forms of life has taken him to remote tribal territories in Asia, South America and Africa in search of the distinctive beauty and variety of his people. In 2016, after 2 years of incursions into the Omo Valley of Ethiopia, he founded Pics 4 Pills. Modest fundraising initiative for the people of the Omo Valley Three years later, at the end of 2018 he published the book Mystic Valley. Photographic travel notebook fruit of 4 years of photographic incursions in the Omo Valley. 100% of the revenues from sales are destined to solidarity projects in the different photographed tribal areas. Also in 2018, Alberto presented the Fine Art portrait exhibition with the same name "Mystic Valley", as a complement of the book. The objective is responsible photographic dissemination. Show the beauty of heterogeneity and cultural identity. About Mystic Valley Nadoria is a 13 years old girl of the Suri tribe in Ethiopia, lives in a small mountain village near the border with Sudan. She is the daughter of one of the elders of the tribe. The size of her ear plate indicates the extent of her dowry. "The bigger my ear plate, the higher number of cows my family will get from my marriage". Barduri, is a young man of 17 years of the same Suri tribe in Ethiopia. He has lost vision in his right eye as a result of a wound during the celebration of the "stick fight", ancestral ceremony consisting of an unprotected one-on-one stick fight battle against young members of the neighboring tribes. The fights can be furious and can result in death. A ritual for the transition of young stars to men. Far from feeling sorry Barduri feels pride, he has shown his family that he is a brave man, he has become a man, a warrior of honor. He has won his right in the tribe to be able to choose his wife and that she respect him. From the beginning of history the human race is composed of a large number of cultures, people and tribes. Each one has its own way of life, values and social rituals. The portraits of these people invite our conscience to remember the importance of understanding cultural identities in all their variety. Portraits of the fragility of a female childhood subrogated to warriors of honor. Portraits of his reality. It is vast, silent. Magical. Omo Valley
Peter Devenyi
Peter Devenyi
Canada
My experience with art began in childhood, studying the art in the many books in our house, and looking long at the art of my ancestors on the walls. As my mother was a visual artist, I would also witness the creative process from early on within her studio. I also grew up always close to nature, and would so observe the cycle of renewal therein—and be influenced by the formal perfection which somehow arises out of necessity. Later taking a bachelor's degree in studio art from the University of Ottawa, Canada, I have since pursued further studies including art history, philosophy of art and aesthetics, as well as the sciences in parallel with my experimental photographic and digital artistic activity. Statement: While I have long admired the imagery of classical photography, I further believe that I have no less been influenced by the pictorial nature of images which prove to be no less common to the history of painting. The introspective nature of light as it appears within Netherlandish painting might somehow connote the immediacy of photographic realism, whereas the diffusive quality of British watercolour similarly remains a formative influence even within the most experimental of my lens-based artwork.
Sawyer Brice
Sawyer Brice
United States
2000
I am a portrait photographer. I have always aimed for my work to feel as timeless as possible. I think I've always been chasing that feeling. I want my work to be impactful and show people truth and reality but also bring hope and wonder to whatever audience may see it. I want my work to feel vulnerable. I want to help tell people's stories, whether they are non-fictional or fictional, all while telling my own. I love to shoot on various film formats, especially 120mm, as it allows me to slow time down and truly interact with my subjects. Thus, ensuring I can observe and grasp their feelings and personality, which ideally translates into the films produced. I love making photographs, and will never stop aiming to tell stories.
Nicola Perscheid
Nicola Perscheid
Germany
1864 | † 1930
Nicola Perscheid (3 December 1864 - 12 May 1930) was a German photographer. He is primarily known for his artistic portrait photography. He developed the "Perscheid lens", a soft focus lens for large format portrait photography. Perscheid was born as Nikolaus Perscheid in Moselweiβ [de] near Koblenz, Germany, where he also went to school. At the age of 15, he began an apprenticeship as a photographer. Subsequently, Perscheid earned his living as an itinerant photographer; he worked, amongst other places, in Saarbrücken, Trier, and Colmar, but also in Nice, Vienna, or Budapest. In Klagenfurt in Austria he finally found a permanent position and on 1 March 1887, he became a member of the Photographic Society of Vienna (Wiener Photographische Gesellschaft). In 1889, he moved to Dresden, where he initially worked in the studio of Wilhelm Höffert (1832-1901), a well-known studio in Germany at that time, before opening his own studio in Görlitz on 6 June 1891. The next year he was appointed court photographer at the court of Albert, King of Saxony. In 1894, Perscheid moved to Leipzig. Perscheid had his first publication of an image of his in a renowned photography magazine in 1897, and subsequently participated in many exhibitions and also had contacts with artist Max Klinger. As an established and well-known photographer, he moved in 1905 to Berlin. There, he experimented with early techniques for colour photography, without much success, and when his assistant Arthur Benda [de] left him in 1907, Perscheid gave up these experiments altogether. His portraits, however, won him several important prizes, but apparently were not an economic success: he sold his studio on 24 June 1912. In October 1913, he held a course at the Swedish society of professional photographers, the Svenska Fotografernas Förbund, which must have been a success as it was praised even ten years later. In 1923, he followed a call by the Danish college for photography in Kopenhagen. Percheid had several students who would later become renowned photographers themselves. Arthur Benda studied with him from 1899 to 1902, and joined him again in 1906 as his assistant for experimenting with colour photography. Benda left Perscheid in 1907; together with Dora Kallmus he went to Vienna and worked in her studio Atelier d'Ora, which he eventually took over and that continued to exist under the name d'Ora-Benda until 1965. Kallmus herself also had studied from January to May 1907 at Perscheid's. Henry B. Goodwin, who later emigrated to Sweden and in 1913 organized Perscheid's course there, studied with Perscheid in 1903. In 1924 the Swedish photographer Curt Götlin (1900-1993) studied at Perscheid's studio. Perscheid also influenced the Japanese photographer Toragorō Ariga, who studied in Berlin from 1908 to 1914 and also followed Perscheid's courses. He returned in 1915 to Japan. The Perscheid lens was developed around 1920. It is a soft-focus lens with a wide depth of field, produced by Emil Busch AG after the specifications of Perscheid. The lens is designed especially for large format portrait photography. Ariga introduced the Perscheid lens in Japan, where it became very popular amongst Japanese portrait photographers of the 1920s. Even after the sale of his studio, Perscheid continued to work as a photographer and even rented other studio rooms in 1917. Besides artistic photography, he also always did "profane" studio portraits, for instance for the Postkartenvertrieb Willi Sanke in Berlin that between 1910 and 1918 published a series of about 600 to 700 numbered aviation postcards, including a large number of portraits of flying aces, a number of which were done by Perscheid. Towards the end of the 1920s, Perscheid had severe financial problems. In autumn 1929 he had to sub-rent his apartment to be able to pay his own rent. Shortly afterwards, he suffered a stroke, and was hospitalized in spring of 1930. While he was at the hospital, his belongings, including his cameras and photographic plates, but also all his furniture were auctioned off to pay his debts. Two weeks after the auction, on 12 May 1930, Perscheid died at the Charité hospital in Berlin. Source: Wikipedia
Grace Weston
Grace Weston
United States
Grace Weston creates narrative photography in her studio with miniature staged vignettes that address psychological themes. Among her many honors, most recently Weston made the Top 50 in Photolucida’s Critical Mass 2023, and from that was awarded the additional prize of a solo show for 2025 at the Southeast Center for Photography. Weston was awarded both First Place Overall Portfolio category as well as Gold Winner in the Fine Art Portfolio category in the 2021 Tokyo International Foto Awards. She has earned fellowships from both the Oregon Arts Commission and Artist Trust (Washington State), nominations for Portland Art Museum’s Contemporary Northwest Art Awards (Oregon), and numerous grants during her career spanning more than 25 years. In 2012, she had her first European solo exhibition at Paci Contemporary in Brescia, Italy. An extensive exhibition of her work was shown at the Center for Photography in Yekaterinburg, Russia in 2021. She has exhibited widely in the US, as well as Europe, Scandinavia, Russia and Japan. In 2009, she was a finalist in PhotoEspana’s Descubrimientos exhibition in Madrid and named one of the “Nine to Watch” in the Whatcom Museum Photography Biennial (Washington) in 2008. Weston's work has been acquired by the Portland Art Museum (OR), the Amon Carter Museum of American Art (Fort Worth, TX), the University of the Arts (Philadelphia PA), Seattle Public Utilities Portable Artworks Collection (WA), King County Public Art Collection (WA), Photographic Center Northwest (WA), Portland Community College (OR), King County 4Culture (WA), the City of Seattle Portable Works (WA), as well as numerous private collections in the US, Europe and Japan. Weston’s signature photography has been commissioned for print magazines and book covers in the United States, Italy, Spain, China, and the Netherlands, including O, the Oprah Magazine, Discover magazine, and Geo Magazine (Italia). She is included in the book Microworlds (Laurence King Publishing, UK 2011). In 2020 Peanut Press published a monograph of her work entitled The Neighbors Will Talk, and self-published Character Studies in 2023. Statement I am an interdisciplinary artist working in the genre of staged photography, creating miniature narrative scenes with characters, props and sets that I source, alter, or fabricate from scratch, to then light and photograph. Although I never depict actual people in my photographs, the human psyche is undeniably at the center of my work. Power dynamics, gender roles, clandestineness, mythos, mystique, and feelings of isolation and alienation are explored in my work, all with a deceptively playful overlay. Reclaiming the Muse My staged miniature photography series, RECLAIMING THE MUSE, reframes historic artworks and stories in contemporary terms. In centering the women, historically cast as objects of beauty or scorn, I strive to revitalize the muse with agency, furthering the issues important to me as a contemporary female artist, flipping the patriarchal gaze on its head. The Long Night In these miniature narrative Noir scenes, lone characters appear in decidedly suburban environments: cul-de-sacs, dark and empty roads, the small-town bar, private basements and bedrooms, all offering an impression of seclusion, ripe for clandestine schemes. The scenarios take place at night, with minimal lighting, heavy with mystery and tension. We get to squirm with the sense of being voyeurs. These images are inspired not only from the television and film mysteries and spy stories of my childhood, but also from the sense of being a silent observer of the shadowy grown-up lives around me. My props and characters may come from a child’s world, but these are adult stories. Escaping Gravity: Breathing, Dying, Swimming, Flying I presented a multi-media installation at Nine Gallery in Portland, Oregon in 2018 about loss, its lifelong ripples, release, and liberation. There were two chambers in this installation, one being the Pond, the other, the Pool, symbolizing my older brother’s death by drowning when he was eight-years old, and my learning to swim very late in life.
Imed Kolli
Imed Kolli
France/Algeria
1995
Imed Kolli is a 24-year-old photographer based in Algeria. By the time I was 16, my real eduction came from observing what is happening around me and observing that richness don't comes without struggle, and I was looking for a way to translate what I was seeing through my eyes and photography became my voice in this very big confusing world. I started to realize that photography has the power to change prescriptive on life and surprise people with something they don't usually see and sometimes they don't have any idea existed, and it began to push my life in such dramatic direction towards telling the larger story of what it means to be a human, so I bought my first camera , and that was the beginning. To say that my work is evocative would be something of an understatement. Specializing in harrowing, monochrome photos of people living on the fringes of society. I have been doing photography for the last 7 years, I specialized in street documentation photography toward telling the larger story of what it means to be a human and capturing the human condition. In the last 5 years, I had what you would call much a formal eduction by getting my Bachelor degree majoring photography at the highest institute of perfuming arts and audio visuals here in Algeria, I also had the chance to follow my main passion by continuing my master of fine art online degree program at the Academy of Art University in San-Fransisco. My passion for photography has actually never been stronger than it is today and it's 6 years that I've been making pictures that I've involved in visual storytelling. Most of what I know about the world has come through this medium, through practicing it through, learning about it. I've often said that photography is sort of like a condition that you catch and I caught it when I was 18 years old within about three months of learning about photography and I would say that today 7 years later that condition has never been more severe. During years I became obsessed with the idea of combining photography and documenting the human condition and that maybe that could be a way to bring these theories to the audience and perhaps get to learn and tell about the stories that need to be tell. My practice has always been predicated on international work mostly documenting work, documenting the human condition, but I've also done probably the largest project of my career so far ETERNAL FACES was obviously a domestic project, I spent 3 years on that and actually even since that project, I've continued to look at the issue of aging more so through film and multimedia and as time goes on and this is kind of connected to the question about my passion for photography. I feel like my repertoire for the kinds of stories that I want to do, the kinds of issues that I'm interested in are actually expanding, they're not narrowing, so I'm much more open to working on stories that in the past I might have considered you know softer or irrelevant. I'm talking about the world that is grinding out a lot of a critical issues that humanity is facing today, social issues political issues resource, issues you know climate change, how to deal with a permanent underclass of homelessness, I believe there's so many issues in the world that are critically important to look at. Statement This work is being classified as a Street-Portrait Photography which could actually offer a new way of prescriptive of people's portraits in black and white. I tried to reach the authenticity of people who had contracted the bitterness or resentfulness through their lives. The idea comes from street photography and how to shoot homeless, poor people in a beautiful manner from basic. It was all about dramatic situations and the spirituality of portraiture. To me, the most important characteristic was having a sharp eye and being aware of the environment around me. This means looking out for, not just colors, shapes, lights, shadows and so on, but observing my subjects and how they appear and act as well. I exposed the hardships and poor conditions of life of the deprived people through face expression. I did this in an attempt to assuage these problems. Vividly I wanted to expose the realities of squalid living and misery faced by homelessness every day. Harrowing street-portraits photography combined with emotion storytelling, were intended to engage and inform the audience and exhort them to act. What I accomplished by taking these photographs from the streets was to inform the world, How people are suffering every day. I wanted to show the life of these people lived, I had experimented with illustrations that dramatized the devastating human cost of the emotional expressions. I realized finally that only photographs seemed to capture the reality with sufficient resolution to change hearts. The singular emphasis in others on subjects, divested of a story, is all the more remarkable for this reason. In this project, I emphasized the reflective mode over the nature of my body of work envisaging,.The images chosen for The -Eternal Faces- did privilege the inventorial, world of observation and artistic classification as it reflects reality, with the objects taken out of context. There is no doubt that my body of work has profoundly shifted the way that we perceive these people in reality, the sensual appeal of reflection outcome intents in the real world has proved irresistible to photographers including my project Eternal Faces. Beginning with the intent to reflect these people's realities and finding expression in practitioners of widely differing outlooks and goals. Photographing these kind of subjects acquire an aura by being taken from their casual, often overlooked, position and put under intense scrutiny. The outcome intent tool which should look upon my project dispassionately is capable of creating images, filtered through the imagination, which compellingly engages the viewer's imagination and emotions. It wasn't empathy, It wasn't sympathy, it was more of a forced, intrinsic, and integral self-reflection. What I did is photograph emotions, I was photographing the initial moment when I laid eyes on the human being beautiful face shape that reflects the whole story of what it means to be broke, Injured, homeless, beggar and poor underprivileged and sometimes even hopeless. I gave with the often willing and knowing collaboration of my subjects, a metonymic typology of people who lived in dark side of society, representing for us the poor, homelessness, the other half. I was after the general truth of a general category, and the finer truths of individuals necessarily caught my inspiration to pick up this precise subject matter to photograph. The center of each picture was the subject matter: a person and his or her experience at that moment in time. To me and many other progressives, the rock bottom status added them from personal contact with the impoverished even when Christianity and the Social Gospel created a burden to extent charity to the disfranchised and discarded in society. I came imbuing them with the iconic soul of humanity and left almost engaging a subject in eyes contact. All of my photographs with human subjects refer to not where the subject is located, but the person before the lens and how did I visualize their emotions and feelings in a humanitarian neutral way. My images are intended to resonate with the viewer on a spiritual and human level and I try to pack in the metaphysical…attributes which tell their own story. I try to provoke an imaginative and intelligent response from the viewer with a purely visual reference.
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