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Gabriel Marcos
Gabriel Marcos
Gabriel Marcos

Gabriel Marcos

Country: Venezuela
Birth: 1987

Born in 1987 in Caracas, Gabriel Marcos is a rising Venezuelan street photographer whose work is deeply influenced by the vibrant and aggressive underground hardcore punk scene, skateboarding, and graffiti. Growing up in the mountains, he was raised by an artist and a journalist, both highly accomplished in their fields, which fostered a unique creative environment that laid a foundation for his singular perspective on urban life.

He pursued studies in Photography and Audiovisual Arts in Caracas, which led him to work as a camera crew member in digital cinematography. His work is heavily inspired by Japanese snapshot culture, which shapes his distinctive photographic style.

In 2016, Gabriel Marcos moved to Germany and began focusing on photography more seriously in early 2024. Today, he captures the dynamic streets of Berlin, translating the city’s diverse energy and culture into his compelling images.

Awarded Photographer of the Week - Week 43

Website

gabrielmarcosphoto.com

 

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More Great Photographers To Discover

Sandro Miller
Sandro Miller
United States
1958
Born in 1958 in Elgin, Illinois, Sandro Miller is an American photographer (working professionally as "Sandro") known for his expressive images and his close work with actor John Malkovich and the other ensemble members of Chicago’s Steppenwolf Theatre Company. Sandro is married to multi-media artist Claude-Aline Nazaire and is the father of two children, Nathan and Natalia. As a young teen, Sandro embraced the idea of making photographic portraits after seeing the portrait imagery of Irving Penn. He began photographing in Chicago at the age of sixteen and has since devoted his thirty-plus-years career to creating expressive images from his elegant Ukrainian Village studio. With numerous award-winning commercial campaigns to his credit, Sandro is one of today's most respected commercial and fine art photographers. He has photographed many national advertising campaigns for a long alphabetical list of clients including: Adidas, Allstate Insurance, American Express, Anheuser-Busch, BMW, Champion, Coca-Cola, Dove, Gatorade, Honda, Milk, Microsoft, Miller/Coors, Motorola, Nike, Nikon, Pepsi, Pony, UPS, and the US Army. In 2001 Sandro was invited by the Cuban government to photograph that country's greatest national treasure – its athletes. This project was the first US‑Cuban collaboration since the diplomatic and trade embargo was imposed in 1960. Sandro's editorial work has been featured in Communication Arts, Details, Esquire, ESPN Magazine, Eyemazing, Forbes, GQ, Graphis, Newsweek, The New York Times Magazine, The New Yorker, Russian Esquire, Stern, TIME Magazine, Vibe, Wired and has been exhibited worldwide. Sandro has a working relationship with the camera giant Nikon and is responsible for introducing their latest technology to the professional photographic world. He has worked on many award-winning projects with Nikon: a portrait session with actor John Malkovich in Croatia; a series of motorcycles racing in Brainerd, Minnesota; a still and video shoot of the roller derby team The Windy City Rollers; a video of the world-renowned high-wire artist Philippe Petit; and most recently, a short cinematic video entitled "Joy Ride”, featuring a motorcyclist racing through the early morning streets of Chicago on a mysterious mission. Throughout his career, Sandro has contributed his talents and staffed studio time to community-based and national charitable organizations by creating compelling campaigns that solicit contributions for such organizations as the AIDS Chicago, AIDS New Jersey, American Cancer Society, American Heart Association, Arts for Life, Big Brothers and Big Sisters of Milwaukee, Dance for Life, Evans Life Foundation, Food Depository of Chicago, The Good City, Marwen Foundation, The Maestro Cares Foundation and Off The Street Club. At the Cannes Lions International Festival of Creativity in France, in July 2011, Sandro was presented a Saatchi & Saatchi Best New Director Award for his short video "Butterflies" featuring John Malkovich. Sandro traveled to Morocco in November 2013 and shot portraits of two hundred thirty tradesmen, nomadic people, snake charmers, fossil diggers, and Gnawa musicians. In 2014 Sandro re-created forty-one hallowed photographs in homage to the world’s greatest photographers. The project, titled Malkovich, Malkovich, Malkovich: Homage to Photographic Masters, has a costumed John Malkovich as the subject in each image. On November 2, 2014, in New York’s Carnegie Hall, the Lucie Foundation honored Sandro with the International Photographer of the Year award for his achievements in photography. On October 27, 2015, for the 2nd year in a row, Sandro was honored with the Lucie Foundation’s International Photographer of the Year award for his photography of the Malkovich, Malkovich, Malkovich: Homage to Photographic Masters images. For the past five years, in juried competitions within the industry, Sandro has been voted one of the top 200 advertising photographers in the world.Source: www.sandrofilm.com
Philip-Lorca diCorcia
Philip-Lorca diCorcia
United States
1951
Philip-Lorca diCorcia (born 1951) is an American photographer. He studied at the School of the Museum of Fine Arts, Boston. Afterwards diCorcia attended Yale University where he received a Master of Fine Arts in Photography in 1979. He now lives and works in New York, and teaches at Yale University in New Haven, Connecticut. diCorcia's work has been exhibited in group shows in both the United States and Europe since 1977 , he participated in the traveling exhibition Pleasures and Terrors of Domestic Comfort, organized by New York's MOMA in 1991. His work was also featured in the 1997 Whitney Biennial at the Whitney Museum of American Art, and, in the 2003 exposition Cruel and Tender at London's Tate Modern. The following year diCorcia’s work was included in Fashioning Fiction in Photography Since 1990 at the MOMA. His most recent series was seen in the Carnegie Museum of Art’s 54th Carnegie International exhibition in Pittsburgh, Pennsylvania. He has also exhibited in Germany (Essen), Spain (Salamanca) and Sweden (Stockholm)[citation needed]. diCorcia received his first solo show in 1985 and from then on he has been featured in one-person exhibitions worldwide, including those at New York's Museum of Modern Art; Paris' Centre National de la Photographie; London's Whitechapel Art Gallery; Madrid's Museo Nacional Centro de Arte Reina Sofía; Tokyo's Art Space Ginza; and Hannover's Sprengel Museum. In March 2009, David Zwirner in New York held an exhibition of one thousand actual-size reproductions of diCorcia's Polaroids, entitled Thousand. Sprüth Magers London showed a series of Philip-Lorca diCorcia's Polaroids in 2011. DiCorcia alternates between informal snapshots and iconic quality staged compositions that often have a baroque theatricality. Using a carefully planned staging, he takes everyday occurrences beyond the realm of banality, trying to inspire in his picture's spectators an awareness of the psychology and emotion contained in real-life situations. His work could be described as documentary photography mixed with the fictional world of cinema and advertising, which creates a powerful link between reality, fantasy and desire. During the late 1970s, during diCorcia's early career, he used to situate his friends and family within fictional interior tableaus, that would make the viewer think that the pictures were spontaneous shots of someone's everyday life, when they were in fact carefully staged and planned in beforehand. He would later start photographing random people in urban spaces all around the world. When in Berlin, Calcutta, Hollywood, New York, Rome and Tokyo, he would often hide lights in the pavement, which would illuminate a random subject in a special way, often isolating them from the other people in the street. His photographs would then give a sense of heightened drama to the passers-by accidental poses, unintended movements and insignificant facial expressions. Even if sometimes the subject appears to be completely detached to the world around him, diCorcia has often used the city of the subject's name as the title of the photo, placing the passers-by back into the city's anonymity. Each of his series, Hustlers, Streetwork, Heads, A Storybook Life, and Lucky Thirteen, can be considered progressive explorations of diCorcia’s formal and conceptual fields of interest. Besides his family, associates and random people he has also photographed personas already theatrically enlarged by their life choices, such as the pole dancers in his latest series. His pictures have black humor within them, and have been described as "Rorschach-like", since they can have a different interpretation depending on the viewer. As they are planned beforehand, diCorcia often plants in his concepts issues like the marketing of reality, the commodification of identity, art, and morality. Source: Wikipedia Philip-Lorca diCorcia is among the most influential and innovative photographers of the past thirty years. Bringing together 125 photographs made from the late-1970s to the present, including selections from all of his distinct series, this exhibition is the first comprehensive survey of diCorcia's work in the United States. DiCorcia's images perch on the lines between fact and fiction, blending a documentary mode with techniques of staged photography. The viewer is often unsure whether a scene has been found or posed by diCorcia, which lends an uncanny quality to the typically mundane imagery the artist presents. Ultimately, his work asks viewers to question the assumed truth of a photograph and to consider alternative ways that images might speak to and represent reality. In the mid-1970s, DiCorcia (born 1951 in Hartford, Connecticut) attended the School of the Museum of Fine Arts, Boston, followed by a Masters of Fine Art in Photography at Yale University. From the very beginning, he pursued a middle ground between two major photographic modes of the period. A modernist documentary style influenced by Walker Evans, Garry Winogrand, and Diane Arbus is evident, but so too is an approach informed by conceptual art, which mobilizes images as cultural archetypes or signs. In all his work, diCorcia captures moments that seem arrested in the chaotic flux of the larger world. From the psychological tension of his staged tableaux to his portraits of pedestrians on city streets to his experimental narrative sequence A Storybook Life, the ultimate effect of diCorcia's photographs is a sense of reality hanging in a threshold, uncertain, unstable, and poetic. Source: www.icaboston.org
Raymond Cauchetier
Raymond Cauchetier
France
1920 | † 2021
Raymond Cauchetier was a French photographer, known for his work as the set photographer from 1959 to 1968 on many films of the French New Wave. His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods. A 2009 profile of Cauchetier in Aperture magazine declared that his photographs "are themselves central works of the New Wave." Cauchetier was born in Paris on 10 January 1920. His mother worked as a piano teacher. She raised him as a single parent; he never met his father. Cauchetier dropped out after completing grammar school. He escaped from Paris by bicycle and joined the French Resistance after the Fall of France in 1940. After World War II ended, Cauchetier enlisted in the French Air Force as the First Indochina War was unfolding. He began his career in photography there serving as a combat photographer in Vietnam. He consequently purchased his own Rolleiflex camera and utilized it for most of his career. Cauchetier was conferred the Legion of Honour by Charles de Gaulle, in recognition of his battlefield work. Cauchetier remained in the region after his service in the Air Force concluded, taking pictures of Angkor Wat in Cambodia. He gifted a set of 3,000 pictures to Norodom Sihanouk, which were ultimately destroyed by the Khmer Rouge. Cauchetier met director Marcel Camus, who was in Cambodia to shoot the film Mort en fraude (Fugitive in Saigon), in 1957. He was subsequently recruited as the set photographer. Upon Cauchetier's return to France, he failed to find work as a photojournalist. He was instead employed to take pictures for photo-romans, a kind of photographic graphic novel, by publisher Hubert Serra. Through Serra, Cauchetier became acquainted with Jean-Luc Godard, then working as a film critic and hoping to become a filmmaker himself. Godard hired Cauchetier as the set photographer for his debut film, À bout de souffle (1960), a breakthrough both for Godard and for French cinema. Other films Cauchetier worked on include Léon Morin, prêtre, directed by Jean-Pierre Melville, and Jules et Jim (1962) by François Truffaut. His photographs of the production in 1960 of Godard's film, Une femme est une femme, captured off-camera moments of Godard and lead actress Anna Karina. Godard and Karina married the following year. Raymond Cauchetier stopped working as a set photographer in 1968 due to the job's low pay. He continued publishing photographs, but his images from the New Wave are considered by critics to be his best work. Amendments to the copyright law of France in the mid-2000s granted photographers the rights to pictures they had captured as a paid employee. Consequently, many of Cauchetier's previously unseen works were able to be released. His collection titled Photos de Cinéma was published in 2007. Six years later, the Academy of Motion Picture Arts and Sciences hosted an exhibition of his work in Los Angeles. He went on to publish the artist's book Raymond Cauchetier’s New Wave in 2015. Raymond Cauchetier turned 100 in January 2020. In September of that year, an exhibition of his notable photos was held at the Galerie de l'Instant in Paris. He died five months later on 22 February 2021 in Paris. He was 101, and was diagnosed with COVID-19 during the COVID-19 pandemic in France prior to his death.Source: Wikipedia Taking a photojournalist’s approach to the job, he instead shot Belmondo and Seberg in action, making carefully framed, richly textured photographs that captured moments of play and spontaneity. His pictures also showed Godard and cinematographer Raoul Coutard at work, offering future film historians a rich trove of behind-the-scenes images. “In assembling his movie-centered still-photo dossiers, he created perhaps the greatest and most revealing photographic documents ever made of films in progress,” film author Richard Brody wrote in a 2015 New Yorker article. “Cauchetier is the auteur of set photographers.” Mr. Cauchetier photographed Godard pushing Coutard in a wheelchair, enabling the cinematographer to shoot a low-budget tracking shot; another photo showed the director with a canvas-covered trolley cart equipped with a hole for the camera, which Godard used to shoot on the busy Champs-Élysées. In one of his best-known images, he photographed Seberg kissing Belmondo on the cheek, while the actor gripped a cigarette and gazed into the distance. Although it was inspired by a sequence in “Breathless,” the image never appeared in the film. “That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building,” Mr. Cauchetier told The Guardian in 2015. “You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds.”Source: The Washington Post
Steve Dinberg
Steve Dinberg
United States
The sense of adventure that comes with exploring new places and meeting new people is what keeps me interested in street photography. A fellow photographer once told me, “There are two reasons people travel: the first is to see something new, the other is to experience something old.” I have always been a passionate photographer. I look for that decisive moment, and I am constantly in search of that special magical light, interesting faces that reveal personal history, hands that tell a story, and amazing eyes that convey emotion, but most of all, I try to capture that moment of interaction. I instinctively look for the colors, shapes, and textures in a defined area. As a lifelong traveler, I look for a street, alleyway, or even the face of a person that conveys meaning to their surroundings. Every Face Has A Story I had the opportunity to visit the country of Romania and quickly fell in love with the people, their traditions and the magical countryside villages. Traveling through these Romanian villages high in the Carpathian mountains, I learned that their life style and traditions are quickly vanishing because the younger members are leaving the hard mountain life and have moved to the larger cities where life is clearly much easier. Everyone I met and spent time with are living alone high in the mountains because they refuse to leave their homes and leave behind their Romanian traditions, and each always welcomed me into their homes. These photographs give a close-up glimpse into their life and charm of the Romanian people.
Gregori Maiofis
Gregori Maiofis
Russia
1970
Gregori Maiofis was born in 1970 in Leningrad, Soviet Union, now St Petersburg, Russia. His grandparents, Solomon Maiofis (1911-1968) and Olga Ugriomova (1913-2009) were architects, father, Mikhail Maiofis (b. 1939) is a famous book illustrator. In 1987-1989 studied at the Academy of Arts (the Institute of Painting, Sculpture and Architecture n.a. Y. Repin) in St Petersburg at the graphic arts department. In 1991 his family moved to Los Angeles, California where he lived until 1995. Currently lives and works in St Petersburg, Russia. Gregori Maiofis has had solo exhibitions across Russia, Europe, and the U.S. since 1993. His work is in many museum collections including the following: Museum of Fine Arts, Houston, Los Angeles County Museum of Art, Santa Barbara Museum of Art, Multimedia Art Museum, Moscow, The State Pushkin Museum of Fine Arts, Moscow, Museum of modern Art, Moscow, Novy Museum, St Petersburg, Russia, National Gallery of Slovakia, Bratislava, Museum of Modern Art, Rio de Janeiro.Source: gregorimaiofis.com Gregori Maiofis (Russia, b. 1970) comes from a family lineage of artists and architects including his father, the renowned graphic artist, Mikhail Maiofis, who nurtured artistry early in his son's life. Maiofis is a classically trained printmaker and graphic artist who began his first photographic projects in 2000. Printmaking is still an integral part of the artist's oeuvre, which following experimentation with gelatin silver prints and several alternative processes, led to his now prominent use of bromoil and bromoil transfer printing. Common among the Pictorialist masters of the early 20th Century, the bromoil process allows the artist unique aesthetic abilities to manually control the color, tone and texture of the final picture on various surfaces. In the series Proverbs (Monograph available, Nazraeli Press, 2014) the artist uses proverb texts of various origins and visually interprets and conceptualizes them in whimsical staged compositions. Often working with trained animals including elephants, monkeys and predominantly a bear named Funt, Maiofis creates a new reality of interplay between human and animal. Several of the prints on view depict a dialogue of ballet between a Russian ballerina and the bear who appears thoroughly enthused by the performance before him.Source: The Eye of Photography In his work, Maiofis seems to follow the well-worn formulas of how to make “real art, art not for pleasure” but one does get certain pleasure all the same. That pleasure comes from vibrancy of the works’ surface, be it painting or photography. Maiofis has enriched his photography with his painting experience of how to “saturate the surface” of his works so that the “depth” of space in his photos is produced by an illusion of sombre depth like in Baroque painting rather than by multiplanarity of composition. In the photo series Fables he turned to the fables written by Ivan Krylov dubbed Russian La Fontaine in the latter half of the 18th and the earlier half of the 19th centuries. In conformity with the Soviet tradition those fables were for a long time interpreted as a reading matter for children. The artist refutes this view and creates a photographic semblance of space which, in complexity, is commensurable with the fables’ rich associative and semantic content. Here, he uses various forms of photography, combining collage, montage, and painting on photography, and using prints to build the scene for a new still. In his subsequent works, Gregori Maiofis mocks at artistic erudition itself by looking at “simple truths” crammed into a freshman’s head in the history-of-art class. As a rule, people don’t stop to think about the hidden meaning of objects habitually used in art. Maiofis subjects such cliches to ridicule, which brings about sudden recognition of how complex the habitual is. He provokes this recognition not unlike a practicing painter who would recognize that classical photography is the most expressive pictorial means known to him. He thus creates photography involving text that cannot be fully narrated elsewhere.Source: De Santos Gallery
Jonk
Jonk
France
1985
Jonk discovers photography at the age of 11 when his parents send him for a language exchange to the USA, where each of the ten children forming the group lives with a different host family. The few souvenir pictures shot with the famous disposable orange cameras were his firsts. For the following six years, he travels each winter to a new family in a different state, and in the meantime upgrades his gear with a basic analogue camera. After having swapped it for a pocket numeric device, he realizes his first solo trip, at the age of 19. This trip to Barcelona changes his life, and he comes back with two passions that won't leave him: travels (he has since visited more than 70 countries) and urban art (street art and graffiti), whose discovery gave him his first photographic subject that still occupies him today. Living in Paris, he discovers urban exploration at the end of years 2000 through rooftops, subways and the city's unofficial catacombs. At that time, he finds another subject: documenting the unseen side of the city and invest in his first digital reflex camera, an APS-C. Climbing roofs to see her from the top, going at night in subway tunnels or spending whole days underground in the catacombs exploring the tens of kilometers of galleries looking for beautiful carved rooms: he finds in that activity a thrill, the adrenaline that he looks for in his life. These urban explorations, and his search for unseen graffiti, bring him to abandoned places, where graffiti artists often go to paint, to be alone and able to take time to make bigger and better paintings. After some time frequenting these artists, he starts himself to paint there and adopts the nickname “Jonk”. At that time, he also sticks his travel pictures on the walls in the streets. Visiting abandoned places looking for graffiti, he realizes the intensity of the atmospheres and the beauty of the spectacle of time passaging: rust, decaying and peeling painted walls, broken windows, Nature taking over create unbelievable, highly photogenic sceneries. For him, such sceneries feel like infinite poetry. Traveling, painting, sticking, photographing, roaming on roofs, metros and catacombs, a very time-consuming job don't leave him enough time to do everything. At the hour of choices, he drops the spray, the pot of glue, the height and the undergrounds to stay with the photography of lost places, even if he could not get rid of his nickname, symbol of his graffiti artist times, highly important to him. He then continues to travel, almost exclusively looking for abandoned locations to shoot, with or without graffiti. He upgrades his gear again with one, then two, full-frame reflex. Today, he has visited more than one thousand and five hundreds of them in around fifty countries on four continents. With time, his interest focuses on what appears to him to be the strongest in this vast subject of abandonment: Nature taking over. It is poetic, even magic, to see this Nature retaking what used to be hers, reintegrating through broken windows, cracks on the walls, spaces built by Man and then neglected, until sometimes guzzling them up entirely. This topic naturally imposed itself to him due to the ecologic consciousness that moves him since his youngest age and to the strength of the message it carries: the question of the place of Man on Earth and its relationship with Nature. She is stronger, and whatever happens to Man, She will always be there. In March 2018, he releases the book Naturalia on the topic and currently works on volume II for which Yann Arthus-Bertrand wrote the preface. In June 2018, at age 33, he quits his job in the finance to fully dedicate himself to this project. With this series, as a photographer Jonk tries to humbly contribute to make people aware of the critical ecological situation we are all in. Since, four other books were released. His work has been featured in prestigious paper publications (Der Spiegel, Corriere della Sera, Lonely Planet, Le Monde, GQ, Telerama…) as well as on prestigious web platforms (National Geographic, New York Post, Smithsonian, ArchDaily, AD, BBC, The Guardian…). He received various distinctions in recognized international contests with Honorable Mentions (International Photography Awards, ND Awards), nominations (Fine Art Photography Awards), Silver Awards (Tokyo International Foto Awards, Moscow International Foto Awards), places in shortlists (Arte Laguna Prize, Environmental Photographer of the Year, Royal Photography Society, Felix Schoeller Photo Award, Siena International Photo Awards), places of finalist (InCadaquès International Photo Festival, Nature Photographer Of The Year, Umbra Awards) and winner of the Chelsea International Photography Competition and the Earth Photo 2020 Photo Competition. His work has been part of many group shows across the world (Paris, London, Lisbon, Rome, Athens, Budapest, Moscow, Seoul, Tokyo, Singapore, Los Angeles, Palm Springs, New York…) as well as many solo shows in Paris, the main ones being in Paris 20th district City Hall “Salon of Honor”, at the OECD, the Forum des Halles and the Nicolas Hulot Foundation for Nature and Man. In October 2020, Jonk realizes his first solo shows abroad. The first one is the central show of Home Expo in Luxembourg, the most important Fair of the country. Consisting of 91 photos, this exhibition is also his biggest show to date. He simultaneously conducts five solos show in China for the Franco-Chinese Environmental Month. They take place at the Park View Gallery of the magnificent Design Society in Shenzhen, the French Institute of Beijing, the Kingold Century Center of Guangzhou, the Westred Art Museum of Harbin and the Parc Hongmei of Shenyang. Jonk had set a first foot in China the year before by giving a conference on his Naturalia series in Shenzhen. It was his second after a TEDx given in Paris in 2018. Several exhibitions of Naturalia are planned for 2021 and 2022. Naturalia: Chronicle of Contemporary Ruins As a child, I saw a wildlife documentary that marked my life. It focused on the melting of the ice caps and its consequences on polar bears' life. I still remember this bear that struggled to swim and find a piece of ice floe. It seems that "children are like wet cement. Whatever falls on them makes an impression." (Dr Haim Ginott). This vision marked me so much that during all my childhood, every time any of my parents did anything that seemed bad for the environment, it told them this sentence: «Watch out, you kill the bears!!" This ecological consciousness, that moves me since my youngest age, has little by little focused my interest on abandoned places reclaimed by Nature. She is stronger, and whatever happens to Man, She will always be there. Moreover, Naturalia: Chronicle of Contemporary Ruins asks a fundamental question: that of the place of Man on Earth and his relationship with Nature. Far from being pessimistic, and at a time when Man's domination of Nature has never been so extreme, it aims to wake our consciousness. Man builds, Man abandons. Every time for his own peculiar reasons. Nature does not care about those reasons. But one thing is for sure, when Man leaves, She comes back and She takes back everything. In his poem Eternity of Nature, brevity of Man, Alphonse de Lamartine writes "Triumph, immortal Nature! / Whose hand full of days / Lends unlimited strengths / Times that always rise again!" In her inexorable progression, She starts reclaiming the outsides of a Taiwanese reservoir (Picture 1) before infiltrating the insides of a Croatian castle (2) or a Belgian greenhouse (7). Then, She grows in the atrium of a Polish palace (8) or a Cuban theater (9) before invading a Montenegrin castle (10). Then, given more time, imprisons a Taiwanese mansion with her strong roots (20). The next steps? Collapse and burial. French poet Léo Ferré said "With Time goes, everything goes". So, when Nature and Time will have taken back what Man abandons, what will be left of our civilization?
Horst P. Horst
Horst P. Horst
Germany/United States
1906 | † 1999
Horst P. Horst (born Horst Paul Albert Bohrmann), was a German-American fashion photographer. The younger of two sons, Horst was born in Weißenfels-an-der-Saale, Germany, to Klara (Schönbrodt) and Max Bohrmann. His father was a successful merchant. In his teens, he met dancer Evan Weidemann at the home of his aunt, and this aroused his interest in avant-garde art. In the late 1920s, Horst studied at Hamburg Kunstgewerbeschule, leaving there in 1930 to go to Paris to study under the architect Le Corbusier. While in Paris, he befriended many people in the art community and attended many galleries. In 1930 he met Vogue photographer Baron George Hoyningen-Huene, a half-Baltic, half-American nobleman, and became his photographic assistant, occasional model, and lover. He traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in December of that year. It was a full-page advertisement showing a model in black velvet holding a Klytia scent bottle. His first exhibition took place at La Plume d'Or in Paris in 1932. It was reviewed by Janet Flanner in The New Yorker, and this review, which appeared after the exhibition ended, made Horst instantly prominent. Horst made a portrait of Bette Davis the same year, the first in a series of public figures he would photograph during his career. Within two years, he had photographed Noël Coward, Yvonne Printemps, Lisa Fonssagrives, Count Luchino Visconti di Madrone, Duke Fulco di Verdura, Baron Nicolas de Gunzburg, Princess Natalia Pavlovna Paley, Daisy Fellowes, Princess Marina of Greece and Denmark, Cole Porter, Elsa Schiaparelli, and others like Eve Curie. Horst rented an apartment in New York City in 1937, and while residing there met Coco Chanel, whom Horst called "the queen of the whole thing". He would photograph her fashions for three decades. He met Valentine Lawford, British diplomat in 1938, and they lived together until Lawford's death in 1991. Horst adopted a son, Richard J. Horst, whom they raised together. In 1941, Horst applied for United States citizenship. In 1942, he passed an Army physical, and joined the Army on July 2, 1943. On October 21, he received his United States citizenship as Horst P. Horst. He became an Army photographer, with much of his work printed in the forces' magazine Belvoir Castle. In 1945, he photographed United States President Harry S. Truman, with whom he became friends, and he photographed every First Lady in the post-war period at the invitation of the White House. In 1947, Horst moved into his house in Oyster Bay, New York. He designed the white stucco-clad building himself, the design inspired by the houses that he had seen in Tunisia during his relationship with Hoyningen-Huene. Horst is best known for his photographs of women and fashion, but is also recognized for his photographs of interior architecture, still lifes, especially ones including plants, and environmental portraits. One of the great iconic photos of the Twentieth-Century is "The Mainbocher Corset" with its erotically charged mystery, captured by Horst in Vogue’s Paris studio in 1939. Designers like Donna Karan continue to use the timeless beauty of "The Mainbocher Corset" as an inspiration for their outerwear collections today. His work frequently reflects his interest in surrealism and his regard of the ancient Greek ideal of physical beauty. Lighting is more complex than one thinks. There appears to be only one source of light. But there were actually reflectors and other spotlights. I really don’t know how I did it. I would not be able to repeat it. -- Horst P. Horst, on his 1939 photograph Mainbocher Corset His method of work typically entailed careful preparation for the shoot, with the lighting and studio props (of which he used many) arranged in advance. His instructions to models are remembered as being brief and to the point. His published work uses lighting to pick out the subject; he frequently used four spotlights, often one of them pointing down from the ceiling. Only rarely do his photos include shadows falling on the background of the set. Horst rarely, if ever, used filters. While most of his work is in black & white, much of his color photography includes largely monochromatic settings to set off a colorful fashion. Horst's color photography did include documentation of society interior design, well noted in the volume Horst Interiors. He photographed a number of interiors designed by Robert Denning and Vincent Fourcade of Denning & Fourcade and often visited their homes in Manhattan and Long Island. After making the photograph, Horst generally left it up to others to develop, print, crop, and edit his work. One of his most famous portraits is of Marlene Dietrich, taken in 1942. She protested the lighting that he had selected and arranged, but he used it anyway. Dietrich liked the results and subsequently used a photo from the session in her own publicity. In the 1960s, encouraged by Vogue editor Diana Vreeland, Horst began a series of photos illustrating the lifestyle of international high society which included people like: Consuelo Vanderbilt, Marella Agnelli, Gloria Guinness, Baroness Pauline de Rothschild and Baron Philippe de Rothschild, Helen of Greece and Denmark, Baroness Geoffroy de Waldner, Princess Tatiana of Sayn-Wittgenstein-Berleburg, Lee Radziwill, Duke of Windsor and Duchess of Windsor, Peregrine Eliot, 10th Earl of St Germans and Lady Jacquetta Eliot, Countess of St Germans, Antenor Patiño, Oscar de la Renta and Françoise de Langlade, Desmond Guinness and Princess Henriette Marie-Gabrielle von Urach, Andy Warhol, Nancy Lancaster, Yves Saint Laurent, Doris Duke, Emilio Pucci, Cy Twombly, Billy Baldwin, Jacqueline Kennedy Onassis, Amanda Burden, Paloma Picasso and Comtesse Jacqueline de Ribes. The articles were written by the photographer's longtime companion, Valentine Lawford, a former English diplomat. From this point until nearly the time of his death, Horst spent most of his time traveling and photographing. In the mid-1970s, he began working for House & Garden magazine as well as for Vogue. Horst's last photograph for British Vogue was in 1991 with Princess Michael of Kent, shown against a background of tapestry and wearing a tiara belonging to her mother-in-law, Princess Marina, who he had photographed in 1934. He died at his home in Palm Beach Gardens, Florida at 93 years of age.Source: Wikipedia I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal. -- Horst P. Horst
Sandy Hill
Sandy Hill
United States
Sandy Hill grew up in a small town in Northeastern Ohio. The natural beauty as well as the rustic farms in the area provided the inspiration for her interest in photography. She earned a Bachelors degree in Photography at RIT before moving to Massachusetts where she was a freelance photographer for daily newspapers and a wire service in the greater Boston area. Her current work in portraiture has grown out of her interest in people and learning about different cultures as well as a general curiosity about others. She is also enjoying learning more about fine art photography and exploring that branch of her craft. Her photographs have been shown in multiple curated exhibits, two solo exhibitions and her news photos have been published in publications around the world. AMERICAN LAWN DÉCOR After a tumultuous year filled with isolation and conflict I decided to search for the innocence and optimism that I’ve always associated with our country, even as we hold different views, beliefs or backgrounds. I found signs of this in the joy of yards adorned with unique decorations. The many different perspectives on what constitutes beauty or humor continue to intrigue and draw me to a door to find out who lives or works there. Rarely have the residents turned down my request for a quick portrait, and they stand with dignity and pride, humor or mystery, near a fictional world created for us to enjoy. My intention was to avoid judgment. Rather I felt the need to search for a connection to people who share my country, and regardless of beliefs, views or background chose to celebrate life during a pandemic and beyond. This work was inspired by a desire to renew my own hopes and optimism for our country by looking beyond the headlines and finding a positive commonality. It is also my hope that these photographs can perhaps help us realize that we can find connections even during times that seem to be driving us apart.
Mark Steinmetz
Mark Steinmetz
United States
1961
Mark Christopher Steinmetz (born 1961) is an American photographer. He makes black and white photographs "of ordinary people in the ordinary landscapes they inhabit". Steinmetz's work was shown in a group exhibition at the Museum of Modern Art, New York in 1993/1994 and in solo exhibitions at the Ogden Museum of Southern Art in 2015, the High Museum of Art in 2018 and at Fotohof in Salzburg, Austria in 2019. He is the recipient of a Guggenheim Fellowship. His work is held in the collections of the Art Institute of Chicago, Hunter Museum of American Art, Museum of Contemporary Photography, Chicago, Metropolitan Museum of Art, Whitney Museum of American Art and Museum of Modern Art, New York, and Nelson-Atkins Museum of Art. Steinmetz was born in New York City and raised in the Boston suburbs of Cambridge and Newton until he was 12. He then moved to the midwest before, aged 21, he went to study photography at the Yale School of Art in New Haven, Connecticut. He left that MFA program after one semester and in mid 1983, aged 22, moved to Los Angeles in search of the photographer Garry Winogrand, whom he befriended. He moved to Athens, Georgia in 1999 and was still living and working there as of 2017. Marc Steinmetz makes photographs "of ordinary people in the ordinary landscapes they inhabit", and "in the midst of activity". Most of his work has been made in the USA but also in Berlin, Paris, and Italy. His books combine portraits (portrait-like but spontaneous) and candid photos of people, and also include animals and still life photos. He finds many of his subjects whilst walking around but he has also spent time at Little League Baseball and summer camps. Steinmetz predominantly works with black and white film, usually medium format, developed and printed in his own darkroom. He has mostly worked the same way with the same film, chemicals, and cameras since beginning in the mid 1980s.Source: Wikipedia Mark Steinmetz is an Athens, Georgia-based photographer whose work captures black-and-white images of Southern Americana as seen in urban, rural and suburban landscapes. “I like to stress the poetry and ambiance of a place, while still trying to be truthful,” he has remarked, and his candid shots of everyday life reflect this statement. Examples of this sentiment are strikingly portrayed in Steinmetz's new photo series Terminus, showing the everyday moments of people passing through airports. “At the airport, people from all over the world and from all walks of life can be found in the midst of their journeys,” Mark Steinmetz has said. “Though my main subject has been the passengers, I am also photographing the people who work at the airport, the interiors and exteriors of the planes, as well as the hotels, parking lots and neighborhoods that surround and support the airport.” Mark Steinmetz draws inspiration from a number of Southern artists whose talents extend beyond the realm of photography, and has remarked “the South has many great writers—William Faulkner, Flannery O'Connor, Carson McCullers—and they've influenced me.” Surprisingly, Mark Steinmetz did not originate in the South. In fact, he attended high school in Iowa and received his MFA from Yale University in 1986. (Though he initially dropped out in 1983 in order to move to Los Angeles and work with photographer Garry Winogrand) It wasn’t until 1999 that he left shooting freelance in Chicago and moved south for a teaching job at the University of Tennessee. He has remained in the South ever since. “I love the South for the weeds growing through the cracks of its sidewalks, for its humidity and for its chaos,” he has said. Interestingly, Mark Steinmetz has worked with analog since the beginning of his career, and even uses the same camera, film and development process today as he did as a novice photographer. Mark Steinmetz’ monographs include South Central (2007), South East (2008), Greater Atlanta (2009) and Summertime (2012). He has also been published in Aperture, Blind Spot and DoubleTake magazines. In 1994, he was awarded a Guggenheim Fellowship, and in 1998 he participated in Light Work’s Artist-in-Residence Program. Mark Steinmetz has taught at a number of institutions, including Harvard, Sarah Lawrence College, Emory University and Yale. Steinmetz’ photos can be found in the collections of The Museum of Modern Art, The Metropolitan Museum of Art, The Whitney Museum of American Art, The Art Institute of Chicago and the Los Angeles County Museum of Art.Source: Jackson Fine Art
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