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Debbie McCulliss
Photo Courtesy of Ellen Nelson
Debbie McCulliss
Debbie McCulliss

Debbie McCulliss

Country: United States
Birth: 1954

Through her lens, Debbie McCulliss captures the pulse of the wild - its strength, vulnerability, and untamed beauty. Based in Colorado, this winter wildlife and nature photographer transforms her global expeditions into visual stories. Each journey deepens her understanding of local histories, environmental challenges, and preservation efforts. Her work serves as both art and advocacy, championing respect for nature, protection of wildlife habitats, and survival of endangered species.

McCulliss continues to evolve as an artist while forging deeper connections with nature, especially in polar regions across the globe. While she takes pride in creating educational narratives and striking imagery, she aims to create art that not only captivates but catalyzes - sparking dialogue, inspiring action, and leaving an indelible mark on viewers' consciousness.

Statement
Debbie McCulliss travels the globe to bear witness to the strength, fragility, beauty, and rhythm of wildlife and nature. A Colorado-based winter wildlife and nature fine art photographer, she journeys to learn about the history, environmental challenges, and conservation efforts of the places she visits. Through her photography and writing, McCulliss works to increase public awareness of vital needs: respect for nature, protection of wildlife and marine environments, and preservation of endangered species.

Gallery

Pine Moon Art Gallery

Website

www.debbiemccullissphotography.com

 

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More Great Photographers To Discover

Carlos Antonorsi
Carlos Antonorsi
Venezuela/United States
1958
Born in Caracas, Venezuela of Corsican and British descent, I have always considered myself a citizen of the world. At 16 years of age left to Vancouver Island, Canada for college and then on to England for university; ended up in Greece for 17 years, and the last few years have been living in Miami, USA Having been born with what feels like ten thumbs for fingers, photography has become the means to express my artistic stirrings; with light and colors as the canvas, I attempt to paint that breath of time which will never be again. Street photography has been my passion for the last few years, light and shadows intrigue me; Miami and its colors have definitely influenced what I see through the lens...the never ending learning process just goes on...Yes, photography has got me hooked...
August Sander
August Sander
Germany
1876 | † 1964
August Sander was a German portrait and documentary photographer. Sander's first book Face of our Time (German: Antlitz der Zeit) was published in 1929. Sander has been described as "the most important German portrait photographer of the early twentieth century." Sander was born in Herdorf, the son of a carpenter working in the mining industry. While working at a local mine, Sander first learned about photography by assisting a photographer who was working for a mining company. With financial support from his uncle, he bought photographic equipment and set up his own darkroom. He spent his military service (1897-99) as a photographer's assistant and the next years wandering across Germany. In 1901, he started working for a photo studio in Linz, Austria, eventually becoming a partner (1902), and then its sole proprietor (1904). He left Linz at the end of 1909 and set up a new studio in Cologne. In 1911, Sander began with the first series of portraits for his work People of the 20th Century. In the early 1920s, he came in contact with the Group of Progressive Artists (Kölner Progressive) in Cologne, a group as Wieland Schmied put it, "sought to combine constructivism and objectivity, geometry and object, the general and the particular, avant-garde conviction and political engagement, and which perhaps approximated most to the forward looking of New Objectivity [...] ". In 1927, Sander and writer Ludwig Mathar travelled through Sardinia for three months, where he took around 500 photographs. However, a planned book detailing his travels was not completed. Pure photography allows us to create portraits which render their subjects with absolute truth, truth both physical and psychological. That is the principal which provided my starting point, once I had said to myself that if we can create portraits of subjects that are true, we thereby in effect create a mirror of the times in which those subjects live. -- August Sander Sander's Face of our Time was published in 1929. It contains a selection of 60 portraits from his series People of the 20th Century. Under the Nazi regime, his work and personal life were greatly constrained. His son Erich, who was a member of the left-wing Socialist Workers' Party (SAP), was arrested in 1934 and sentenced to 10 years in prison, where he died in 1944, shortly before the end of his sentence. Sander's book Face of our Time was seized in 1936 and the photographic plates were destroyed. Around 1942, during World War II, he left Cologne and moved to a rural area, allowing him to save most of his negatives. His studio was destroyed in a 1944 bombing raid. Sander died in Cologne in 1964. His work includes landscape, nature, architecture, and street photography, but he is best known for his portraits, as exemplified by his series People of the 20th Century. In this series, he aims to show a cross-section of society during the Weimar Republic. The series is divided into seven sections: The Farmer, The Skilled Tradesman, Woman, Classes and Professions, The Artists, The City, and The Last People (homeless persons, veterans, etc.). By 1945, Sander's archive included over 40,000 images. In 2002, the August Sander Archive and scholar Susanne Lange published a seven-volume collection comprising some 650 of Sander's photographs, August Sander: People of the 20th Century. In 2008, the Mercury crater Sander was named after him.Source: Wikipedia I never made a person look bad. They do that themselves. The portrait is your mirror. -- August Sander
Lisa Holden
Lisa Holden
United Kingdom
1961
Lisa Holden is a British-born artist based in Amsterdam, Netherlands. Her earlier visual work explores notions of the self as a series of estranged identities-guises adopted and appropriated, and dependent upon context. She combines digital imagery with hand-painted layers to create 'parallel realities', referring to the exploration of displacement, adoption and the reinvention of identity as a necessity for survival. Holden's large-scale, 'digitally flawed' painting-photographs interpret and react to our super-fast-paced, technologically driven society. The result is the artist's depiction of a psychological spiral into more personal fracturing of identity, multiple transformations, and a more isolated self and society. New works clearly bear the stamp of Holden's recent interest in Victorian painting and literature in which richly colored fantasies and hallucinations were often opiate-engendered. These influences manifest themselves in images of actual dreamscapes she recalls on waking--in other words, instinctual wishes of a body and mind desiring to get out. Source www.iphotocentral.com
Sean Du
Sean Du
United States
1987
Sean Du is a landscape photographer whose work aims to reconnect us with nature. Born and raised in Taiwan, he developed a fondness for nature at an early age thanks to his family upbringing. He later relocated to the United States and earned a BFA in photography at ArtCenter College of Design. Sean combines his artistic practice and a passion for the wilderness to create many award-winning imageries. His works have been exhibited across the United States, in Canada, and overseas. Statement: Above the Treeline is an ongoing study that seeks to capture, by way of hiking and climbing, seldom-seen views of North America's mountain wildernesses. Where trees give way to tundra, snow, ice and rock, the power of the Earth-shaping forces becomes evident – as seen in the tilt and fold of the rocks and the remnants of valley-carving glaciers. The physical contact with million-year-old rocks puts the briefness of humans' existence into perspective, but at the same time, establishes an intimate connection between the climber and the Earth. From here, it becomes apparent why the mountains are often referred to as the “beginning places” when one sees trickles of water gaining volume downstream to support complex ecosystems below. What the mountains have returned to me is a renewed capacity for wonder, but more importantly, I hope my passion for the mountains will inspire a greater sense of connection to the land, for it is key to the protection of the places and things we depend on. AAP Magazine AAP Magazine 54 Nature
Lynn Gilbert
Lynn Gilbert
United States
1938
As a photographer, my mission is to document unrecorded areas of society, shining a light on the lives and stories of those often overlooked. This work is not just a passion, but a significant contribution to our understanding of the world. In the 1970s, I took environmental portraits of children from more than a hundred families in New York City from different socioeconomic backgrounds, shedding light on the diversity of urban life. My portrait of Louise Nevelson in 1976, one of the most influential artists of the 20th century, inspired my first book. Particular Passions: Talks with Women Who Have Shaped Our Time, 1981, includes portraits of the trailblazers who transformed the American Landscape. Ruth Bader Ginsburg, Billie Jean King, Julie Child, Gloria Steinem, and 42 other women share their inspiring stories in their own words. For almost a decade, I documented the interiors of the Traditional houses of Turkey to preserve a disappearing way of life. The municipal government in towns and villages across the country helped select these houses, a significant part of the country's cultural heritage. My book The Silk Road: Then and Now, 2017, includes images from this series. For four years, I documented the changing seasons of a world-class garden. It grew into a documentary about a multi-generational family of 30, which revolves around this garden. My work has been widely published and appeared on over 1,000 media platforms, including Netflix, Nvidia, Intel, National Geographic, MoMA, the British Museum, and The Washington Post. My portraits are in the Smithsonian, the National Portrait Gallery, the Smithsonian, and the New York Historical Society. Recently, I started photographing and interviewing 1970s kids from different socioeconomic backgrounds to document what happened to their lives. At 86, I'm still working as fast as I can. There's so much more I want to accomplish, and I'm determined to keep pushing the boundaries of my art. Artist Statement What is a Portrait? According to the dictionary it can be a painting, photograph, drawing, or even a description. A successful portrait is achieving an image that is a timeless representation of the subject. Even with inanimate things or portraits of spaces, the goal for me is the same, to capture its soul. I've photographed hundreds of people. I have a series of NYC children and another Women of Wisdom. Getting beyond that awkwardness is not easy. The clock is ticking. Even children are uncomfortable, under the scrutiny of a prying eye. As a photographer, I'm always nervous, ''will I get that one image.'' What works for me is to keep the conversation flowing. Eventually the awkwardness fades. When photographing children there are endless things to talk about, however it is not as simple with adults. If the person is well-known then I do a lot or research about them. As the conversation progresses, I keep the camera clicking. The first pictures never work but they are important part of the process. The subjects get used to the clicking and the images get better. After about an hour I find a person relaxes. That is the moment, I can capture my subject. Real character is revealed. The tilt of the head, the shoulders go soft, the fingers relax, the legs are at ease and the eyes are unguarded. That final image happens in a split second. Decades later the portrait must still work.
Elliott Erwitt
Elliott Erwitt
France
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Born in Paris in 1928 to Russian parents, Erwitt spent his childhood in Milan, then emigrated to the US, via France, with his family in 1939. As a teenager living in Hollywood, he developed an interest in photography and worked in a commercial darkroom before experimenting with photography at Los Angeles City College. In 1948 he moved to New York and exchanged janitorial work for film classes at the New School for Social Research. Erwitt traveled in France and Italy in 1949 with his trusty Rolleiflex camera. In 1951 he was drafted for military service and undertook various photographic duties while serving in a unit of the Army Signal Corps in Germany and France. While in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head of the Farm Security Administration. Stryker initially hired Erwitt to work for the Standard Oil Company, where he was building up a photographic library for the company, and subsequently commissioned him to undertake a project documenting the city of Pittsburgh. In 1953 Erwitt joined Magnum Photos and worked as a freelance photographer for Collier's, Look, Life, Holiday and other luminaries in that golden period for illustrated magazines. To this day he is for hire and continues to work for a variety of journalistic and commercial outfits. In the late 1960s Erwitt served as Magnum's president for three years. He then turned to film: in the 1970s he produced several noted documentaries and in the 1980s eighteen comedy films for Home Box Office. Erwitt became known for benevolent irony, and for a humanistic sensibility traditional to the spirit of Magnum. Source: Magnum Photos
Helga Paris
Helga Paris
Germany
1938
Helga Steffens, daughter of Gertrud Steffens and typesetter Wilhelm Steffens, was born just over a year before the outbreak of the Second World War in Gollnow, a small town then in the north of Germany. In May 1945 she celebrated her seventh birthday, while the war ended in defeat for Germany. Her father and two brothers were still away, but in the meantime frontier changes mandated by the victorious powers and large scale ethnic cleansing forced Helga's mother to flee with her two daughters. They ended up in Zossen, a small town a little to the south of Berlin. There she was raised by a community of mostly women, many of whom worked. She is introduced to photography by her aunts who take many photographs. In Zossen she went to school and successfully passed her School leaving exams in 1956. After this, till 1960, she studied fashion design at the School of Engineering for the Clothing Industry ("Berlin Ingenieurschule für Bekleidungsindustrie") in Berlin and undertook, still in Berlin, an internship at VEB Treffmodelle. After this she worked as a fashion lecturer and as a commercial artist. In 1960 she starts to take photographs with a 6x6 Flexaret camera. It was during this time that she met the painter Ronald Paris. They were married between 1961 and 1974. Through her husband she was now quickly able to establish contacts in the East German artistic scene of the time. By now she had also acquired a passion for photography. Like many of the German Democratic Republic's leading photographers, Helga Paris is often described as self-taught. She herself believes that much of her photographic passion and skill was acquired from two aunts who were themselves, enthusiastic photographers, constantly taking pictures through the 1940s, 50s, and 60s, which now Paris herself keeps carefully stored in a collection of show boxes adapted for the purpose. Paris began taking photographs seriously around 1967. She was influenced by the work of Edvard Munch, Max Beckmann, Francis Bacon, and Werner Held. Between 1967 and 1968 she worked in the photo laboratory of Walli Baucik. Her first freelance job, in 1969, was to photograph slaughtering at a home in Thüringen; in 1970 she shot fashion photographs for the youth magazine neues leben. In 1972 she joined the National Association of Visual Artists, which was virtually a prerequisite for success in what was now her chosen career. Her professional work is wide-ranging. In 1975 she photographed scenes from productions by Benno Besson at the Berlin Volksbühne ("People's Theatre"). She presented her first personal exhibition in 1978, in Dresden at the Fine Arts Academy. By the 1980s her work was concentrated increasingly on people and streetscapes, initially in Berlin where many of her subjects were neighbours and friends. She encountered greater difficulty when undertaking an equivalent project in Halle where the people she photographed were strangers and reacted with hostility. She then took time to talk to people and ask before photographing them. Under those circumstances, citizens of Halle agreed to be photographed, though there was still reluctance to be photographed with Halle streets as background at a time when a major and long-running redevelopment project scheme involving extensive destruction of old houses was leaving the centre of the city looking badly damaged. Her 1986 exhibition Buildings and Faces: Halle 1983-1985, planned for the city's Marktschlößchen Gallery was cancelled a few days before the scheduled opening date because her pictures gave publicity to the city's misguided building policy. By the time it was cancelled a catalogue and exhibition labels for the photographs had already been printed. Her career as a free-lance photographer survived the changes of 1989/90 which led to the end of the German Democratic Republic, formally in October 1990 with German reunification, and for some commentators and others her photographs from the East German period have gained a wider interest as the period they depict has receded into history. Since 1996 Helga Paris has been a member of the Berlin Academy of Arts. In 2003 her twelve-part exhibition Self images 1981-1988 in the context of the Art in the German Democratic Republic exhibition drew much interest.Source: Wikipedia Buildings and Faces “I’ll take Halle” was Helga Paris’s spontaneous reaction when, at a meeting with colleagues and artists in East Berlin in the early 1980s, fellow photographer Arno Fischer came up with the idea of photographing East Germany systematically as photographers had done in the 1930s and 1940s for the Farm Security Administration on behalf of the US government. Helga Paris rose to the challenge and began to document Halle on her own initiative. The self-taught photographer had previously carried out several photo stories on themes relating to urban and neighborhood life as part of a personal project. She drove from East Berlin to Halle many times between 1983 and 1985. As her daughter lived there at the time, she had developed an affinity to the town. Helga Paris was fascinated by the endangered former beauty of the buildings and considered it her duty to preserve it in pictures before it disappeared completely. She decided to photograph Halle as if it were a “foreign town in a foreign country”. In doing so, she looked at it through the eyes of an explorer, who is inspired and galvanized by a new environment. She started off taking snapshots of urban life, focusing on streets with houses and passers-by. However, the local people, who felt exposed in their “everyday misery”, did not always react favorably. This prompted her to reconsider her approach and eventually to divide the project into portraits of buildings and portraits of people. Helga Paris consciously limited the moment between making contact with her subjects and pressing the shutter to ensure that their gazes were as open as possible. As a result, they seem to be poised in the very second in which they briefly pause for the photographer, but have not yet engaged mentally with the photographic situation. At the time, Halle was primarily putting money into building modern apartments, and the old town center offered a desolate picture with crumbling facades, including those of listed buildings, half-untiled roofs, and ramshackle roads and squares. All this is revealed in Helga Paris’s photographs in high-contrast black-and-white, although it was never her intention to denounce the state of things. However, the SED party leadership found that the picture of the town conveyed in Helga Paris’s images was too negative. As a result, she was barred from opening her exhibition Buildings and Faces at the last minute. Not until 1990, after German reunification, was it allowed to be shown in Halle.Source: Deutsche Börse Photography Foundation
Georgina Goodwin
Georgina Goodwin
Kenya
Georgina Goodwin is a documentary photographer and Canon Ambassador born and based in Kenya with a focus on women, refugees, social issues and environment. Known for her award-winning work on Kenya’s post-election violence, cancer in Kenya and Westgate terror attack, and most recently refugee children in Tanzania, Georgina is a contributor to Getty Images and Everyday Climate Change and a member of Women Photograph and African Photojournalism Database, a collaboration of World Press Photo and Everyday Africa. Her work has been published by NY Times, Elle, Vogue, AFP and many others, and has been exhibited in Times Square NYC, Tokyo Japan and The Louvre Paris amongst others. Georgina was a speaker at TEDxKakumaCamp, the first TED talks to be held at a refugee camp, and one of 19 finalist speakers at TEDx Nairobi in 2017. Georgina Goodwin and Climate Change Awareness
Michael Knapstein
Michael Knapstein
United States
1956
Michael Knapstein (born 1956, Stevens Point, Wisconsin, USA) is a fine-art photographer who has earned international recognition for his insightful and nuanced visual exploration of the American Midwest. He now lives in Middleton, Wisconsin. Michael's photographs began attracting national attention while still in high school. At the age of 17, his work earned its way into the permanent collection of the George Eastman Museum in Rochester, NY. After graduating from the College of Fine Arts and Communication at the University of Wisconsin, Knapstein began a 30+ year career in the world of advertising. He sold his ad agency in 2010 and returned to his first love of photography. Since this reemergence, Michael's work has been recognized with hundreds of awards in some of the world's most prestigious photography competitions. He is a four-time Critical Mass Finalist, Pollux Award Winner and was named International Landscape Photographer of the Year at the 5th Barcelona Foto Biennale in Barcelona, Spain. He was also named one of "14 Inspiring American Artists" by Skillshare and Feature Shoot. His work has been widely exhibited in museums and galleries around the world. The Unforgotten My photographic series “The Unforgotten” was created to honor and preserve the rapidly disappearing family farm and the rural agricultural tradition that helped build the American Midwest. During my lifetime, we have lost more than 105,000 family farms just in my home state of Wisconsin. While these traditional small farms are falling victim to corporate agriculture and urbanization, their legacy is still honored with events that celebrate the proud agricultural heritage of the Midwest. Often, these gatherings include antique agricultural equipment, sometimes dating back to the days of steam power. I explored this world for several years by attending more than 50 small agricultural fairs and rural festivals across the Midwest. I was drawn to this subject matter because these people and their farm equipment – both once symbols of progress and innovation – now stand as relics of a bygone era. The resulting images speak to themes of rural identity, memory, loss, history, heritage, pride, family, community and sense of place. To express the timeless nature of this material, I approached this project from a “straight photography” perspective in the spirit of Group f/64. My approach was informed by the iconic work of WPA artists and mid-century modernist photographers such as Adams, Weston, White, Strand, Parks and Evans. My work was also influenced by the American Regionalism movement and the work of artists including Wood, Benton, Curry, Wyeth and Hopper. These proud people and their farm machines may eventually fade into the mist of time. But perhaps through my images, their stories may forever remain Unforgotten.
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Call for Entries
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