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FINAL Deadline Today: WIN A Solo Exhibition this December!
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Sarah Elliott
Sarah Elliott

Sarah Elliott

Country: United States
Birth: 1984

Sarah Elliott was born in the USA in 1984 and received a degree in photography in New York City at Parsons School of Design. Elliott assisted Stanley Greene for a year before moving to Nairobi, Kenya, where she is currently based. Elliott has traveled extensively and is interested largely in documenting social issues, with a focus on women. Her photographs have appeared in such publications as Vanity Fair Italy, Monocle, Financial Times Weekend Magazine and Time. In 2010, she was selected by the Magenta Foundation as a Flash Forward Emerging Photographer winner as well as a participant in World Press Photo Joop Swart Masterclass. In 2011 Sarah was shortlisted for the Anthropographia Award for Human Rights. Sarah is a founding member of Razon Collective, an international group of visual storytellers. In 2011, Elliott won the Global World: Through the Lens of Human Rights competition and a prize in the World Press Photo contest.
Source World Press Photo
 

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Robert Demachy
France
1859 | † 1936
Robert Demachy (1859–1936) was a prominent French Pictorial photographer of the late 19th and early 20th century. He is best known for his intensely manipulated prints that display a distinct painterly quality. Léon-Robert Demachy was born in the home of his grandmother in Saint-Germain-en-Laye, on the outskirts of Paris, on 7 July 1859. His parents, Charles Adolphe Demachy (1818–1888) and Zoé Girod de l’Ain (1827–1916), had two other sons, Charles Amédée (1852–1911) and Adrien Édouard (1854–1927), and a daughter, Germaine (1856-1940?). The elder Charles had started the highly successful financial enterprise of Banque Demachy, and by the time Demachy was born the family was very wealthy. He had no need to earn a living, and there is no record of his having ever been employed anywhere. He dropped the first part of his name in his childhood and was always known as "Robert". After his birth his family returned to their mansion at 13 Rue François Premier in Paris, where Demachy continued to live for the next fifty years. His early years were quite idyllic, and each year his family would spend several months at their summer villa near Villers-sur-Mer in Normandy. The rest of the year he was educated in Jesuit schools in Paris, and he became fluent in English by the time he was a teenager. His education also included extensive musical lessons, and he became an accomplished violin player. About 1870, Demachy, his mother and his siblings left Paris for Brussels due to the increasing dangers of the Franco-Prussian War. His father stayed in Paris as part of the Commune and the Banque Demachy played an important role in financing the resistance efforts. When he turned eighteen Demachy briefly served a year as an army volunteer, but he soon returned to his life of comfort. In the mid-1870s he began frequenting the artists’ cafés and, perhaps in rebellion to his gentrified life, he became involved in the growing bohemian culture that was beginning to take hold in Paris. He began making sketches of café patrons and people on the street, a practice he continued throughout his life.Source: Wikipedia Robert Demachy was considered by many to be the most influential Pictorialist photographer across the whole of Europe. He was a man of independent means allowing him to focus completely on photography and international travel for it. He was a strong advocate of gum bichromate to enhance Pictorialist photography, for which he coined the term ‘ Photo-Aquatint’ associating it with intaglio printmaking. It is obvious when studying his work closely that his enjoyment of this process was from the artistic freedom it gave him. His gum prints were very successful, with their greatly softened detail quite deliberately reminiscent of impressionist art. Demachy became a strong and vocal defender of manipulated printing techniques. He is most famous for the prominent brushstrokes and rough-textured papers. Although these were greatly manipulated, he was able to bring an air of naturalism and poise to his work. He wrote “Do not say that nature being beautiful, and photography being able to reproduce its beauty, therefore photography is Art. This is unsound. Nature is often beautiful, of course, but never artistic ’per se’, for there can be no art without intervention of the artist in the making of the picture. Nature is but a theme for the artist to play upon. Straight photography registers the theme, that is all - and, between ourselves, it registers it differently” Quoted in Robert Demachy: Photographs and Essays. Bill Jay, 1974. Robert Demachy was a leader in French Pictorialist photography at the turn of the last century. He was elected to the Société française de photographie in 1882 and co-founded the Photo-Club de Paris with Maurice Bucquet in 1888. He had his first exhibition of gum prints in 1895 at the Photo-Club de Paris, which helped to promote his increasingly international status: the same year he was elected to The Linked Ring in London and made an honorary member of the Royal Photographic Society.Source: Edward Draper
Jill Greenberg
United States
1967
Jill Greenberg is an American photographer and Pop artist. She was born in Montreal, Quebec, Canada, and grew up in a suburb of Detroit, Michigan. Greenberg began photography when she was 9 years old. According to a 1998 New York Times article, Greenberg's mother was a computer programmer and her father was a doctor. Greenberg took classes at Cranbrook Academy of Art and the Detroit Institute of Arts. In 1984, she attended the Photography Summer Session held by Parsons School of Design in Paris. In 1985, she won a Traub Memorial Scholarship Travel Fund from Andover High School in Bloomfield Hills, Michigan. In 1988, Greenberg completed coursework on Semiotics in Media with Mary Ann Doane at Brown University. In 1989, she graduated with honors from the Rhode Island School of Design with a BFA in Photography. She is known for her portraits and fine art work that often features anthropomorphized animals that have been digitally manipulated with painterly effects. Her photography of animals is regarded for its capability to show a wide range of expressions and feelings that are comparable to that of a seasoned actor or actress. Some of the primates she has captured on film are actually celebrated in their own right, having been featured in different TV shows or movies. She is also highly recognized for her distinct, and stylized photography of celebrities including well-known performers such as Gwen Stefani, Arnold Schwarzenegger and Clint Eastwood. She is also known for inserting her own strong opinions into her work. In reference to her work, Greenberg states "They're portraits and they're personal but there's a little twist going on. An edge." In 1992, Greenberg began working for Sassy magazine, doing commercial photography while working on getting her artistic career off the ground. Greenberg is known for celebrity portraits, using painterly effects that are drawn using computer technology. 2011's Glass Ceiling series involved shooting underwater, using scuba gear. She hired professional synchronized swimmers and photographed them in a pool in Culver City. The Glass Ceiling series was featured as a billboard installation in Los Angeles, on the northwest corner of Sunset Boulevard at Fairfax (viewable while driving east). In October 2012, Greenberg published a book of photographs called Horse that features images of horses. Greenberg built photo studios within horse rings to take the photographs. The shooting took place in Los Angeles in an area called Walker's Basin and also in Vancouver at Danny Virtue's ranch, a man who supplies horses to the film industry. In January 2014, Greenberg had an exhibition in Canada of images from Horse In August 2008, The Atlantic asked her to photograph John McCain for the magazine's October 2008 cover. Greenberg said they didn't have enough money to pay her so she gave them a license to use one of her photos for the cover (while she retained ownership of the photo) for free, for one-time use. Greenberg decided to make some personal images of the pictures. "I really didn't want there to be another Republican in the White House, so I decided to put my McCain pictures out on voting day." Saying she saw the work as political cartoons. "I thought it was the Artist Jill Greenberg appropriating the work of the Commercial Photographer Jill Greenberg." Greenberg's End Times, a series of photographs featuring toddlers, was the subject of controversy in 2006 (April 22 – July 8). The work featured stylized hyper-real closeups of children's faces contorted by various emotional distresses. The pieces were titled to reflect Greenberg's frustration with both the Bush administration and Christian Fundamentalism in the United States. The children were either professionally hired or were the children of friends (and included her daughter). All were accompanied by their parents, who assisted in getting the children to cry. The series resulted in active, often heated online discussion and news coverage, and resulted in hate mail which continued for several years. The images, meanwhile, have been imitated and used without permission for unrelated campaigns.Source: Wikipedia
Steve McCurry
United States
1950
Steve McCurry has been one of the most iconic voices in contemporary photography for more than 30 years, with scores of magazine and book covers, over a dozen books, and countless exhibitions around the world to his name. Born in a suburb of Philadelphia, Pennsylvania; McCurry studied film at Pennsylvania State University, before going on to work for a local newspaper. After several years of freelance work, McCurry made his first of what would become many trips to India. Traveling with little more than a bag of clothes and another of film, he made his way across the subcontinent, exploring the country with his camera. It was after several months of travel that he found himself crossing the border into Pakistan. There, he met a group of refugees from Afghanistan, who smuggled him across the border into their country, just as the Russian Invasion was closing the country to all western journalists. Emerging in traditional dress, with full beard and weather-worn features after weeks embedded with the Mujahedeen, McCurry brought the world the first images of the conflict in Afghanistan, putting a human face to the issue on every masthead. Since then, McCurry has gone on to create stunning images on all seven continents and countless countries. His work spans conflicts, vanishing cultures, ancient traditions and contemporary culture alike - yet always retains the human element that made his celebrated image of the Afghan Girl such a powerful image. McCurry has been recognized with some of the most prestigious awards in the industry, including the Robert Capa Gold Medal, National Press Photographers Award, and an unprecedented four first prize awards from the World Press Photo contest. The Minister of French Culture has also appointed McCurry a Knight of the Order of Arts and Letters and most recently, the Royal Photographic Society in London awarded McCurry the Centenary Medal for Lifetime Achievement. McCurry has published books including The Imperial Way (1985), Monsoon (1988), Portraits (1999 | 2013), South Southeast (2000), Sanctuary (2002), The Path to Buddha: A Tibetan Pilgrimage (2003), Steve McCurry (2005), Looking East (2006), In the Shadow of Mountains (2007), The Unguarded Moment, (2009), The Iconic Photographs (2011), Untold: The Stories Behind the Photographs (2013), From These Hands: A Journey Along the Coffee Trail (2015), India (2015), On Reading (2016), Afghanistan (2017), A Life in Pictures (2018), Animals (2019), In Search of Elsewhere: Unseen Images (2020). @stevemccurryofficial "What is important to my work is the individual picture. I photograph stories on assignment, and of course they have to be put together coherently. But what matters most is that each picture stands on its own, with its own place and feeling" -- Steve McCurry If the photographer's images have made the rounds of newspapers around the world, like the portrait of the young Afghan woman with piercing eyes, it is also due to their aesthetic impact. Steve McCurry spoke of the importance of colour in his photographs, the importance of post-production and retouching, and their ability to touch the viewer: "each single picture has its single story, and we put ours in it" (Steve McCurry). "Sometimes with pictures and photography, what is interesting is that the imagination can go off in different directions. Everything should not be explained" (Steve McCurry): the photographer stresses the importance of leaving their share of mystery to the photographs. Steve McCurry was confronted with the horror of war; his images bear witness to this. If Susan Sontag suggests in Regarding the Pain of Others that photography “beautifies” and “bleaches out a moral response to what is shown”, the photographer brings an entirely different perspective to the issue. He refers to the mission of war reporters to fight against the blindness and ineptitude of public opinion: "Should we be informed about what's happening in our world? Should we let our governments tell us ? I think that would be a very bad idea. [...] Somebody has to go and give us their impression. We need some person to go there and find the truth" (Steve McCurry).Source: www.sciencespo.fr
Lucas Foglia
United States
1983
Lucas Foglia grew up on a small family farm in New York and currently lives in San Francisco. His work focuses on the intersection of human belief systems and the natural world. He recently published his third book of photographs, Human Nature, with Nazraeli Press. Foglia exhibits internationally, and his prints are in notable collections including International Center of Photography, San Francisco Museum of Modern Art, and Victoria and Albert Museum. He photographs for magazines including Bloomberg Businessweek, National Geographic Magazine, and The New York Times Sunday Magazine. Foglia also collaborates with non-profit organizations including Sierra Club, The Nature Conservancy, and Winrock International. Source: lucasfoglia.com A Natural Order I grew up with my extended family on a small farm in the suburbs of New York City. While malls and supermarkets developed around us, we farmed and canned our food, and heated our house with wood. We bartered the plants we grew for everything from shoes to dental work. But, while my family followed many principles of the back-to-the-land movement, by the time I was eighteen we owned three tractors, four cars, and five computers. This mixing of the modern world into our otherwise rustic life made me curious to see what a completely self-sufficient way of living might look like. From 2006 through 2010, I traveled throughout the southeastern United States befriending, photographing, and interviewing a network of people who left cities and suburbs to live off the grid. Motivated by environmental concerns, religious beliefs, or the global economic recession, they chose to build their homes from local materials, obtain their water from nearby springs, and hunt, gather, or grow their own food. All the people in my photographs aspire to be self-sufficient, but no one I found lives in complete isolation from the mainstream. Many have websites that they update using laptop computers, and cell phones that they charge on car batteries or solar panels. They do not wholly reject the modern world. Instead, they step away from it and choose the parts that they want to bring with them. Frontcountry The American West is famous for being wild, even though its rural areas have been settled for generations. The regions I photographed between are some of the least populated in the United States. In rural Nevada, there are still twice as many cows as there are people. While the ranchers I met were struggling to survive the economic recession and years of drought, almost anyone could get a job at the mines. Coal, oil, natural gas, and gold were booming. Ranching and mining in the American West have had parallel histories and a common landscape. Cowboys and ranching culture are the chosen representatives of the region. Men on horseback ride through countless movies. Their images are printed on license plates and tourist souvenirs. But, the biggest profits are in mining. Though miners haven't found any raw nuggets for generations, the American West remains one of the largest gold producing regions in the world. Companies are digging increasingly bigger holes to find smaller deposits, leaving pits where there once were mountains. When I first visited, I expected cowboys to be nomads, herding animals on the edge of wilderness. I quickly learned that most ranchers have homes with mortgages. I also learned that all mines close eventually. When a mine closes, the land is scarred. The company leaves and people have to move. Miners are the modern-day nomads, following jobs across the country.
Jean-Marie Périer
Jean-Marie Périer (born in Neuilly in 1940) is a French photographer and film director. He began his career as Daniel Filipacchi’s assistant in 1956. Soon he was working for Jazz magazine, Paris-Match and Tele7Jours. He was drafted to serve in Algeria where he worked in the French Army’s Photographic Department. From 1962 to 1974 he was the official photographer of ‘Les Copains’, the world leading magazine in music. Jean-Marie Périer’s fame goes back to his iconic photographs of The Beatles, Rolling Stones, Bob Dylan, James Brown, to name but a few; images that indelibly captured the Pop and Rock scenes of the Sixties. In 1990, Jean-Marie returned home to Paris having spent ten years in LA and NY directing commercials for such prominent clients as Coca-Cola, Canada Dry, Ford and Nestlé. It was photography that he wished to return; to once again feel the freedom and creativity he experienced during those Rock n’ Roll years. ELLE magazine gave him carte blanche to produce a series of images, entitled “The World of Fashion Designers” that presented the glamour and elegance of the fashion industry and its icons. The most famous fashion designers posed for him: Saint-Laurent, Armani, Tom Ford, Christian Lacroix, Gaultier, Alaïa… At the same time he directed several series of documentaries for television; in 2008 he directed 50 short films with Jacques Dutronc for the French channel Paris Premiere and another series of 50 short films about the sixties for France 5 . His first major exhibition took place at the Paris Hotel de Ville in 2002. Since then, he has had numerous solo exhibitions worldwide and his works have been acquired by significant public and private collections.Source: Fahey/Klein Gallery
Martin Schoeller
Germany
1968
Martin Schoeller is one of the world's preeminent contemporary portrait photographers. He is most known for his extreme-close up portraits, a series in which familiar faces are treated with the same scrutiny as the unfamous. The stylistic consistency of this work creates a democratic platform for comparison between his subjects, challenging a viewer's existing notions of celebrity, value and honesty. Growing up in Germany, Schoeller was deeply influenced by August Sander's countless portraits of the poor, the working class and the bourgeoisie, as well as Bernd and Hilla Becher, who spawned a school of photographic typology known as the Becher-Schüler. Schoeller's close-up portraits emphasize, in equal measure, facial features, of his subjects - world leaders and indigenous groups, movie stars and the homeless, athletes and artists - leveling them in an inherently democratic fashion. Schoeller studied photography at the Lette Verein and moved to New York in the mid-1990s where he began his career. Producing portraits of people he met on the street, his work soon gained recognition for its strong visual impact and since 1998 he has contributed to publications such as National Geographic, The New Yorker, Vanity Fair, TIME Magazine,The New York Times Magazine, Rolling Stone and GQ, among others. Martin's print and motion work has appeared in many major advertising campaigns ranging from pharmaceuticals, cars and entertainment. His work has won many awards, but most recently he received praise for his Colin Kaepernick image in Nike's “Just do it” campaign which won a prestigious D&AD black pencil and the outdoor Grand Prix at Cannes. Some other advertising clients include: KIA, Chevron, Allstate, HBO, Coca-Cola, AT&T, Mercedes, DreamWorks, Southwest Airlines, GE and Johnnie Walker. Schoeller's portraits are exhibited and collected internationally, appearing in solo exhibitions in Europe and the United States, as well as part of the permanent collection of the National Portrait Gallery, Smithsonian Institution, Washington, DC. Martin lives and works in New York City Must Read Articles 75 Portraits of Holocaust Survivors Photographed by Martin Schoeller Martin Schoeller exhibits with 'Holocaust Survivors' in Maastricht A native of Germany, Schoeller, who now lives and works in New York, honed his skills by working with Annie Leibovitz. “Watching her deal with all of the elements that have to come together—subjects, lighting, production, weather, styling, location—gave me an insight into what it takes to be a portrait photographer,” he explains. Equally important for Schoeller was the photography of German minimalists Bernd and Hilla Becher, who “inspired me to take a series of pictures, to build a platform that allows you to compare.” Schoeller’s portraiture brings viewers eye-to-eye with the well-known and the anonymous. His close-up style emphasizes, in equal measure, the facial features, both studied and unstudied, of his subjects—presidential candidates and Pirahã tribespeople, movie stars and artists—leveling them in an inherently democratic fashion. Schoeller’s photographs challenge us to identify the qualities that may, under varying circumstances, either distinguish individuals or link them together, raising a critical question: "What is the very nature of the categories we use to compare and contrast."Source: National Portrait Gallery Websites martinschoeller.com @martinschoeller @martinschoellerstudio.com Agency August Image Galleries Camera Work A Gallery Exhibition Death Row Exonerees
Annette LeMay Burke
United States
1964
Annette LeMay Burke (b. 1964) is a photographic artist and Northern California native who lives in the heart of Silicon Valley. Numerous family road trips throughout California and the West honed her eye for observing the landscape. By eight years old, she had her own Instamatic camera and graduated to a Minolta X-700 as a teen. While earning a BA in Earth Science from the University of California at Berkeley, she took her first darkroom class. After a career in high-tech, and studying design, Annette has now merged her interests. Her artistic practice focuses on how we interact with the natural world and the landscapes constructed by the artifacts of technology. Annette's first book, Fauxliage (Daylight Books, Spring 2021), documents the proliferation of disguised cell phone towers in the American West and how new technologies are modifying our landscapes with idiosyncratic results. Her work has been exhibited at institutions such as Center for Photographic Arts, Colorado Photographic Arts Center, Griffin Museum of Photography, Texas Photographic Society, The Center for Fine Art Photography, and Photographic Center Northwest. In 2017, she was a finalist for Photolucida's Critical Mass. Fauxliage - Disguised Cell Phone Towers of the American West Fauxliage documents the proliferation of disguised cell phone towers in the American West. For me, the fake foliage of the trees draws more attention than camouflage. The often-farcical tower disguises belie the equipment's covert ability to collect all the phone calls and digital information passing through them, to be bought and sold by advertisers and stored by the NSA. From the very start, cell towers were considered eyesores. Plastic leaves were attached in an attempt to hide the visual pollution. Over time, the disguises have evolved from primitive palms and evergreens into more elaborate costumes. The towers now masquerade as flagpoles, crosses, water towers, and cacti. Over time, as our demand for five bars of connectivity has increased, the charade has remained. I was initially drawn to the towers' whimsical appearances. The more I photographed, the more disconcerted I felt that technology was clandestinely modifying our environment. I explore how this manufactured nature is imposing a contrived aesthetic in our neighborhoods. My photographs expose the towers' idiosyncratic disguises, highlight the variety of forms, and show how ubiquitous they are in our daily lives. Their appearance is now an inescapable part of the iconic western road trip and the eight states I visited for this project. As the fifth generation (5G) of cellular technology continues to roll out, the cell tower terrain will be changing. 5G utilizes smaller equipment that is easier to hide - think fat streetlight poles. Perhaps elaborately disguised 'fauxliage' towers will begin disappearing and be considered an anachronism of the early 21st century. The decorated towers could join drive-up photo kiosks, phone booths, news stands, and drive-in movie theaters as architectural relics of the past. More about Fauxliage More about Memory Building
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AAP Magazine #54 Nature
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