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Frank Ward
Frank Ward
Frank Ward

Frank Ward

Country: United States

I am a professor in the Holyoke Community College Visual Arts Department, Massachusetts, USA. I have a Masters of Fine Arts degree from Bard College and have received a Massachusetts Cultural Council Artist Fellowship award in 2011 for my work in the former Soviet Union. Previously, the National Endowment for the Arts/ New England Foundation for the Arts have awarded me a grant for work with the Puerto Rican community in Holyoke, Massachusetts. The Polaroid Foundation and ViewCamera Magazine have awarded my work in Tibet and the Rotary Foundation has funded my photography in India.

I have made four trips to the former Yugoslavia with the support of The Friends of Bosnia and the Center for Balkan Development. This work has been exhibited throughout the United States and Europe.

In 2011, Haley's Press published "Lost in Siberia", essays by Vivian Leskes with photographs by Frank Ward. In 2005, Amherst College Press published "Curious Footprints", a book of my natural history photographs with an essay by Nancy Pick and an afterword by Ben Lifson. Both books are available through Amazon. When I am not teaching in Holyoke or leading photography workshops in Central Asia, I am open to freelance work.

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Frank Ward's Essays and Portfolios

 

Inspiring Portfolios

Thomas Vijayan
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Julie Wang
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More Great Photographers To Discover

Marco Guerra
Marco Guerra
Chile
1965
Marco was born in Santiago, Chile, in July 1st 1965. In September 11th of 1973, as the president of Chile was being overthrown by a military coup in the city center, he was struck by the bravery of the photojournalist in the center of it all, risking their life to tell the news story. That day he started to dream in becoming a photographer. Marco got his first photo assistant job at the age of 12, holding a portable flash to photograph Saturday Night Fever children's party, and was amazed how people became egocentric as soon as he pointed the flash in their direction. In 1979 he emigrated with his family to New York city. There he was offered a job working for a photographer who was capturing nights in Studio 54 for Andy Warhol's Interview Magazine. That allowed Marco, to start his aesthetic exploration, and to learn how media and politics shaped the world he was living in. In 1990 he became determined to be a full time artist. He did not allowed himself to do anything that was not related to photography, the history of aesthetic and how we humans interpreted visual information. He started assisting the top International photographers, artist and creative directors of the time and learned to see, analyzed and ask questions. By the mid 1990s he started getting professional assignments as an art, fashion, travel, portrait and advertising photographer for top brands and top magazines like French Vogue, Condé Nast Travel UK, Elle, Harper's Bazaar, New Yorker Magazine, New York Times, and luxury brands such as Levis, Rolex, Ralph Lauren and Bergdorf Goodman, to mention few. By 2001 he started producing, directing and shooting Art films for Ralph Lauren, Rolex and LVMH. In 2002 after meeting and being enchanted by a vision of the American/French/ Moroccan artist Yasmina Alaoui in NYC, they decided to collaborate and explored new areas in Photography, which was changing rapidly because of digital media. By mixing old and new techniques they create "1001 Dreams" series. A project of Love: large formats prints, combining photography and drawing. This work has been exhibited around the world and is part of important collections. Eventually Marco decided to stop doing commercial work and completely focus and explore contemporary art photography. In 2007 after years of soul searching for a non orientalist way to portrait Morocco, he started photographing his Tangiers series over the course of 2 years: Documenting the same street intersection taken from the top of a building, always around 4:30 am in the morning, capturing the intersection of the world of the sexes: the men running home from a long night, and the women starting the work day. This Series was part 2016 Marrakech Biennale, The Pierre Berge Cinematheque Benefit Auction in 2011 in Arle's and Scope Miami 2011 as well print reside in Important collection Internationally. In 2008 to 2012, inspired by a Weston and a paragraph of Neruda ( It is good, at certain hours of the day and night, to look closely at the world of objects at rest.) he set himself with his Rolleiflex , to photograph his “ Volume and lines” series, capturing the stillness and poetry of water cisterns in the palmeraie of Marrakech. This will take several years to shoot. A meditative project, for which he started to spend a lot of time in North Africa. In 2012, Cacerolazo project came alive. Commissioned for the 2012 Marrakech Biennale and inspired by the mood of the time, “Jasmine Revolution” and his childhood memories, marching along the women of Santiago who gathered at dusk , to bang their empty pots and pans in loud and peaceful protest in his native Chile streets. Cacerolazo is a personal examination of the strength and integrity of women and of their power to effect transformation. 10 pieces emerges, each from a mosaic of 119 moments capture with Polaroids, arrayed as tiles. In 2014 he started capturing Moroccan Landscape series, which look natural but have been transformed by humans, and photographed in contemporary neutral tones opposite of a folkloric approach to capturing Morocco. This is an on going project. Next his photography took a big dive to abstraction. Inspired by Sir, Francis Galton and his techniques of composite images, for the next 7 years he would work on composite nudes, cities, monuments and museums. He felt it was the proper choice to speak about time and space repetition. He currently working on composite photography, sculpture project and living between New York and Marrakech.
Gertrude Käsebier
Gertrude Käsebier
United States
1852 | † 1934
Gertrude Käsebier was an American photographer. She was well-known for her images of motherhood, portraits of Native Americans, and promotion of photography as a career for women. Käsebier was born Gertrude Stanton on May 18, 1852, in Fort Des Moines (now Des Moines, Iowa). Her mother was Muncy Boone Stanton and her father was John W. Stanton. He brought a sawmill to Golden, Colorado, at the start of the Pike's Peak Gold Rush in 1859, and he profited from the building boom that followed. Stanton, then eight years old, traveled to Colorado with her mother and younger brother to join her father. That same year, her father was elected as the first mayor of Golden, Colorado Territory's capital at the time. After her father died unexpectedly in 1864, the family relocated to Brooklyn, New York, where her mother, Muncy Boone Stanton, opened a boarding house to support the family. Stanton lived in Bethlehem, Pennsylvania, with her maternal grandmother from 1866 to 1870, and she attended the Bethlehem Female Seminary (later called Moravian College). Little else is known about her childhood. She married twenty-eight-year-old Eduard Käsebier, a financially secure and socially well-placed businessman in Brooklyn, on her twenty-second birthday in 1874. Frederick William, Gertrude Elizabeth, and Hermine Mathilde were the couple's three children. In 1884, they relocated to a farm in New Durham, New Jersey, in search of a healthier environment for their children to grow up in. Flying Hawk, American Indian, c. 1900, U.S. Flying Hawk, American Indian, c. 1900, U.S. Library of Congress © Gertrude Käsebier Gertrude Käsebier later wrote that she was unhappy for the majority of her marriage. She stated, "If my husband has gone to Heaven, I want to go to Hell. He was terrible... Nothing was ever good enough for him." Divorce was considered scandalous at the time, so the couple remained married while living separate lives after 1880. This unhappy situation later inspired one of her most strikingly titled photographs, Yoked and Muzzled – Marriage (c. 1915), which depicts two constrained oxen. Despite their differences, her husband financially supported her when she began art school at the age of 37, at a time when most women of her generation were well-established in their social positions. Käsebier never explained why she chose to study art, but she did so wholeheartedly. Over her husband's objections, she relocated the family to Brooklyn in 1889 to attend the newly established Pratt Institute of Art and Design full-time. Arthur Wesley Dow, a highly influential artist and art educator, was one of her teachers there. He later assisted in advancing her career by writing about it and introducing her to other photographers and patrons. The key to artistic photography is to work out your own thoughts, by yourselves. Imitation leads to certain disaster. New ideas are always antagonized. Do not mind that. If a thing is good it will survive. -- Gertrude Käsebier Gertrude Käsebier studied the theories of Friedrich Fröbel, a nineteenth-century scholar whose ideas about learning, play, and education inspired the creation of the first kindergarten. Käsebier was greatly influenced by his ideas about the importance of motherhood in child development, and many of her later photographs emphasized the bond between mother and child. The Arts and Crafts movement also had an impact on her. She studied drawing and painting in school, but she quickly became obsessed with photography. Käsebier, like many other art students at the time, decided to travel to Europe to further her education. She began 1894 by studying the chemistry of photography in Germany, where she was also able to leave her daughters with her in-laws in Wiesbaden. She spent the rest of the year in France, studying with American painter Frank DuMond. Gertrude Käsebier returned to Brooklyn in 1895. She decided to become a professional photographer in part because her husband had become quite ill and her family's finances were strained. She worked as an assistant to Brooklyn portrait photographer Samuel H. Lifshey for a year, where she learned how to run a studio and expanded her knowledge of printing techniques. Clearly, by this point, she had a thorough understanding of photography. Only one year later, she exhibited 150 photographs at the Boston Camera Club, a massive number for a single artist at the time. The same photographs were shown at the Pratt Institute in February 1897. The success of these exhibitions led to another in 1897 at the Photographic Society of Philadelphia. She also gave a talk about her work and encouraged other women to pursue photography as a career, saying, "I strongly advise women with artistic tastes to pursue a career in the underserved field of modern photography. It appears to be uniquely suited to them, and the few who have entered it have found rewarding and profitable success." In 1898, Käsebier watched Buffalo Bill's Wild West troupe parade past her Fifth Avenue studio in New York City, toward Madison Square Garden. Her memories of affection and respect for the Lakota people inspired her to send a letter to William "Buffalo Bill" Cody requesting permission to photograph the members of the Sioux tribe traveling with the show in her studio. Cody and Käsebier were similar in their abiding respect for Native American culture and maintained friendships with the Sioux. Cody quickly approved Käsebier's request and she began her project on Sunday morning, April 14, 1898. Käsebier's project was purely artistic and her images were not made for commercial purposes. They never were used in Buffalo Bill's Wild West program booklets or promotional posters. Käsebier took classic photographs of the Sioux while they were relaxed. Chief Iron Tail and Chief Flying Hawk were among Käsebier's most challenging and revealing portraits. Käsebier's photographs are preserved at the National Museum of American History's Photographic History Collection at the Smithsonian Institution. Red Horn Bull, a Sioux Indian from Buffalo Bill’s Wild West Show, c. 1900, U.S.Library of Congress © Gertrude Käsebier Käsebier's session with Iron Tail was her only recorded story: "Preparing for their visit to Käsebier's photography studio, the Sioux at Buffalo Bill's Wild West Camp met to distribute their finest clothing and accessories to those chosen to be photographed." Käsebier admired their efforts, but desired to, in her own words, photograph a "real raw Indian, the kind I used to see when I was a child", referring to her early years in Colorado and on the Great Plains. Käsebier selected one Indian, Iron Tail, to approach for a photograph without regalia. "He did not object. The resulting photograph was exactly what Käsebier had envisioned: a relaxed, intimate, quiet, and beautiful portrait of the man, devoid of decoration and finery, presenting himself to her and the camera without barriers." Several days later, Chief Iron Tail was given the photograph and he immediately tore it up, stating that it was too dark. Käsebier photographed him again, this time in his full regalia. Iron Tail was an international celebrity. He appeared with his fine regalia as the lead with Buffalo Bill at the Avenue des Champs-Élysées in Paris, France, and the Colosseum of Rome. Iron Tail was a superb showman and disliked the photograph of him relaxed, but Käsebier chose it as the frontispiece for an article in the 1901 Everybody's Magazine. Käsebier believed all the portraits were a "revelation of Indian character", showing the strength and individual character of the Native Americans in "new phases for the Sioux". In her photograph of Chief Flying Hawk, his glare is the most startling image among those portraits by Käsebier, quite contrary to the others who were shown as relaxed, smiling, or making a "noble pose". Flying Hawk was a combatant in nearly all of the fights with United States troops during the Great Sioux War of 1876. He fought along with his cousin Crazy Horse and his brothers, Kicking Bear and Black Fox II, in the Battle of the Little Big Horn in 1876. He was present at the death of Crazy Horse in 1877 and the Wounded Knee Massacre of 1890. In 1898, when the portrait was taken, Flying Hawk was new to show business and he was unable to hide his anger and frustration about having to imitate battle scenes from the Great Plains Wars for Buffalo Bill's Wild West in order to escape the constraints and poverty of the Indian reservation. Soon, Flying Hawk learned to appreciate the benefits of a Show Indian with Buffalo Bill's Wild West. Flying Hawk regularly circulated show grounds in full regalia and sold his "cast card" picture postcards for a penny to promote the show and to supplement his meager income. After the death of Iron Tail on May 28, 1916, Flying Hawk was chosen as his successor by all of the braves of Buffalo Bill's Wild West and he led the gala processions as the head Chief of the Indians. I am now a mother and a grandmother, and I do not recall that I have ever ignored the claims of the nomadic button and the ceaseless call for sympathy, and the greatest demand on time and patience. My children and their children have been my closest thought, but from the first days of dawning individuality, I have longed unceasingly to make pictures of people... to make likenesses that are biographies, to bring out in each photograph the essential temperament that is called, soul, humanity. -- Gertrude Käsebier Over the next decade, she took dozens of photographs of the Indians in the show. Some of those photographs become her most famous images. Unlike Edward Curtis, a photographer who was her contemporary, Käsebier focused more on the expression and individuality of the person than their costumes and customs. While Curtis is known to have added elements to his photographs to emphasize his personal vision, Käsebier did the opposite, sometimes removing genuine ceremonial articles from a sitter to concentrate on the face or stature of the person. In July 1899, Alfred Stieglitz published five of Käsebier's photographs in Camera Notes, declaring her "beyond dispute, the leading artistic portrait photographer of the day". Her rapid rise to fame was noted by photographer and critic Joseph Keiley, who wrote "a year ago Käsebier's name was practically unknown in the photographic world... Today that names stands first and unrivaled...". That same year her print of The Manger sold for $100, the most ever paid for a photograph at that time. In 1900, Käsebier continued to gather accolades and professional praise. In the catalog for the Newark (Ohio) Photography Salon, she was called "the foremost professional photographer in the United States". In recognition of her artistic accomplishments and her stature, later that year, Käsebier was one of the first two women elected to Britain's Linked Ring (the other was British pictorialist Carine Cadby). The next year, Charles H. Caffin published his landmark book Photography as a Fine Art and devoted an entire chapter to the work of Käsebier ("Gertrude Käsebier and the Artistic Commercial Portrait"). Due to demand for her artistic opinions in Europe, Käsebier spent most of the year in Britain and France visiting with F. Holland Day and Edward Steichen. Alfred Stieglitz, c. 1902, U.S.Library of Congress © Gertrude Käsebier In 1902, Stieglitz included Käsebier as a founding member of the Photo-Secession. The following year, Stieglitz published six of her images in the first issue of Camera Work. They were accompanied by highly complementary articles by Charles Caffin and Frances Benjamin Johnston. In 1905 six more of her images were published in Camera Work, and the following year, Stieglitz presented an exhibition of Käsebier photographs (along with those of Clarence H. White) at his Little Galleries of the Photo-Secession. The strain of balancing her professional life with her personal one began to take a toll on Käsebier at this time. The stress was exacerbated by her husband's decision to move to Oceanside, Long Island, which had the effect of distancing her from the New York artistic center. In response, she returned to Europe where, through connections provided by Steichen, she was able to photograph the reclusive Auguste Rodin. When Käsebier returned to New York an unexpected conflict with Stieglitz developed. Käsebier's strong interest in the commercial side of photography, driven by her need to support her husband and family, was directly at odds with Stieglitz's idealistic and antimaterialistic nature. The more Käsebier enjoyed commercial success, the more Stieglitz felt she was going against what he felt a true artist should emulate. In May 1906, Käsebier joined the Professional Photographers of New York, a newly formed organization that Stieglitz saw as standing for everything he disliked: commercialism and the selling of photographs commercially rather than for love of the art. After this, he began distancing himself from Käsebier. Their relationship never regained its previous status of mutual artistic admiration. Eduard Käsebier died in 1910, finally leaving his wife free to pursue her interests as she saw fit. She continued to follow a separate course from that of Stieglitz and helped to establish the Women's Professional Photographers Association of America. In turn, Stieglitz began to publicly speak against her contemporary work, although he still thought enough of her earlier images to include 22 of them in the landmark exhibition of pictorialists at the Albright-Knox Art Gallery later that year. The next year, Käsebier was shocked by a highly critical attack made by her former admirer, Joseph T. Keiley, that was published in Stieglitz's Camera Work. Why Keiley suddenly changed his opinion of her is unknown, but Käsebier suspected that Stieglitz had put him up to it. Part of Käsebier's alienation from Stieglitz was due to his stubborn resistance to the idea of gaining financial success from artistic photography. If he felt a buyer truly appreciated the art, he often sold original prints by Käsebier and others at far less than their market value and, when he did sell prints, he took many months before paying the photographer of the work. After several years of protesting these practices, in 1912, Käsebier became the first member to resign from the Photo-Secession. In 1916, Käsebier helped Clarence H. White found the group Pictorial Photographers of America, which was seen by Stieglitz as a direct challenge to his artistic leadership. By this time, however, Stieglitz's tactics had offended many of his former friends, including White and Robert Demachy, and a year later, he was forced to disband the Photo-Secession. During this time, many young women starting out in photography sought out Käsebier, both for her photographic artistry and for inspiration as an independent woman. Among those who were inspired by Käsebier and who went on to have successful careers of their own were Clara Sipprell, Consuelo Kanaga, Laura Gilpin, Florence Maynard, and Imogen Cunningham. Throughout the late 1910s and most of the 1920s, Käsebier continued to expand her portrait business, taking photographs of many important people of the time, including Robert Henri, John Sloan, William Glackens, Arthur B. Davies, Mabel Dodge, and Stanford White. In 1924, her daughter, Hermine Turner, joined her in her portrait business. In 1929, Käsebier gave up photography altogether and liquidated the contents of her studio. That same year, she was given a major solo exhibition at the Brooklyn Institute of Arts and Sciences. Käsebier died on October 12, 1934, at the home of her daughter, Hermine Turner. A major collection of her work is held by the University of Delaware. In 1979 Käsebier was inducted into the International Photography Hall of Fame and Museum.Source: Wikipedia
Georgi Zelma
Georgi Zelma
Russia
1906 | † 1984
Georgi Zelma (1906-1984) is best known for his photographs of Central Asia in the 1920s, of major industrial projects in the early days of the Soviet Union, and of World War II (especially the Battle of Stalingrad). Zelma was a major contributor to the Constructivist photography movement through the 1920s and 30s, working alongside such masters as Aleksandr Rodchenko, El Lissitzky and Boris Ignatovich.Source: Nailya Alexander Gallery Georgi Zelma was born in Tashkent in 1906. The family moved to Moscow in 1921 and Zelma eventually found work at the Proletkino film studios. Later he joined the Russfoto Agency and from 1924 to 1927 was their correspondent in Uzbekistan, Afghanistan, Iran and Central Asia. A large number of his photographs appeared in Pravda. Zelma served in the Red Army (1927-29) before working briefly in Tashkent. In 1930 Zelma joined Souizfoto Agency and his assignments included taking photographs of collective farms and military exercises. His pictures often appeared in the propaganda magazine, USSR in Construction. During the Second World War Zelma worked for Izvestia and took photographs in Moldova, Odessa and the Ukraine. He also covered the battle of Stalingrad. Source: Spartacus Educational Born in Tashkent, Uzbekistan, in 1906, Georgii Anatolevich Zelma moved to Moscow with his family in 1921, where he began taking pictures with an old 9 x 12 Kodak camera. His first experiences as a photographer took place at the Proletkino film studios and during theater repetitions for the magazine Teatr. He soon joined the Russfoto agency. From 1924 to 1927, he returned to his homeland as a correspondent for Uzbekistan, Afghanistan, Iran and Central Asia in order to document Islamic culture being reformed by Soviet socialist reconstruction. This work was published in Pravda Vostoka. In 1927, Zelma was enlisted in the ranks of the Red Army, serving in Moscow. After the demobilization in 1929, he returned to Tashkent and worked briefly for the Uzbek cinema chronicles. In Moscow, he entered the team of Soiuzfoto and received a Leica. Through the 1930s, he was sent on assignment to the mines and factories in the Donbass region, to Collective Farms in Tula province and to the Soviet Military maneuvers in the Black Sea region. He worked with Roman Karmen on the stories The USSR from the Air and Ten Years of the Soviet Socialist Republic of Iakutia, which were published in the propaganda magazine “USSR in Construction”. For this magazine he also collaborated with Max Alpert and Aleksandr Rodchenko. During World War II, he was a correspondent for Isvestiia stationed at the front-line campaigns in Moldova, Odessa, and Ukraine. His most memorable photographs are of the Battle of Stalingrad, where he spent the severe winter of 1942-43. After the war, Zelma worked for the magazine Ogonek and from 1962 for the Novosti press agency. He died in 1984. Source: Lumiere Gallery
Benoit Segalen
Benoit Segalen
France
1974
As a French amateur photographer, I've had a camera since I was 8 years old. However, it was only in 2011, when my work involved frequent travel, that I began capturing moments from around the world, especially in the streets. I am self-taught, learning through books and studying the works of renowned photographers. My passion lies in immortalizing human behaviors in their environments. I am always on the lookout for the decisive moment, patiently waiting to capture the photo that will endure.
Raghuvamsh Chavali
Raghuvamsh Chavali
Canada
1990
Raghuvamsh Chavali is an award-winning Canadian photographer, author, researcher, and IT product management consultant whose work captures the silent beauty of wildlife, cultural traditions, urban life, and celestial events. A self-taught artist, he blends artistic excellence with technical innovation, creating visual narratives that bridge nature, human resilience, and the evolving urban environment. His project Wings Over Concrete, highlighting the flight patterns of birds across cityscapes, has earned significant acclaim, including a Highly Commended recognition at the 2025 Belfast Photo Festival. Raghuvamsh's work has been showcased in globally esteemed publications such as Smithsonian Magazine, Canadian Geographic, BBC Sky at Night, Space.com, PetaPixel, National Post and many more. His photographic achievements have been recognized with multiple international honors, including Gold, Silver, and People's Choice Awards at the Exposure One Awards 2025, and has been a winner in multiple thematic competitions at the 35AWARDS 2025. Through all his experiences, one belief has remained constant for him: "Photography isn’t just about capturing rare sights or presenting the world differently every time. It’s about discovering something unique, even extraordinary, in the everyday things around us." Beyond photography, Raghuvamsh is a strong advocate for protecting intellectual property in the era of Artificial Intelligence. He holds a granted patent and is currently working on an app for an imaging system that embeds biometric details into digital media, enabling authentication, theft detection, and recognition of the original creator(s) even when images are modified or generated through AI tools. His scientific research on biometric watermarking and online image protection has been published in international journals, contributing to advancements in digital rights management for photographers and content creators. This is how he believes to give back to the creative community by developing solutions that safeguard artistic expression. Raghuvamsh has authored multiple articles in renowned magazines such as Digital Photographer, Ontario Nature, and Nature Canada, offering insights into capturing celestial events and innovative techniques like composite bird flight photography. His ability to merge technical depth with creative storytelling reflects in both his visual and written works. As an ambassador for 1x.com, a globally curated photography platform, and a member of the International Federation of Photographic Art, Raghuvamsh continues to influence and mentor aspiring photographers worldwide. His work invites viewers to pause, reflect, and rediscover the quiet yet profound stories hidden in the natural and human world.
Kyla Rys
Kyla Rys
United States
2001
Kyla Rys is a New York based photographer. She captures striking, yet minimal images with a sense of timelessness. Born in Hunan, China and raised in Colorado, Kyla’s passion for photography began at age twelve. Her early projects with pets have been published with appearances in National Geographic and The Huffington Post. While receiving a B.F.A in photography from SCAD she produced distinctive brand visuals for the university’s marketing team. Kyla is currently working at Ralph Lauren in Creative Services. Winner AAP Magazine 35 Colors
Charles Muir Lovell
Charles Muir Lovell
United States
1952
Born in Chicago, Charles Muir Lovell lives and works in New Orleans. He holds an MFA in photography from Central Washington University and a BS in photography from East Texas State University. He began photographing as a young man traveling throughout Europe and South America. He continued his photography practice during his over 20 years as a museum director and curator, a career that took him from the Pacific Northwest to the Southwest and Deep South, everywhere finding distinctive cultures and photography subjects. Lovell has long been passionate about photographing people within their cultures. Upon moving to New Orleans in 2008, he began documenting the city's second line parades, social aid and pleasure clubs, and brass bands, capturing and preserving for posterity a unique and vibrant part of Louisiana's rich cultural heritage. An earlier series based on religious processions in Mexico, El Favor de los Santos, was a Rockefeller Foundation–supported international traveling exhibition and resulted in a book published in 1999 by the University of New Mexico Press, Art and Faith in Mexico. Lovell's photographs have been exhibited nationally and internationally, are found in several permanent collections, including the New Orleans Museum of Art and the Historic New Orleans Collection, and can be seen at www.charleslovell.com and on Instagram @charleslovellart. He received the 2020 Michael P. Smith Documentary Photographer of the Year Award from the Louisiana Endowment for the Humanities. Lovell has also developed a series of photographs called Language of the Streets he began while an artist-in-residence at the Emily Harvey Foundation in Venice, Italy, in 2006–2007. He returned to Venice for a second residency in 2015 and was scheduled to return in 2021 until coronavirus shut everything down. He has continued this series in Naples, Paris, Mexico City, New York and New Orleans. Statement "As a young man, I traveled through Europe and Latin America with my Nikon, living as one of the family with friends in the countries I visited. My travels hugely influenced my work, opening my eyes to how other people lived. As a visual artist, I gravitated toward photographing people within their cultures, trying to capture on film something true about their lives. College and grad school took me to small-town Texas (Commerce) and Washington (Ellensburg), and a long museum career took me to the Pacific Northwest (Tacoma), Southwest (Yuma, Ariz.; Las Cruces and Taos, N.M.) and Deep South (Greenville and Greensboro, N.C., and New Orleans); everywhere I found distinctive cultures and compelling photography subjects. While living in New Mexico, I traveled in Mexico photographing Holy Week religious processions, foreshadowing my current and most significant photographic project: documenting and preserving New Orleans' unique second line parade culture. Upon moving to New Orleans, I became fascinated by the pageantry and celebratory nature of the city's African American cultural tradition of second line parades. I was captivated by their visual richness, their ritual and history, and how they express a vibrant cultural and artistic heritage, intensely alive yet intimately connected to the past. The massive amount of industry that the social aid and pleasure clubs invest in creating their magnificent costumes, decorations, baskets, umbrellas and banners-truly a labor of love-blew me away. Documenting these visually stunning parades quickly became a passion-and a commitment. For more than 10 years, I've followed the weekly parades, taking tens of thousands of color photographs. I've formed friendly relationships with members of the social aid and pleasure clubs that stage the parades, allowing me behind-the-scenes access, resulting in distinctive photographs. My color photographs vividly capture the paraders and brass bands in their elaborate custom-designed, hand-sewn costumes, and the dancing parade followers, revealing the festive mood of these sacred moments of cultural celebration, and preserving them for posterity. I take great care to portray these spirited-and spiritual-ceremonial moments honestly, sensitively and respectfully. In the 20th century other American photographers-notably Ralston Crawford, Lee Friedlander and Michael P. Smith - also documented this cultural tradition, but in black and white. My use of color lets me capture not just the atmosphere of the parades but also their incredible vividness. Formerly I used traditional photographic techniques, but now I embrace new digital methods, bringing to the subject a fresh approach for the 21st century. Taken as a whole, my photographs capture the rich cultural history of second-line parades, a significant artistic and ceremonial tradition deeply rooted in New Orleans' African American culture and unparalleled elsewhere in the United States. I hope that my photographs will increase awareness of the importance of preserving second-line parade culture and contribute to the understanding of Louisiana and its culture, which has sometimes suffered from scholarly neglect and seemingly insurmountable cultural and economic challenges. Another photographic series I have pursued over the years is Language of the Streets, which began taking shape in 2007 during an artist residency at the Emily Harvey Foundation in Venice, Italy. After working in large-format silver gelatin and color photography for over 20 years, I began exploring digital photography using a small-format digital camera. Upon my return to New Mexico, I learned digital printing and exhibited my Venice work at a solo exhibition at the Taos Center for the Arts in 2008. My residency in Venice was extremely influential in the work I began doing after moving to New Orleans in 2008. I began using a medium-format digital camera to make higher-resolution color photographs. Since 2009, I have fully transitioned to a digital practice. I make my own prints on an Epson inkjet printer and work with professional printers on larger works. From the experience of taking street photographs in Venice, I continued my series Language of the Streets in New Orleans, as well as in Naples, the Amalfi Coast, Paris, Mexico City and New York City. In 2015, I was invited back to the Emily Harvey Foundation, where I designed and presented an accordion artist's book, or leporello, featuring the Venice series of photos. Off the Street: New Orleans and Venice, part of the Language of the Streets series, investigates similarities and differences between the two cities, which share a striking mixture of high and low, old and new, closeness to and dependence upon water, a vital tourism sector, a proliferation of graffiti and outdoor art alongside unparalleled historic architecture. My street photographs from the two cities explore back streets not seen by tourists frequenting commercial settings like the French Quarter or Plaza San Marco. I strive to capture the texture of the cities' largely unseen back streets. Both cities also have world-renowned contemporary art competitions: the Venice Biennale and the triennial Prospect New Orleans. Works from my Venice series were exhibited alongside photographs from Mexico City in 2016 at the Contemporary Art Center, New Orleans, in Experiments in Anarchitecture, curated by Andrea Andersson, and in 2017, works from the Venice series were included in Project 387, curated by Berty Skuber at the Archivio Emily Harvey in Venice. " -- Charles Muir Lovell
Edouard Elias
Edouard Elias
France
I chose photography naturally. It is surely the result of a double education: separated between Egypt and France, I learned to consider images both as memories and objects that allowed me to transpose myself into places where I could only remain for a moment, but also as historical documents, more in accordance with my classical instruction. In addition, many cartoons have certainly trained me in a straight, frontal and clear frame, so I was very early aware of geopolitical events as well as of the problems of population movement linked to war or suffering. At the age of 18, after a A level, ignoring which way to choose, and to comply with family expectations, I went to a business school. It was not for me, no compatibility possible. I then attempted a reconversion in the school of photography in Nancy. It was a revelation, I was fitting in the right place. Different encounters, for example with the reporter Luca Catalano Gonzaga in Rome, with the books of the agency Magnum, with some documentaries on photography report, made me eager to watch History in progress, to live it through my camera and especially not to forget it. So, instead of completing my internship at the end of the year in an identity photo shop, I went to Turkey in the Syrian refugee camps and then to Syria, producing my first photoreport. My childhood allowed me to acquire the faculty of movement, not limiting myself to the borders of my village or the cities of my region. So I naturally started on the road of reporting. The conditions and the encounters engendered satisfy the need I have to answer personal questions. All the means necessary to photograph a human being in a difficult situation (pain, loss, war, poverty, suffering) result from a deep desire and a work on personal adaptability. Nevertheless, the essence of our work must be focused first and foremost on the subject. The results today of the image on the international scene leave me skeptical, but I think that these photographs, although they unfortunately are taking the risk of not changing the situation, will allow us to remember. I keep on practicing photo reportage. The Foreign Legion committed to the Central African Republic and then to its surroundings in France, punctuated my work for a year. Lebanon, Jordan on the Syrian refugee crisis with the organization Première Urgence Internationale, the Congo DRC on rape as a weapon of war and its doctor Denis Mukwege or the closed educational centers of the Judicial Police of Youth are, as well as the rescues of migrants in the Mediterranean, part of my subjects. Visa for the image allowed me to sell my first photographs of Aleppo in Syria, to meet professionals who will become dear friends. I have, besides my personal projects orders and projects to realize in France and I dedicate all of my activity to photography. My pictures have been published in: Paris Match, Der Spiegel, Sunday Times magazine, Time Lightbox, VSD, Le Monde, Figaro Magazine, Le Parisien Magazine, Polka, Le Point, Libération, LFI Leica international, Gala..."Source: edouardelias.net
Fred Herzog
Fred Herzog
Canada
1930 | † 2019
Fred Herzog devoted his artistic life to walking the streets of Vancouver as well as almost 40 countries with his Leica, photographing - mostly with color slide film - his observations of the street life with all its complexities. Herzog ultimately became celebrated internationally for his pioneering street photography, his understanding of the medium combined with, as he put it, "how you see and how you think" created the right moment to take a picture. Fred was born Ulrich Herzog in Stuttgart, Germany in 1930 and spent his childhood in Rottweil, Germany. He lost both of his parents during the war, and in 1946 Herzog went to work as an apprentice in his grandparents' hardware store. Disillusioned by the ravages of war and the situation in Germany, he emigrated to Canada in 1952 and settled in Vancouver in 1953. During the next several years. Herzog studied photography magazines while working aboard ships for the CPR steamship line, and in 1957 he was hired as a medical photographer at St. Paul's Hospital. In 1961, he became the head of the Photo/Cine Division in the Department of Biomedical Communications at UBC, and in 1970 was appointed Associate Director of the Department. Herzog was also hired as an Instructional Specialist in the Fine Arts Department at Simon Fraser University in 1967, and in 1969 became an instructor in the Fine Arts Department at UBC. Herzog had a walking route through Vancouver that enabled him to build friendships with other photographers and neighborhood residents and gave him an acute understanding of the daily life and soul of Vancouver. Over the course of several decades, Herzog produced a substantial body of color photographs, taking urban life, second-hand shops, vacant lots, neon signage, and the crowds of people who have populated city streets over the past years as his primary subjects. Herzog's use of color was unusual in the 1950s and 60s, a time when fine art photography was almost exclusively associated with black and white imagery. Additionally, Herzog photographed using Kodachrome slide film which was notoriously difficult to print. For decades he remained virtually unknown until his mid-seventies when printing technology caught up, allowing him to make archival pigment prints that matched the exceptional color and intensity of the Kodachrome film. A retrospective exhibition, Fred Herzog: Vancouver Photographs, was held at the Vancouver Art Gallery in 2007 and was the first major recognition of Herzog's body of work. Herzog exhibited his work both in Canada and internationally, including the exhibitions Fred Herzog: Photographs, C/O Berlin, Germany (2010), Fred Herzog: A Retrospective, Equinox Gallery, Vancouver (2012), Eyes Wide Open! 100 Years of Leica Photography, Haus der Photographie, Hamburg, Germany (2015), Photography in Canada, 1960-2000, National Gallery of Canada, Ottawa (2017), and many others. In 2010 Herzog received an Honorary Doctorate from Emily Carr University of Art and Design, and in 2014 he received the Audain Prize for Lifetime Achievement in the Visual Arts. An artist profile on Herzog was featured on the Knowledge Network for the series Snapshot: The Art of Photography II in 2011. In 2014, Herzog's photograph Bogner's Grocery (1960) was released as a limited edition stamp as part of Canada Post's Canadian Photography Series. Herzog died on September 9, 2019 at age 88.Source: Wikipedia
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