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William Wegman
William Wegman

William Wegman

Country: United States
Birth: 1943

William Wegman is an artist best known for creating series of compositions involving dogs, primarily his own Weimaraners in various costumes and poses. Wegman reportedly originally intended to pursue a career as a painter. He received a Bachelor of Fine Arts in painting from Massachusetts College of Art in 1965 and a Master of Fine Arts degree in painting from the University of Illinois at Urbana-Champaign in 1967. While teaching at California State University, Long Beach, he acquired the first and most famous of the dogs he photographed, a Weimaraner he named Man Ray (after the artist and photographer). Man Ray later became so popular that the Village Voice named him "Man of the Year" in 1982. He named a subsequent dog Fay Ray (a play on the name of actress Fay Wray). On January 29, 1992, Wegman appeared on The Tonight Show Starring Johnny Carson and showed a video clip of Dog Duet, a short which he made in 1975 featuring Man Ray and another dog slowly and mysteriously peering around. Wegman explained that he had created the video by moving a tennis ball around, off-camera, thus capturing the dogs' attention. The same year, he did 3 network ID's for Nickelodeon starring the dogs on pedestals. William Wegman was artist-in-residence at Phillips Academy in Andover, Massachusetts in spring 2007 where his work featured on campus in the Addison Gallery of American Art. Wegman has also been an artist in residence at Massachusetts College of Art in Boston, Massachusetts where his Circus series was created with the College's 20x24 inch Polaroid camera. He received the College's Distinguished Alumni Award in 1987. William Wegman made his appearance on Animal Planet's "Dogs 101".

(Source: en.wikipedia.org)

Selected Books on Available on Amazon
William Wegman: Being Human
William Wegman: Being Human
William Wegman, William A. Ewing
William Wegman: ABC
William Wegman: ABC
William Wegman
William Wegman: Fay
William Wegman: Fay
William Wegman

Galleries

Marc Selwyn Fine Art

Pace/MacGill Gallery

Panopticon Gallery

Website

www.wegmanworld.com

 

Selected Books

William Wegman: Being Human
William Wegman: Being Human
William Wegman, William A. Ewing
William Wegman: ABC
William Wegman: ABC
William Wegman
William Wegman: Fay
William Wegman: Fay
William Wegman

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Minor White
Minor White
United States
1908 | † 1976
Minor Martin White was an American photographer, theoretician, critic and educator. He combined an intense interest in how people viewed and understood photographs with a personal vision that was guided by a variety of spiritual and intellectual philosophies. Starting in Oregon in 1937 and continuing until he died in 1976, White made thousands of black-and-white and color photographs of landscapes, people and abstract subject matter, created with both technical mastery and a strong visual sense of light and shadow. He taught many classes, workshops and retreats on photography at the California School of Fine Arts, Rochester Institute of Technology, Massachusetts Institute of Technology, other schools, and in his own home. He lived much of his life as a closeted gay man, afraid to express himself publicly for fear of loss of his teaching jobs, and some of his most compelling images are figure studies of men whom he taught or with whom he had relationships. He helped start and for many years was editor of the photography magazine Aperture. After his death in 1976, White was hailed as one of America's greatest photographers. White was born in Minneapolis, Minnesota, the only child of Charles Henry White, a bookkeeper, and Florence May White, a dressmaker. His first name came from his great, great grandfather from the White family side, and his middle name was his mother's maiden name. During his early years he spent much of his time with his grandparents. His grandfather, George Martin, was an amateur photographer and gave White his first camera in 1915. As a child White enjoyed playing in the large garden at his grandparents' home, and this influenced his decision later on to study botany in college. White's parents went through a series of separations starting in 1916, and during those periods White lived with his mother and her parents. His parents reconciled for a while in 1922 and remained together until they divorced in 1929. By the time White graduated from high school he was already aware of his latent homosexuality. In 1927 he wrote about his feelings for men in his diary, and to his dismay his parents read his diary without his permission. After what he called a brief crisis period, during which he left home for the summer, he returned to live with his family while he started college. His parents never spoke of his homosexuality again. White entered the University of Minnesota in 1927 and majored in botany. By the time he should have graduated in 1931 he had not met the requirements for a science degree, and he left the university for a while. During this period he became very interested in writing, and he started a personal journal that he called "Memorable Fancies." In it he wrote poems, intimate thoughts about his life and his struggles with his sexuality, excerpts from letters that he wrote to others, occasional diary-like entries about his daily life, and, later on, extensive notes about his photography. He continued to fill the pages of his journal until he directed most of his energy into teaching around 1970. In 1932 White re-entered the university and studied both writing and botany. With his previous credits, he was able to graduate in 1934. The next year he took some graduate classes in botany, but after six months he decided that he lacked real interest in becoming a scientist. He spent the next two years doing odd jobs and exploring his writing skills. During this period he began creating a set of 100 sonnets on the theme of sexual love, his first attempt at grouping his creative output. In late 1937 White decided to move to Seattle. He purchased a 35mm Argus camera and took a bus trip across country toward his destination. He stopped in Portland, Oregon, on his way and decided to stay there. For the next 2-1/2 years he lived at the YMCA in Portland while he explored photography in depth for the first time. It was at the YMCA that he taught his first class in photography, to a small group of young adults. He also joined the Oregon Camera Club in order to learn about how photographers talk about their own images and what photography means to them. White was offered a job in 1938 as photographer for the Oregon Art Project, which was funded by the Works Progress Administration. One of his tasks was to photograph historic buildings in downtown Portland before they were demolished for a new riverfront development. At this same time he made publicity photos for the Portland Civic Theater, documenting their plays and taking portraits of the actors and actresses. In 1940 White was hired to teach photography at the La Grande Art Center in eastern Oregon. He quickly became immersed in his work and taught classes three days a week, lectured on art of local students, reviewed exhibitions for the local newspaper and delivered a weekly radio broadcast about activities at the Art Center. In his spare time he traveled throughout the region, taking photographs of the landscape, farms and small town buildings. He also wrote his first article on photography, "When is Photography Creative?," which was published in American Photography magazine two years later. White resigned from the Art Center in late 1941 and returned to Portland where he intended to start a commercial photography business. That year three of his photographs were accepted by the Museum of Modern Art in New York for inclusion in their "Image of Freedom" exhibition. At the close of the exhibition the museum purchased all three prints, the first time his images entered a public collection. The following year the Portland Art Museum gave White his first one-man show, exhibiting four series of photos he made while in eastern Oregon. He wrote in his journal that with that show "a period came to a close." In April 1942 White was drafted into the United States Army and hid his homosexuality from the recruiters. Before leaving Portland he left most of his negatives of historic Portland buildings with the Oregon Historical Society. White spent the first two years of World War II in Hawaii and in Australia, and later he became Chief of the Divisional Intelligence Branch in the southern Philippines. During this period he rarely photographed, choosing instead to write poetry and extended verse. Three of his longer poems, "Elegies," "Free Verse for the Freedom of Speech," and "Minor Testament," spoke to his experiences during the war and to the bonds of men under extreme conditions. Later he would use some of the text from "Minor Testament" in his photographic sequence Amputations. After the war White traveled to New York City and enrolled in Columbia University. While in New York he met and became close friends with Beaumont and Nancy Newhall, who were working in the newly formed photography department at the Museum of Modern Art. White was offered a job as photographer for the museum and spent many hours talking with and learning from Nancy Newhall, who he said strongly influenced his thinking about and his direction in photography. In February 1946 White had the first of several meetings with photographer Alfred Stieglitz in New York. White knew of Stieglitz's deep understanding of photography from his various writings, and through their conversations White adopted much of Stieglitz's theory of equivalence, where the image stands for something other than the subject matter, and his use of sequencing pictorial imagery. At one of their meetings White wrote in his journal that he expressed his doubt that he was ready to become a serious photographer. He wrote that Stieglitz asked him "Have you ever been in love?" White answered "yes," and Stieglitz replied "Then you can photograph." During this time, White met and became friends with some of the major photographers of the time, including Berenice Abbott, Edward Steichen, Paul Strand, Edward Weston, and Harry Callahan. Steichen, who was director of the photography department at the Museum of Modern Art, offered White a curatorial position at the museum, but instead White accepted an offer from Ansel Adams to assist him at the newly created photography department at the California School of Fine Arts (CSFA) in San Francisco. White moved to San Francisco in July and lived in the same house as Adams for several years. While there Adams taught White about his Zone System method of exposing and developing negatives, which White used extensively in his own work. He wrote extensively about it, published a book and taught the exposure and development method as well as the practice of (pre)-visualization to his students. While in San Francisco White became close friends with Edward Weston in Carmel, and for the remainder of his life Weston had a profound influence on White's photography and philosophy. Later he said ...Stieglitz, Weston and Ansel all gave me exactly what I needed at that time. I took one thing from each: technique from Ansel, the love of nature from Weston, and from Stieglitz the affirmation that I was alive and I could photograph. Over the next several years White spent a great deal of time photographing at Point Lobos, the site of some of Weston's most famous images, approaching many of the same subjects with entirely different viewpoints and creative purposes. By mid-1947 White was the primary teacher at CSFA and had developed a three-year course that emphasized personal expressive photography. Over the next six years he brought in as teachers some of the best photographers of the time, including Imogen Cunningham, Lisette Model, and Dorothea Lange. During this time White created his first grouping of photos and text in a non-narrative form, a sequence he called Amputations. Although it was scheduled to be shown at the California Palace of the Legion of Honor, the exhibition was canceled because White refused to allow the photographs to be shown without text, which included some wording that expressed his ambiguity about America's post-war patriotism. From The Temptation of St. Anthony Is Mirrors (1948) The next three years were some of White's most prolific in terms of creative output. In addition to taking dozens of land- and waterscapes, he made dozens of photographs that evolved into some of his most compelling sequences. Three in particular showed his continuing struggles with his sexuality. Song Without Words, The Temptation of St. Anthony Is Mirrors, and Fifth Sequence/Portrait of a Young Man as Actor all depict "the emotional turmoil he feels over his love and desire for men." In 1949 White purchased a small Zeiss Ikonta camera and began a series of urban street photographs. Over the next four years he took nearly 6,000 images, all inspired by his newfound interest in the poetry of Walt Whitman. The project, which he called City of Surf, included photographs of San Francisco's Chinatown, the docks, people on the streets and various parades and fairs around town. The period of 1951-52 is one of the formative times in White's career. He participated in a Conference on Photography at the Aspen Institute, where the idea of creating a new journal of photography was discussed by Ansel Adams, Dorothea Lange, Beaumont and Nancy Newhall, Frederick Sommer and others. Soon after Aperture magazine was founded by many of these same individuals. White volunteered for and was approved as editor, and the first issue appeared in April 1952. Aperture quickly became one of the most influential magazines about photography, and White remained as editor until 1975. Near the end of 1952 White's father, from whom he had been estranged for many years, died in Long Beach, California. In 1953 Walter Chappell introduced White to the I Ching, an ancient Chinese book of philosophy and divination, and White continued to be influenced by and refer to this text throughout the rest of his life. He was especially intrigued by the concepts of yin and yang, in which apparently opposite or contrary forces may be conceived as complementary. Later that same year a reorganization at CSFS resulted in White's teaching role being cut back, and as a result he began to think about a change in his employment. Concurrently, Beaumont Newhall had recently become the curator at the George Eastman House in Rochester, New York, and Newhall invited White to work with him there as a curatorial assistant. He exhibited September 28 - November 3 1954 at Limelight Gallery in New York and was included in that gallery's Great Photographs at the end of that year.[16] Over the next three years White organized three themed exhibitions[where?] that demonstrated his particular interests: Camera Consciousness, The Pictorial Image and Lyrical and Accurate. In 1955 he joined the faculty at the Rochester Institute of Technology (RIT), where he taught one day a week. White's photographic output declined during this time due to his teaching and editorial work, but he continued to produce enough images that by the end of 1955 he had created a new sequence, Sequence 10/Rural Cathedrals, which included landscape images from upstate New York that were shot on regular and infrared film. By 1955 White was fully engaged in teaching, having been appointed as instructor at the new four-year photography program at RIT as well as conducting classes and workshops at Ohio University and Indiana University. Walter Chappell moved to Rochester later in the year to work at the George Eastman House. Chappell engaged White in long discussions about various Eastern religions and philosophies. White began practicing Zen meditation and adopted a Japanese style of decoration in his house. Over the next two years the discussions between White and Chappell metamorphosed into lengthy discourses about the writing and philosophy of George Gurdjieff. White gradually became an adherent of Gurdjieff's teachings and started to incorporate Gurdjieff's thinking into the design and implementation of his workshops. Gurdjieff's concepts, for White, were not just intellectual exercises but guides to experience, and they greatly influenced much of his approach to teaching and photography throughout the rest of his life. During this same period White began making his first color images. Although he is better known for his black-and-white photography, he produced many color photographs. His archive contains nearly 9,000 35mm transparencies taken between 1955 and 1975. In 1959 White mounted a large exhibition of 115 photos of his Sequence 13/Return to the Bud at the George Eastman House. It was his largest exhibition to date. It later traveled to the Portland Art Museum in Oregon. White was invited to teach a 10-days', all-expense paid workshop in Portland to accompany the exhibition. He took advantage of the funding to photograph landscapes and did nature studies across the country. From his experience in Portland he developed the idea for a full-time residential workshop in Rochester in which students would learn through both formal sessions and, following a combination of thinking from Gurdjieff and from Zen, through an understanding gained by the discipline of such tasks as household chores and early morning workouts. He would continue this style of residential teaching until he died. In the early 1960s White also studied hypnosis and incorporated the practice into some of his teachings as a way of helping students experience photographs. White continued to teach extensively both privately and at RIT for the next several years. During this time he traveled across the U.S. in the summers taking photographs along the way. In his journal he referred to himself during this period as "The Wanderer," which had both literal and metaphorical meanings due to his search for understanding life. In 1962 he met Michael Hoffman, who became a friend, colleague and, later, assumed the editorship of Aperture magazine. White later named Hoffman to be the executor of his will. In 1965 White was invited to help design a newly formed program in visual arts at the Massachusetts Institute of Technology (MIT) in Cambridge, Massachusetts, near Boston. After being appointed as a Visiting Professor, White moved to the Boston area and purchased a 12-room house in suburban Arlington so he could increase the size of his residential workshops for selected students. Soon after moving to the Boston area, he completed a different kind of sequence called Slow Dance, which he would later integrate into his teachings. He continued to explore how people understand and interpret photography and began to incorporate techniques of Gestalt psychology into his teachings. In order to help his students experience the meaning of "equivalence," he started requiring them to draw certain subjects as well as photograph them. White began to experience periodic discomfort in his chest in 1966, and his doctor diagnosed his ailment as angina. His symptoms continued throughout the rest of his life, leading him to intensify his study of spiritual matters and meditation. He turned to astrology in an attempt to increase his understanding about life, and his interest in it became so significant that he required all of his current and prospective students to have their horoscopes completed. By this point in his life White's unorthodox teaching methods were well established, and students who went through his workshops were both mystified and enlightened by the experience. One student who later became a Zen monk said "I really wanted to learn to see the way he did, to capture my subjects in a way that didn't render them lifeless and two-dimensional. I didn't realize that Minor was teaching us exactly that: not only to see images, but to feel them, smell them, taste them. He was teaching us how to be photography." White began writing the text for Mirrors, Messages, Manifestations, which was the first monograph of his photographs, in late 1966, and three years later the book was published by Aperture. It included 243 of his photographs and text, including poems, notes from his journal and other writings. Peter Bunnell, who was one of White's early students and then Curator of Photography at the Museum of Modern Art, wrote a lengthy biography of White for the book. During this same time White completed Sequence 1968, a series of landscape images from his recent travels. During the next several years White conceived of and directed four major themed photography exhibitions at MIT, starting with "Light7" in 1968 and followed by "Be-ing without Clothes" in 1970, "Octave of Prayer" in 1972 and "Celebrations" in 1974. Anyone could submit images for the shows, and White spent a great deal of time personally reviewing all of the submissions and selecting the final images. White continued to teach extensively and make his own photographs even though his health was declining. He devoted more and more time to his writing and began a long text he called "Consciousness in Photography and the Creative Audience," in which he referred to his 1965 sequence Slow Dance and advanced the idea that certain states of heightened awareness were necessary to truly read a photograph and understand its meaning. In order to complete this work he applied for and received a Guggenheim Fellowship in 1970, and Consciousness in Photography and the Creative Audience became required reading for a new course he taught at MIT called "Creative Audience." in 1971 he traveled to Puerto Rico to explore more of his color photography, and in 1974 and 1975 he journeyed to Peru to teach and to further his own Gurdjieff studies. In 1975 White traveled to England to lecture at the Victoria and Albert Museum and to teach classes at various colleges. He continued on a hectic travel schedule for several weeks, then flew directly to the University of Arizona in Tucson to take part in a symposium there. When he returned to Boston after nearly six weeks of travel, he suffered a heart attack and was hospitalized for several weeks. After this White's focus turned even more inward, and he photographed very little. He spent much of his time with his student Abe Frajndlich, who made a series of situational portraits of White around his home and in his garden. A few months before his death White published a short article in Parabola magazine called "The Diamond Lens of Fable" in which he associated himself with Gilgamesh, Jason and King Arthur, all heroes of old tales about lifelong quests. On June 24, 1976, White died of a second heart attack while working at his home. He bequeathed all of his personal archives and papers, along with a large collection of his photographs, to Princeton University. He left his house to Aperture so they could continue the work he started there. Source: Wikipedia
Costanza Rossi
Costanza Rossi
Italy
1989
Costanza Rossi is an Italian-born documentary and travel photographer whose work explores remote and indigenous communities around the world. Dividing her time between Italy, the UK, and extended travels, she has developed a practice rooted in cultural storytelling and human connection. Her photographs are the result of immersive fieldwork in some of the most isolated places on earth, from the nomadic herders of northern Mongolia to the tribes of the Omo Valley in Ethiopia, the Amazon rainforest, or the Darién Gap. Costanza’s work has appeared in both solo and collective exhibitions, with venues such as the History Museum of Salento and the Paris Imagination Gallery. She is the co-author of I mondi nascosti dei popoli Surma (Pensa Editore, 2025) and the editor and curator of the forthcoming Anthropology & Photography Quarterly published by the History Museum of Salento. Her practice combines her professional background in communication and branding with a passion for documenting humanity in its many forms, always seeking to highlight resilience, dignity, and alternative ways of living. Artist Statement My photography is driven by a curiosity for different worlds and the many ways humanity can be expressed. I seek out communities that exist at the edges of globalization, where traditions, rituals, and identities have been preserved against the current of modernity. I am an avid traveler, fueled by the excitement and wonder that arise when I encounter cultures so different from my own. This sense of discovery and the adrenaline of confronting unfamiliar realities inspire me to keep searching, documenting both diverse traditions and pressing social issues. I approach people’s lives with empathy, building stories that honor their uniqueness. I am drawn to subjects that challenge conventional narratives, and what unites my projects is a search for visual storytelling that sparks both recognition and wonder: images that remind us of our shared humanity, while revealing the beauty of cultural difference. Awarded Photographer of the Week - Week 36, 2025
Arthur Elgort
Arthur Elgort
United States
1940
Arthur Elgort (born June 8, 1940) is an American fashion photographer best known for his work with Vogue magazine. Elgort was born in Brooklyn, to Sophie (née Didimamoff) and Harry Elgort (April 10, 1908 – October 23, 1998), a restaurant owner. He is of Russian-Jewish heritage. Raised in New York City, he attended Stuyvesant High School and Hunter College, where he studied painting. He lives in New York City with his wife, Grethe Barrett Holby, who is a producer, stage director, choreographer, and dramaturge, and three children, including actor and singer Ansel Elgort. Elgort began his career working as a photo assistant to Gosta "Gus" Peterson. Elgort's 1971 debut in British Vogue created a sensation in the Fashion Photography world where his soon-to-be iconic "snapshot" style and emphasis on movement and natural light liberated the idea of fashion photography. In September 2008, he told Teen Vogue that he credited Mademoiselle for his big break: "They were really brave and gave me a chance. It was the first time I was shooting a cover instead of a half-page here or there." He worked for such magazines as International and American Vogue, Glamour, GQ, Rolling Stone, and Teen Vogue, and shooting advertising campaigns with fashion labels as Chanel, Valentino, and Yves Saint Laurent. He still works for fashion publications, as well as working on his most recent 2009 advertising campaigns with Via Spiga and Liz Claiborne with Isaac Mizrahi. His work is exhibited in the permanent collections of the International Center of Photography in New York, in the Victoria and Albert Museum in London and in the Museum of Fine Arts in Houston, Texas. In 2011, Elgort won the CFDA Board of Directors' Award.Source: Wikipedia Much like photographers Martin Munkacsi and Richard Avedon before him, Arthur Elgort found inspiration working out of the studio— both in the city streets and in natural settings such as the countryside of upstate New York. Realizing that movement, humor, and natural light are all a part of the genuine photographic experience, Elgort took his models out into the world employing improvisation as a catalyst for the creative accidents to happen. As Elgort states in the Introduction to The Big Picture, “When my career was just beginning, I noticed that most of the magazines had plenty of studio photographers – All I saw were models standing still. So I decided to do something else. I took my models out on the streets of New York, Paris, or wherever I was, and the magazines liked it. It felt different.” Some of Elgort’s most recognizable photographs— candid shots of Fashion greats Linda Evangelista, Christy Turlington, Naomi Campbell, Kate Moss, and Karlie Kloss— were taken when Elgort was not “working”, moments in between shoots, models getting ready behind the scenes, or unwinding after hours. It is Elgort’s photojournalist style of capturing these spontaneous, authentic moments that make his images so effortless, genuinely reflecting the periods he documented with an honesty allowing Elgort’s images to become more and more iconic as time passes.Source: Fahey / Klein Gallery Arthur was born in 1940 in New York City. As a teenager he attended Stuyvesant High School and then went on to study painting at Hunter College. Finding the medium too lonely, he decided to try his hand at photography and soon discovered it was a talent. Shortly thereafter he made his debut in British Vogue in 1971. With just one shoot he created not only a sensation but a permanent place in the world of fashion photography. Arthur's relaxed and easy snapshot style was a breath of fresh air in a world where staged and stiff studio shoots with mannequin-like models were the norm. Arthur encouraged his subjects to move freely in the frame. The models he chose were lively, wore less make-up, and were simply enhanced by the natural light that he favored. Taking his models outside into the “real world,” where the clothes he was being asked to photograph would be worn and put to the test, became a signature of his personal style. Arthur quickly became one of the best-known and most emulated photographers in the world. The risks that he took with his photographic style changed the idea of what a fashion photograph could be and pushed the entire industry forward. For over 50 years Arthur has been a major influence, from his Vogue covers to his luxury-brand ad campaigns, his work is an inspiration. His style and influence created infinite possibilities in the world of fashion photography which he continues to explore today from his base in New York City. Source: www.arthurelgort.com
Marcin Owczarek
Marcin Owczarek
Poland
1985
My art has always been focusing on condition of our globe and the condition of man. My antiutopian, critical photography is based on the anthropological research. I focus on exploring and interpreting the impact of: new technologies, bio-science, unconscious, fears, morals, social situations, behaviors, habits, rituals, biological changes, the use of animals, depression in urban envi...ronments, destruction of the soil, overpopulation, deforestation, universal famine and - over human life. As a result, I create the image of the 21 century and the image of our current society. In this way, by commenting behaviour of human individuals I want to indicate that: Man is imperfect. Man is a savage, greedy rebel of Nature, living between the insanity and lunacy, away from his true nature. Man live in the play cage because he was captured by Illusions of this world: welfare tyranny, desire of possessing material things, consumption, jealousy, hate...what all in all led him to the broken relationship with the globe and other human beings. As a result I stress the present process of dehumanization, mechanization and standardization of human race, false norms and illusional values that was given for the truth to the society by religion, governments,laws,propaganda, false mirror of the television...etc. In my opinion, nowadays it is essential to articulate this kind of behavior, because the way which the present world run, might guide the human species: firstly- into a total slavery, then to new nuclear era, and finally to the total extinction...There is number of potential scenarios, but one of them is definitely Total Extinction... I admire the way of dadaism as well as surrealism. My spirit flies with counterculture and the idea of transgression. I regard my critical collages as the prediction of human degradation, and as a consequence - 'Apocalypse'....... Many wise people said that before but I will repeat: we are responsible for this world and for other human beings, and in our hands is decision: Do we want to live in coexistence or do want to reproduce another monsters to this world who will fight against each other in another nuclear war... What are the crucial implications of this? - The world's Future. "You pays your money and you takes your choice".Marcin Owczarek, Lier 2011
Kosuke Kitajima
Kosuke Kitajima
Japan
1987
Born in 1987, lives in Hamamatsu City. Studied design at Hikomizu's Jewelry College, but learned the fun of taking photos with a camera that I got while studying. After graduating from school, I returned home to become a photographer. Club event shooting in Hamamatsu City as K & K Photography. In 2016, I got acquainted with a photograph of Mt. Fuji and noticed its charm. ​Currently, he continues to take pictures with the theme of "beautiful Japan to the world". Statement I'm filming Mt. Fuji, landscapes, animals and culture in Japan under the theme of ''beautiful Japan to the world '.
Justine Kurland
Justine Kurland
United States
1969
Justine Kurland was born in Warsaw, New York. She earned her B.F.A. from the School of Visual Arts in 1996. She went on to Yale University and graduated with an M.F.A. in 1998. Kurland first gained public notice with her work in the group show Another Girl, Another Planet (1999), at New York's Van Doren Waxter gallery. The show included her large c-print staged tableau pictures of neo-romantic landscapes inhabited by young adolescent girls, half-sprites, half juvenile delinquents. This was her first exhibition of a photographic interest that lasted from 1997, when she began taking pictures of her mentor Laurie Simmons's babysitter and her friends, to 2002. Altogether, Kurland published 69 pictures of girls in a series called Girl Pictures. The staged photos take place in urban and wilderness settings, with girls depicted as though to imply they are runaways, hopeful and independent. As landscapes, she chose the "secret places" of late childhood; wasteland on the edges of suburbia, "owned" only by a feral nature and unsupervised children. Her book Spirit West (2000) featured similar work on a more ambitious scale. In early 2001 Kurland spent several months in New Zealand, where she created similar work with schoolgirls there. In her show Community, Skyblue (2002), Kurland turned to document the utopian communes of Virginia and California, highlighting the unworldly aspirations of the communards by having them appear naked in her pictures and showing them as only distant figures in their landscape. In 2003 she had European solo shows Golden Dawn (London) and Welcome Home (Vienna), based around these series of commune images. Old Joy (2004) turns to men. She shows visionaries trekking naked into the wilderness, where they undergo spiritual experiences. In her 2004 show Songs of Experience, she explored medieval and Biblical imagery. In 2005 she had a solo show in Japan. After having a son, Kurland began to photograph pregnant women and new mothers (Mama Baby, 2004-2007). Her son's interest in trains would lead her to photograph hobos and trains from 2007 to 2011 (This Train Is Bound for Glory); as he grew up, she became interested in American masculinity, and created photographs of cars and mechanics (Sincere Auto Care, 2014-2015). Kurland's work appears on the cover and liner notes of French electronic/shoegaze group M83's 2004 album Dead Cities, Red Seas & Lost Ghosts, as well as the covers of the EP releases for the album. In an article in ArtForum (April 2000) she talked of her inspirations: "I'm always thinking about painting: nineteenth-century English picturesque landscapes and the utopian ideal, genre paintings, and also Julia Margaret Cameron's photographs. I started going to museums at an early age, but my imagery is equally influenced by illustrations from the fairy tales I read as a child." Selections from her work Highway Kind were published in the book The Open Road: Photography & the American Road Trip by David Campany.
Erwin Blumenfeld
Erwin Blumenfeld
Germany/United States
1897 | † 1969
Born in Berlin in 1897 to Jewish parents, Erwin Blumenfeld began his career working as an apprentice dressmaker to Moses and Schlochauer in 1913. He opened his own company in Amsterdam in 1923, the 'Fox Leather Company', a leather goods store specialising in ladies handbags. After moving to new premises in 1932, Blumenfeld discovered a fully equipped dark room and began to photograph many of his -predominantly female- customers. The company went bankrupt in 1935, just as Blumenfeld's photographic career was beginning to take an upward turn. Following a move to Paris in 1936, Blumenfeld was commissioned to take the portraits of personalities including George Rouault and Henri Matisse and secured his first advertising work for Monsavon. Blumenfeld quickly captured the attention of photographer Cecil Beaton who helped him secure a contract with French Vogue. After World War II in 1941, Erwin Blumenfeld moved to New York where he was immediately put under contract by Harper's Bazaar and after three years, he began freelance work for American Vogue. Over the next fifteen years, Blumenfeld's work was featured on numerous Vogue covers and in a variety of publications including Seventeen, Glamour and House & Garden. During this period, he also worked a photographer for the Oval Room of the Dayton Department Store in Minneapolis and produced advertising campaign for cosmetics clients such as Helena Rubinstein, Elizabeth Arden and L'Oreal. In the late 50s, he also began to create motion pictures, hoping to use them commercially and began work on his biography and his book My One Hundred Best Photos which, despite being a renowned fashion photographer, only included four of his fashion images. Following Blumenfeld's death in 1969, numerous books on his work have been published, namely The Naked and the Veiled by his son, Yorick Blumenfeld, and his photographs have been exhibited at international galleries including the Pompidou Gallery in Paris, The Barbican in London and The Hague Museum of Photography in the Netherlands. In the 1960s, he worked on his autobiography which found no publisher because it was considered to be too ironic towards society, and was published only after his death.Source: Wikipedia Erwin Blumenfeld is considered to be one of the early pioneers of fashion photography alongside George Hoyningen-Huene, Cecil Beaton, and Horst P. Horst. It was not only his employment of experimental techniques in the darkroom, Dada and Surrealist influences, and groundbreaking street work, but Blumenfeld’s unique and masterful combination of elegance and eroticism that transformed fashion into high art and paved the way for Richard Avedon, Irving Penn, Herb Ritts, and other photographers who enjoyed such prominence and recognition in the history of art. In addition to holding the record for the most covers of Vogue, Blumenfeld’s works were abundantly reproduced within the pages of Cosmopolitan, Harper’s Bazaar, Life and Vogue during the 1930s, '40s and '50s. Many of the images from these shoots will be featured in this exhibition and have since become icons of the history of fashion photography. Some have never been seen before. But all of the prints showcase not only Blumenfeld’s innovation as a photographer of fashion but also his spectacular skill as a printmaker. In his retrospective examination of Blumenfeld’s work, William Ewing writes, “His highly original and visionary work was a seamless blend of the negative and positive: taking the picture in the studio and making it in the darkroom.” In the studio, Blumenfeld often employed mirrors, glass, and backgrounds reproduced from paintings, images of cathedrals, or mosaics of magazine covers. He often used veils, which could distort or elongate the figure, confident that a woman partially concealed was more erotically charged that one seen fully nude. He also believed the printing of the image was as every bit as important as the process of capturing it, and like Man Ray, he was tirelessly inventive in the darkroom, deploying a variety of optical and chemical tricks, including multiple exposures, solarization and bleaching.Source: Edwynn Houk Gallery
Richard Le Manz
Richard Le Manz
Spain
1971
For this engineer and self-taught photographer born in Spain in 1971, photography is equally essential both, to communicate the beauty and to reflect on the complex socio-environmental issues, which threaten our planet. He started in photography making landscape photography, but depicting nature is not enough. Pictures of great landscapes may not be the best way to move consciences and change our values and morals. His photography becomes what some journalist called "Philography", photography to philosophize, photography to make people think, to reflect. Photography used as a mean for expressing ideas, transmission of messages, and provoking reactions. Photography as a means to let out the images generated in his mind, imagination and creativity. For this purpose, the artist uses both the object and various photographic techniques like expression way, to delve into the plot of reflection, ideas and dreams. Photography to transmit a clear message, sometimes critical. His landscape photographs begin to turn to black and white and later they go unstructuring seeking to convey a clearer message. One of the first projects in which the search for new forms of expression begins is the "Unstructured Sunset" project that can be seen in this brief presentation. After receiving numerous national and international awards, he present in 2018 his first major project "Habitat, beyond photography", moving from local exhibitions to being invited to international festivals. In 2019 I present this project, together with the most recent "In Our Hands" at the Xposure International Photography festival in Sharjah (United Arab Emirates); different projects but both focuses on the future of our planet. The work "Habitat, beyond photography" explores the relationship between development and nature, between development and the environment and especially between the world of automotive and the environment. It focuses on the serious problem of the mobility habits of today's society, traffic and pollution. It uses internal elements of the explosion engine, (intake valves, exhaust valves, spark plugs, camshafts, injectors, timing chain, and so on) transforming and stamping these objects with a new meaning, creating visual metaphors where nothing is as it seems. In "In Our Hands" he uses multiple exposure in camera without digital manipulation to create images that show a stubborn reality, we are nature and his future is in our hands.
Tom Schifanella
Tom Schifanella
United States
1958
Tom Schifanella has a passion for capturing images that tell visual stories and document the vibrant world around us. His photography has been published online and in print by National Geographic Traveler, Southern Living, and The Washington Post. Recently, he was one of only 25 photographers selected by National Geographic Your Shot for an international photo exhibition, Planet or Plastic? devoted to raising awareness of the global crisis in plastic waste.
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