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José Ramón Bas
José Ramón Bas
José Ramón Bas

José Ramón Bas

Country: Spain
Birth: 1964

In 1979 José Ramón Bas was teaching himself photography when he met photographer Florencio García Méndez, who gave him a helping hand. In 1985 he began formal studies at the Escuela de la Imagen y el Diseño (IDEP) in Barcelona, where he was quickly attracted to contemporary forms of expression and the theme of travel memories. In 1989 he moved definitively to Barcelona and in 1997 he won the La Caixa Foundation’s Fotopress Award for young artists. He began working with the Berini Gallery in Barcelona and in 1998 moved into a studio in the Centro de Arte Contemporáneo Piramidón. After joining Galerie VU’ in 2001, he won the Federico Vender Prize in Italy in 2003, followed by the Arena Foundation Prize in 2004. In 2005 he began teaching the Masters in Creative Photography at EFTI in Madrid. He has exhibited in Holland, Boston, Lisbon and elsewhere.

Source: www.rencontres-arles.com


"He is an incurable traveller. He is a poet; to him it's like breathing. He is unclassifiable and, being in love with spaces and people, he invents objets that preserve the memory of his experiences and his emotions. He is not concerned about building a body of work but rather endeavors to reproduce times spent traveling in Africa, Cuba or Brazil. During his travels, he photographs, in a playful, compulsive way. Then, when he gets back to Barcelona, he looks at his contact sheets and decides to transform the images that he has recorded into objets. He prints them, with little interest for technique, and then he works on them: he may write on the proof, scratch it, or mistreat it, depending on the mood or inspiration of the moment, before setting it in a resin inclusion and dedicating it, between imagery and sculpture, to its status as an objet.

For him, each negative is an opening onto infinite possibilities, which he will realize in various formats, from the square to the panoramic, and which are to convey his memory of the travel experience. Then, his parallelepipeds, which are lighter than air, occupy the wall with subtlety and encourage us to dream and be at peace."

-- Christian Caujolle, Agence VU’ Galerie

Source: Galerie VU

 

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More Great Photographers To Discover

William Eugene Smith
United States
1918 | † 1978
William Eugene Smith was an American photojournalist known for his refusal to compromise professional standards and his brutally vivid World War II photographs. Smith graduated from Wichita North High School in 1936. He began his career by taking pictures for two local newspapers, The Wichita Eagle (morning circulation) and the Beacon (evening circulation). He moved to New York City and began work for Newsweek and became known for his incessant perfectionism and thorny personality. Smith was fired from Newsweek for refusing to use medium format cameras and joined Life Magazine in 1939 using a 35mm camera. In 1945 he was wounded while photographing battle conditions in the Pacific theater of World War II. As a correspondent for Ziff-Davis Publishing and then Life again, W. Eugene Smith entered World War II on the front lines of the island-hopping American offensive against Japan, photographing U.S. Marines and Japanese prisoners of war at Saipan, Guam, Iwo Jima, and Okinawa. On Okinawa, Smith was hit by mortar fire. After recovering, he continued at Life and perfected the photo essay from 1947 to 1954. In 1950, he was sent to the United Kingdom to cover the General Election, in which the Labour Party, under Clement Attlee, was narrowly victorious. Life had taken an editorial stance against the Labour government. In the end, a limited number of Smith's photographs of working-class Britain were published, including three shots of the South Wales valleys. In a documentary made by BBC Wales, Professor Dai Smith traced a miner who described how he and two colleagues had met Smith on their way home from work at the pit and had been instructed on how to pose for one of the photos published in Life. Smith severed his ties with Life over the way in which the magazine used his photographs of Albert Schweitzer. Upon leaving Life, Smith joined the Magnum Photos agency in 1955. There he started his project to document Pittsburgh. This project was supposed to take him three weeks, but spanned three years and tens of thousands of negatives. It was too large ever to be shown, although a series of book-length photo essays were eventually produced. From 1957 to 1965 he took photographs and made recordings of jazz musicians at a Manhattan loft shared by David X. Young, Dick Cary and Hall Overton. In January 1972, William Eugene Smith was attacked by Chisso employees near Tokyo, in an attempt to stop him from further publicizing the Minamata disease to the world. Although Smith survived the attack, his sight in one eye deteriorated. Smith and his Japanese wife lived in the city of Minamata from 1971 to 1973 and took many photos as part of a photo essay detailing the effects of Minamata disease, which was caused by a Chisso factory discharging heavy metals into water sources around Minamata. One of his most famous works, Tomoko Uemura in Her Bath, taken in December 1971 and published a few months after the 1972 attack, drew worldwide attention to the effects of Minamata disease. Complications from his long-term consumption of drugs, notably amphetamines (taken to enable his workaholic tendencies), and alcohol led to a massive stroke, from which Eugene Smith died in 1978. He is buried in Crum Elbow Cemetery, Pleasant Valley, New York. Smith was perhaps the originator and arguably the master of the photo-essay. In addition to Pittsburgh, these works include Nurse Midwife, Minamata, Country Doctor, and Albert Schweitzer - A Man of Mercy. Today, Smith's legacy lives on through the W. Eugene Smith Memorial Fund to promote "humanistic photography." Since 1980, the fund has awarded photographers for exceptional accomplishments in the field.Source: Wikipedia Born and reared in Wichita, Kansas, W. Eugene Smith became interested in photography at the age of fourteen, and three years later had begun to photograph for local newspapers. He received a photography scholarship to the University of Notre Dame, but he left after a year for New York, where he joined the staff of Newsweek and freelanced for LIFE, Collier's, Harper's Bazaar, The New York Times, and other publications. Beginning in 1939, Smith began working sporadically as a staff photographer for LIFE, with which he had a tempestuous relationship throughout the rest of his career. During World War II he was a war correspondent in the Pacific theater for the Ziff-Davis publishing company and LIFE, for whom he was working when he was severely wounded in Okinawa in 1945. After a two-year recuperation, he returned to the magazine and produced many of his best photo essays, including Country Doctor, Spanish Village, and A Man of Mercy. In 1955, he joined Magnum, the international cooperative photography agency founded by Henri Cartier-Bresson, Robert Capa, George Rodger and Chim (David Seymour), and began work on a large photographic study of Pittsburgh, for which he received Guggenheim Fellowships in 1956 and 1957. Smith continued to freelance for LIFE, Pageant, and Sports Illustrated, among other periodicals, for the rest of his career. From 1959 to 1977, he worked for Hitachi in Japan and taught at the New School for Social Research and the School of Visual Arts in New York and the University of Arizona in Tucson. His last photo essay, Minamata, completed in the 1970s, depicted victims of mercury poisoning in a Japanese fishing village. Smith is credited with developing the photo essay to its ultimate form. He was an exacting printer, and the combination of innovation, integrity and technical mastery in his photography made his work the standard by which photojournalism was measured for many years. In recognition of his outstanding contribution to the development of photojournalism, the W. Eugene Smith Memorial Fund was established after his death to support the projects of photographers working in the tradition he established. Source: International Center of Photography
Hossein Fardinfard
Netherlands-based Iranian documentary photographer Hossein Fardinfard (born 1985) took an unconventional path to his profession. After majoring in cartography, geomorphology, and IT, ultimately he discovered his aptitude for visual storytelling at the age of 30. Fardinfard came to see photography as a means for observing society more intimately, and for knowing himself more deeply in turn. He has thus come to specialize in photography that explores social observation, human rights, and identity. "I like storytelling not only as a process of documenting but also as a means for exerting a constructive influence on society, something like what Lewis Hine, the pioneer of photojournalism, did in his era in the USA. My relationships with photography subjects enhance my understanding of concepts like human rights. To understand this keyword, I need to know people first. Through knowing them, my spiritual investment in human rights has grown remarkably." In the second phase of Fardinfard's artistic life -- at the Royal Academy of Art in The Hague -- he had the chance to reflect more intently on the meaning and philosophies of photography and the pictorial arts. This experience also equipped him with principles of psychology and sociology that he readily applied to his photographic gaze. "It's more thrilling when I can find a scientific explanation of the social behaviors and interactions I'm capturing. I believe we can talk about Human Rights in scientific terms. There should be a point where the hard and soft sciences meet. I try to connect them and then visualize that point."
Patrick Zachmann
Patrick Zachmann, born on November 21, 1955, is a renowned French photographer and filmmaker acclaimed for his insightful documentation of cultural and social issues. With a career spanning decades, he has become synonymous with the Magnum Photos agency, a prestigious cooperative of photographers. Zachmann's journey into photography began in the 1970s. He initially pursued studies in cinema at the University of Paris, but it was during a trip to New York in 1976 that he discovered his passion for still imagery. Captivated by the bustling streets and diverse communities, he decided to shift his focus to photography. In 1982, Patrick Zachmann joined Magnum Photos, a cooperative founded by legendary photographers like Robert Capa and Henri Cartier-Bresson. This association marked a turning point in his career, providing a platform for his distinctive visual storytelling. I became a photographer because I have no memory. Photography allows me to reconstruct the family albums I never had, the missing images becoming the engine of my research. My contact sheets are my personal diary. – Patrick Zachmann A significant chapter in Zachmann's portfolio is his work on the Chinese diaspora. In the 1980s, he embarked on an extensive project documenting the lives of the Chinese community in various countries, exploring themes of identity, migration, and cultural adaptation. His empathetic lens captured the struggles and triumphs of individuals within this global diaspora, resulting in a powerful body of work. One of Zachmann's notable projects is Wén, a documentary that delves into the life of a Chinese family living in France. This intimate portrayal earned him widespread acclaim for his ability to navigate complex narratives with sensitivity and depth. The project exemplifies Zachmann's commitment to shedding light on marginalized stories and fostering cross-cultural understanding. Throughout his career, Zachmann has covered significant historical events. He documented the fall of the Berlin Wall in 1989, capturing the emotions and reactions of individuals on both sides of this momentous divide. His work during the Tiananmen Square protests in 1989 further solidified his reputation as a photojournalist with an acute sense of social responsibility. Beyond his photojournalistic endeavors, Patrick Zachmann has explored personal and introspective themes. His project My Father's Testimony is a poignant reflection on his own family history, incorporating photographs, letters, and personal artifacts to create a visual narrative that transcends individual experiences to resonate on a universal level. In addition to his photographic pursuits, Zachmann has ventured into filmmaking. His documentary China, the Empire of Art? offers a nuanced exploration of China's contemporary art scene, reflecting his multifaceted approach to storytelling. Patrick Zachmann's contributions to photography have earned him numerous accolades, including the prestigious Nadar Award in 1993 and the World Press Photo Award in 1994. His work has been exhibited in major galleries and museums worldwide, solidifying his place as a respected documentarian and storyteller. As he continues to explore new facets of visual storytelling, Patrick Zachmann's enduring commitment to capturing the human experience with authenticity and empathy underscores the timeless relevance of his work in the realm of documentary photography and filmmaking.
Karl Struss
United States
1886 | † 1921
Karl Struss, was a notable figure in American visual arts, renowned for his contributions as both a photographer and a cinematographer spanning from the early 1900s to the 1950s. Notably, he played a significant role in the advancement of 3-D filmmaking techniques during his career. His portfolio boasts a diverse range of projects, including iconic films like F.W. Murnau's Sunrise: A Song of Two Humans and Charlie Chaplin's The Great Dictator and Limelight. Beyond his cinematic endeavors, Struss also lent his expertise to television productions, notably serving as a cinematographer for the series Broken Arrow and capturing the essence of 19 episodes of My Friend Flicka through his lens. Born in New York City in 1886, Karl Struss's early life took an unexpected turn when an illness sidelined him from high school. His father, Henry, made the decision to withdraw him from formal education, placing him as a labor operator at Seybel & Struss bonnet wire factory. However, this diversion ignited a passion within Karl for photography. He delved into the craft, experimenting with an 8x10 camera and immersing himself in the art through Clarence H. White's evening photography course at Teachers College, Columbia University, starting in 1908 and concluding in 1912. During his formative years of study, Struss's fascination with camera lenses led him to invent the Struss Pictorial Lens in 1909, which he aimed to patent as a soft-focus lens. This innovation garnered attention and popularity among pictorial photographers of the era, ultimately becoming the first soft-focus lens embraced by the motion picture industry in 1916. Struss's breakthrough in the world of photography came when Alfred Stieglitz selected 12 of his pictorial works for the Albright Art Gallery International Exhibition of Pictorial Photography in 1910, marking the culmination of the Photo-Secession movement. His reputation continued to flourish, as evidenced by his inclusion in the prestigious exhibition "What the Camera Does in the Hand of the Artist" at the Newark Art Museum in April 1911. This success led to an invitation from Teacher's College for Struss to curate a solo exhibition showcasing his depictions of New York City and to temporarily assume teaching responsibilities for White's course during the summer of 1912. Further recognition came when Stieglitz invited Struss to join the Photo-Secession in 1912, facilitating the publication of his work in the group's magazine, Camera Work. In 1913, Struss collaborated with Edward Dickson, Clarence White, Alvin Langdon Coburn, and Paul Anderson to establish Platinum Print, a publication aimed at promoting photographic artistry. By 1914, Struss fully embraced his identity as a professional photographer, resigning from the family business and taking over Clarence White's former studio space, marking a pivotal moment in his career trajectory. At the suggestion of Coburn, Struss took the initiative to submit prints to the American Invitational Section of the Royal Photographic Society's annual exhibition in London, marking the beginning of a recurring practice that would extend well into the 1920s. Alongside this, he actively participated in various exhibitions organized by photography clubs and associations, such as the Pittsburgh Salon of National Photographic Art and the annual photography showcase hosted by the Philadelphia department store Wanamaker's. While engaging in these exhibitions and handling specialized commissions, Struss concurrently pursued commercial photography for esteemed magazines like Vogue, Vanity Fair, and Harper's Bazaar. It's noteworthy that he maintained a distinction, adamantly asserting that his work didn't fall under the category of fashion photography. However, the trajectory of his photographic career was interrupted by the outbreak of World War I. In 1917, he fulfilled his patriotic duty by registering for the draft and subsequently enlisting with the intention of serving his country through photography. Initially trained for aerial photography instruction, Struss encountered complications when his German connections came under scrutiny by the Military Intelligence Department. This led to his demotion from sergeant to private and a period of confinement in Ithaca, New York, where he was originally stationed to teach at the School of Military Aeronautics. Eventually, he was transferred to Fort Leavenworth, where his duties shifted to serving as a prison guard and later as a file clerk. In this latter role, he reignited his passion for photography, documenting the lives of the prisoners. Towards the end of the war, in a bid to dispel any lingering suspicions of anti-American sentiment, Struss sought to clear his name by applying and being accepted into Officer's Training Camp, attaining the rank of corporal. Despite receiving an honorable discharge eventually, the fallout from the military investigation likely left him hesitant to resume his previous endeavors in New York, as many of his professional relationships had been strained or fractured as a result. In 1919, following his military discharge, he relocated to Los Angeles, where he secured a position as a cameraman under Cecil B. DeMille's direction. His first assignment was on the set of the film For Better, For Worse, featuring Gloria Swanson, which paved the way for subsequent collaborations on projects like Male and Female. This successful partnership led to a lucrative two-year contract with the studio. Early in 1921, Struss tied the knot with Ethel Wall, whose support enabled him to pursue independent photographic ventures alongside his studio obligations, notably capturing scenic views across California. Throughout the 1920s, his cinematic expertise graced notable productions including Ben-Hur and F.W. Murnau's Sunrise: A Song of Two Humans. By 1927, he transitioned to United Artists, collaborating with luminaries such as D.W. Griffith on projects like Drums of Love and pioneering Mary Pickford's inaugural sound film, Coquette. Continuously innovative, Struss delved into experimental camera technology, inventing the "Lupe Light" and devising a novel bracket system for the Bell & Howell camera. From 1931 to 1945, Struss contributed his talents as a cameraman to Paramount, engaging in diverse projects featuring prominent figures like Mae West, Bing Crosby, and Dorothy Lamour. He also made significant contributions to the field through his written work, exemplified by his 1934 article "Photographic Modernism and the Cinematographer" published in American Cinematographer. Recognized for his expertise, he gained membership in esteemed organizations such as the American Society of Cinematographers and played a pivotal role as a founding member of the Academy of Motion Picture Arts. In 1949, while working independently, Struss embarked on pioneering endeavors in stereo cinematography, positioning himself as a trailblazer in this emerging art form. Regrettably, most of his 3-D film ventures took place overseas in Italy, with none of his productions receiving 3-D releases in the United States. In addition to his illustrious career in photography and cinematography, Struss pursued a passion for philately, particularly focusing on the inaugural transpacific airmail flights. He meticulously crafted commemorative covers for significant events such as the first San Francisco to Honolulu flight in November 1935, showcasing his dedication to this specialized hobby. His personal collection, including exhibition prints, film stills, negatives, and papers, is housed at the Amon Carter Museum of American Art in Fort Worth, Texas.
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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