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Burt Glinn
Burt Glinn
Burt Glinn

Burt Glinn

Country: United States
Birth: 1925 | Death: † 2008

Born in Pittsburgh, Pennsylvania, Burt Glinn served in the United States Army between 1943 and 1946 before studying literature at Harvard University where he edited and photographed for the Harvard Crimson college newspaper. From 1949 to 1950, Glinn worked for Life magazine before becoming a freelancer. Glinn became an associate member of Magnum in 1951 along with Eve Arnold and Dennis Stock - the first Americans to join the young photo agency - and a full member in 1954. He made his mark with spectacular color series on the South Seas. Japan, Russia, Mexico and California. In 1959 he received the Mathew Brady Award for Magazine Photographer of the Year from the University of Missouri. In collaboration with the writer Laurens van der Post, Glinn published A Portrait of All the Russias and A Portrait of Japan. His reportages have appeared in Esquire, Geo, Travel and Leisure, Fortune, Life and Paris-Match. He has covered the Sinai War, the US Marine invasion of Lebanon and Fidel Castro's takeover of Cuba. In the 1990's he completed an extensive photo essay on the topic of medical science. Versatile and technically brilliant, Glinn was one of Magnum's great corporate and advertising photographers. He received numerous awards for his editorial and commercial photography, including the Best Book of Photographic Reporting from Abroad from the Overseas Press Club and the Best Print Ad of the Year from the Art Directors Club of New York. Glinn served as president of ASMP from 1980 - 1981. Between 1972 and 1975 he was president of Magnum, and was re-elected to the post in 1987. In 1981, Burt married Elena Prohaska and their son Samuel Pierson Glinn was born in 1982.

Source: burtglinn.com

Selected Books on Available on Amazon
Burt Glinn: Half a Century as a Magnum Photographer
Burt Glinn: Half a Century as a Magnum Photographer
Burt Glinn, Sarah Stacke
The Beat Scene: Photographs by Burt Glinn
The Beat Scene: Photographs by Burt Glinn
Burt Glinn, Tony Nourmand, Michael Shulman, Jack Kerouac
Burt Glinn: Cuba 1959
Burt Glinn: Cuba 1959
Burt Glinn, Michael Shulman, Tony Nourmand
Havana: The Revolutionary Moment
Havana: The Revolutionary Moment
Burt Glinn

Agency

Magnum Photos

Gallery

Tulla Booth Gallery

Website

www.burtglinn.com

 

Selected Books

Burt Glinn: Half a Century as a Magnum Photographer
Burt Glinn: Half a Century as a Magnum Photographer
Burt Glinn, Sarah Stacke
The Beat Scene: Photographs by Burt Glinn
The Beat Scene: Photographs by Burt Glinn
Burt Glinn, Tony Nourmand, Michael Shulman, Jack Kerouac
Burt Glinn: Cuba 1959
Burt Glinn: Cuba 1959
Burt Glinn, Michael Shulman, Tony Nourmand
Havana: The Revolutionary Moment
Havana: The Revolutionary Moment
Burt Glinn

Inspiring Portfolios

Marjolein Martinot
© Marjolein Martinot
Jackson Patterson
© Jackson Patterson
Nanda Hagenaars
© Nanda Hagenaars
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More Great Photographers To Discover

Sylwia Makris
Sylwia Makris
Poland
1973
There is a spark within everything. A living light in the eyes of a person, a memory that flares up, the glow of a passion that was never declared. A face always tells more than it knows, wich is why photography is never a mere reproduction of what is. A good photo tells what was, why might have been or what is waiting painfully beneath the surface. Sylwia Makris has been in pursuit of these sparks since she first held a camera. Her quest produces images that may delight or disturb but always move the beholder. She photographs people. People who are strong or delicate, broken or dynamic. She photographs faces of our time-and in doing so gives a face to our time. Nakedness is the most natural state. And in our day the most intrusive and common-every-where naked bodies are used to tempt, advertise and sell. Nakedness can only say as much as it is allowed to say. Sylwia Makris respects the nude body as part of a story that must be told. As part of a story that tels of people, nakedness regains its original magic, its archaic power and its complexity of expression in Makris' photos. Until the viewer sometimes feels more naked than the model in the image. Sylwia Makris was born in 1973 in Gdynia, Poland. She worked as a sculptor before finding her way to photography in 2007. Today she lives in Munich as freelance photographer.
William Wegman
William Wegman
United States
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)
Anastasia Pagonas
Anastasia Pagonas
United States
Anastasia Pagonas is a photographer, writer and teacher living in the American Southwest. She is the founder of MEMORY CULT, an online community for insurgent family photography. Her writing explores artistic autonomy, the subject/photographer relationship and the effect of the attention economy on creative vision. For 16 years she has photographed families from the child’s point of view, producing art books and large format prints for her clients and audience, drawing particular inspiration from the physical photograph as art object and personal document.
Lori Pond
Lori Pond
United States
1959
Lori Pond is an artist using the photographic process to explore the human condition as seen through the conflict of good vs. evil, contemporary anxiety and the impermanence of all things. She received a B.S. in Music Performance and Spanish from Indiana University and an M.A. in Broadcast Journalism from USC before embarking on a career in television, where she is a graphic artist at Conan O'Brien's talk show, "Conan." She splits her time between this and her fine art photography. Her work has been included in numerous solo shows at institutions such as: The Griffin Museum of Photography, (Boston) Oceanside Museum of Art, University of the Arts (Philadelphia) and Gallery 825 in Los Angeles. Lori has exhibited in over 30 group shows around the globe. Lori's body of work, "Bosch Redux," has been featured in online publications and interviews, such as: Beta Developments in Photography, Adobe Create, LENSCRATCH, Peripheral Vision Arts Salon and Your Daily Photograph. Hard copy publications of her photography have appeared in The Sun Magazine, Seeing in Sixes, Arboreal, Bosch Redux and Self. Lori's art can be found in the permanent collections of : The Center for Fine Art Photography, Morgan Stanley headquarters and The Center for the Arts, Los Angeles. She lives and works in Los Angeles.
Mária Švarbová
Mária Švarbová
Slovakia
1988
Mária Švarbová was born in 1988; she currently lives in Slovakia. Despite studying restoration and archeology, her preferred artistic medium is photography. From 2010 to the present, the immediacy of Maria's photographic instinct continues to garner international acclaim and is setting new precedents in photographic expression. The recipient of several prestigious awards, her solo and group exhibitions have placed her among the vanguard of her contemporaries, attracting features in Vogue, Forbes, The Guardian, and publications around the world; her work is frequently in the limelight of social media. Maria's reputation also earned her a commission for a billboard-sized promotion on the massive Taipei 101 tower, in Taiwan. Maria's distinctive style departs from traditional portraiture and focuses on experimentation with space, colour, and atmosphere. Taking an interest in Socialist era architecture and public spaces, Maria transforms each scene with a modern freshness that highlights the depth and range of her creative palette. The human body throughout her oeuvre is more or less a peripheral afterthought, often portrayed as aloof and demure rather than substantive. Carefully composed figures create thematic, dream-like scenes with ordinary objects. Her images hold a silent tension that hints at emergent possibilities under the lilt of clean and smooth surfaces. There is often a sense of cool detachment and liminality in Maria's work. Routine actions such as exercise, doctor appointments, and domestic tasks are reframed with a visual purity that is soothing and symmetrical and at times reverberant with an ethereal stillness. The overall effect evokes a contemplative silence in an extended moment of promise and awareness—a quality difficult to achieve in the rapid pace of modern life. Maria's postmodern vision boldly articulates a dialog that compels the viewer to respond to the mystery, loneliness, and isolation of the human experience. Nevertheless, deeply embedded within the aqueous pastels, Maria's compositions hold to a celebratory elegance that transforms the viewer's gaze into an enduring reverence for life's simple beauty. Hasselblad Master 2018 Forbes 30 under 30 Winner of International Photography Awards 2016 Swimming Pool In the Swimming Pool is Maria's largest series yet, originating in 2014 and continuing to develop to date. Sparked by a hunt for interesting location, her fascination with the space of public swimming pools contributed to developing her visual style. Sterile, geometric beauty of old pools set the tone for these photographs. Each of them pictures a different pool, usually built in the Socialist Era, in various locations in Slovakia. There is almost cinematographic quality to the highly controlled sceneries that Maria captures. The figures are mid-movement, but there is no joyful playfulness to them. Frozen in the composition, the swimmers are as smooth and cold as the pools tiles. The colours softly vibrate in a dream-like atmosphere. Despite the retro setting, the pictures somehow evoke a futuristic feeling as well, as if they were taken somewhere completely alien. There is no disturbing emotion, there is no individuality in their stillness. The artificial detachment, created by Maria's visual vision, allows unique visual pleasure, unattainable in real life.
Mario Giacomelli
Mario Giacomelli
Italy
1926 | † 2000
Giacomelli was a self-taught photographer. At 13, he left high school, began working as a typesetter and spent his weekends painting. After the horrors of World War II, he turned to the more immediate medium of photography. He wandered the streets and fields of post-war Italy, inspired by the gritty Neo-Realist films of Vittorio De Sica and Roberto Rossellini, and influenced by the renewed Italian photographer Giuseppe Cavalli, and developed a style characterized by bold, stylized compositions and stark contrasts. Source: Wikipedia With the death of Mario Giacomelli (1925-2000) Europe lost one of its most talented photographers. Trained initially as a typographer, his early interest in graphic effect became a key part of his later photographic work. Winner of numerous medals and prizes, he acheived international status through numerous exhibitions throughout Europe, America and Japan. His highly personal, artistically atmospheric visual style demonstrates a life-long preoccupation with landscapes that emphasize linear, abstact patterns, rural townscapes, streetscenes and portraits of everyday Italian life. His work displays a profound understanding of the country and its people and a mastery of form and effect that make his photographs imaginatve works in their own right. Source: Peter Fetterman Gallery
Lewis Hine
Lewis Hine
United States
1874 | † 1940
Lewis Hine was an American sociologist and photographer known for using his camera as a tool for social reform. His photographs were instrumental in changing child labor laws in the United States. There were two things I wanted to do. I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated. -- Lewis Hine Lewis Hine was born on September 26, 1874, in Oshkosh, Wisconsin. After his father was killed in an accident, Hine began working and saving for college. He attended the University of Chicago, Columbia University, and New York University to study sociology. He became a teacher at the Ethical Culture School in New York City, where he encouraged his students to embrace photography as an instructional tool. Hine took his sociology pupils to New York Harbor's Ellis Island, where he photographed the thousands of immigrants that landed each day. Between 1904 and 1909, he shot over 200 plates (photographs) and realized that documentary photography could be used to effect social change and reform. Hine joined the Russell Sage Foundation's staff photographer in 1907, photographing life in the steel-making regions and inhabitants of Pittsburgh, Pennsylvania, for the landmark sociological study The Pittsburgh Survey. The next year, he left his teaching post to work as a photographer for the National Child Labor Committee (NCLC). Lewis Hine recorded child labor during the next decade, with a concentration on the use of child labor in the Carolina Piedmont, to aid the NCLC's lobbying attempts to abolish the practice. In 1913, he chronicled juvenile laborers among cotton mill workers with a series of composite pictures by Francis Galton. Charlie Foster has a steady job in the Merrimack Mills. Huntsville, Alabama.© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Lewis Hine's work for the NCLC was frequently hazardous. Factory police and foremen routinely threatened him with violence or even death as a photographer. The immorality of child labor was intended to be hidden from the public at the time. Photography was not only forbidden, but it also posed a significant danger to the enterprise. Hine was compelled to disguise himself in order to gain access to the mills, mines, and factories. He worked as a fire inspector, postcard vendor, bible salesman, and even an industrial photographer documenting manufacturing technology. During and after World War I, he shot relief efforts for the American Red Cross in Europe. Hine created a series of work portraits in the 1920s and early 1930s that stressed the human contribution to modern industry. Lewis Hine was commissioned to photograph the Empire State Building's construction in 1930. He photographed the workers in perilous positions as they secured the structure's steel framework, taking many of the same hazards as the employees. He was hoisted out in a specially built basket 1,000 feet above Fifth Avenue to get the best views. He recalls hanging above the city at times, with nothing below but "a sheer drop of nearly a quarter-mile." Cherryville Mfg. Co., Cherryville, N.C. One of the smallest boys. Doffer. 1908© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. During the Great Depression, Hine worked for the Red Cross, photographing drought relief in the American South, and for the Tennessee Valley Authority (TVA), documenting life in the mountains of eastern Tennessee. He was also the chief photographer for the Works Progress Administration's National Research Project, which investigated changes in the industry and their impact on employment. Hine was also on the faculty of the Ethical Culture Fieldston School. Lewis Hine was chosen as the photographer for the Works Projects Administration's National Research Project in 1936, but his work there was never completed. His final years were filled with professional struggles caused by the loss of government and corporate patronage. Hine hoped to participate in the Farm Security Administration photography project, but despite numerous letters to Roy Stryker, Stryker always declined. Hine lost his house and applied for welfare because few people were interested in his work, past or present. After an operation, he died on November 3, 1940, at Dobbs Ferry Hospital in Dobbs Ferry, New York. He was 66 years old at the time. Group of workers, including boys and girls, standing outdoors© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Hine's photographs aided the NCLC's campaign to end child labor, and the Children's Bureau was established in 1912. The Fair Labor Standards Act of 1938 eventually put an end to child labor in the United States. Corydon Hine, Hine's son, donated his father's prints and negatives to the Photo League, which was disbanded in 1951. The Museum of Modern Art declined to accept his photographs, but the George Eastman House did. Wendy Lamb Books published Elizabeth Winthrop Alsop's historical fiction middle-grade novel Counting on Grace in 2006. The final chapters focus on Grace, a 12-year-old girl, and her life-changing encounter with Lewis Hine during his 1910 visit to a Vermont cotton mill known to employ a large number of child laborers. The iconic photograph of Grace's real-life counterpart, Addie Card (1897-1993), taken during Hine's undercover visit to the Pownal Cotton Mill, graces the cover. In 2016, TIME Magazine published colorized versions of several of Hine's photographs of child labor in the US. In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show. -- Lewis Hine Lewis Hine was trained to be an educator in Chicago and New York. A project photographing on Ellis Island with students from the Ethical Culture School in New York galvanized his recognition of the value of documentary photography in education. Soon after, he became a sociological photographer, establishing a studio in upstate New York in 1912. For nearly ten years Hine was the photographer for the National Child Labor Committee, contributing to exhibitions and the organization's publication, The Survey. Declaring that he "wanted to show things that had to be corrected," he was one of the earliest photographers to use the photograph as a documentary tool. Around 1920, however, Hine changed his studio publicity from "Social Photography by Lewis W. Hine" to "Lewis Wickes Hine, Interpretive Photography," to emphasize a more artistic approach to his imagemaking. Having joined the American Red Cross briefly in 1918, he continued to freelance for them through the 1930s. In 1936 Hine was appointed head photographer for the National Research Project of the Works Projects Administration, but his work for them was never completed. His last years were marked by professional struggles due to diminishing government and corporate patronage, and he died in 1940 at age sixty-six.Source: The J. Paul Getty Museum Born in Oshkosh, Wisconsin, Lewis W. Hine studied sociology before moving to New York in 1901 to work at the Ethical Culture School, where he took up photography to enhance his teaching practices. By 1904 he had begun a series of photographs documenting the arrival of immigrants at Ellis Island; this project, along with his pictures of harsh labor conditions published in the Pittsburgh Survey, brought his work to the attention of the National Child Labor Committee. He served as its official photographer from 1911 to 1916, and later traveled with the Red Cross to Europe, where he documented the effects of World War I in France and the Balkans for Red Cross Magazine. After returning to the United States in 1922, he accepted commercial assignments, produced another series on Ellis Island immigrants, and photographed the construction of the Empire State Building. Several of these construction pictures were published in Men at Work (1932), a book celebrating the individual worker's interaction with machines in the modern world. Despite the success of this book, Hine's financial situation became desperate and his photography was virtually forgotten. Berenice Abbott and Elizabeth McCausland learned of his work through the New York City Photo League and mounted a traveling retrospective exhibition of his work to revive interest in it in 1939. Lewis Hine is best known for the documentary images of child labor practices that he produced under the aegis of the National Child Labor Committee from 1911 to 1916. These photographs not only have been credited as important in the passing of child labor laws, but also have been praised for their sympathetic depiction of individuals in abject working conditions. Hine labeled his pictures "photo-interpretations," emphasizing his subjective involvement with his subjects; this approach became the model for many later documentary photographers, such as Sid Grossman and Ben Shahn.Source: International Center of Photography
Mohammad Sorkhabi
Mohammad Sorkhabi
Iran
1985
Mohammad Sorkhabi was born in Mashhad-Iran in 1985. He has been engaged in portrait photography since 2013. Most of his artworks are inspired by Renascence and Baroque portrait paintings so he mostly uses the classical lighting techniques and pictorial editing of the works with a subtle expression-filled by emotions and poetic feelings that indicate social issues. Mood Photography is the style of Mohammad which makes the audience communicate with the poetic feeling of his art better. His portraits emphasizing on social issues through deep abstract feelings and delicate expressions in the eyes of his models. Awards: Fine Art's first reward in Canada Tirgan Festival-2015. Two artworks of him have been chosen for the final section and have been displayed in Malaysia-Kuala Lumpur portrait contest-2015. Also second and third place in beauty and portrait category and four honorable mention in Moscow photo awards(MIFA)-2015. Winning medal in Asahi Shimbun photo contest, Japan 2017 Mourning for the father War is defined as a long-term structured conflict involving the use of arms and weapons between nations, governments and different groups, which is associated with severe hostility, social disruption, and excessive financial loss and casualties. Today, we constantly witness such conflicts across the world, with the media spotlighting the loss of thousands of soldiers and death of civilians during wars. However, we are rarely informed on the survivors of wars and their destiny. What becomes of them? How does war influence the lives of those who have lost their loved ones? How do women mourn the deaths of their husbands, fathers, and brothers and cope with such grave tragedies? These contemplations have urged me to start a project in order to shed light on these events and reflect the grand suffering of war survivors only partly. My photographs have been inspired by the works of Renaissance painters, and this can be seen in the classical lighting techniques and pictorial editing of the works. In addition, the black veils on the models signify the spiritual aspect of the photographs, symbolizing the catharsis born out of a plethora of grief and agony.
Jock Sturges
Jock Sturges
United States
1947
Jock Sturges, born in New York City in 1947, is an American photographer whose work has stirred both acclaim and controversy. After serving in the United States Navy as a Russian linguist from 1966 to 1970, Sturges pursued his passion for photography, earning a BFA in Perceptual Psychology and Photography from Marlboro College. He further honed his craft by obtaining an MFA in photography from the San Francisco Art Institute. Sturges is renowned for his captivating images of nude adolescents and their families, often captured at communes in Northern California and the naturist resort CHM Montalivet in Vendays-Montalivet. His photographs, characterized by their intimate portrayal of human vulnerability, frequently feature Misty Dawn, a California resident whom he photographed from childhood into her twenties. Working primarily with a large 8x10-inch-format view camera, Sturges has also experimented with digital photography but maintains a preference for traditional prints. My work is, in fact, neutral. In fact, its very neutrality is one of the things that worries me about it sometimes. There’s sometimes not a lot of emotive passion in the work. Because I shoot long shutter speeds, people are necessarily very still, and the work is very, very plain and... neutral. That neutrality isn’t sexual by nature. My subjects are just there. So if you read sexuality into my pictures, beyond what’s inherent to a human being, then the work is acting as a Rorschach, and you’re evincing sexual immaturity or sexual malaise in your own life. I have to tell you, I am sometimes deeply suspicious of the sexual mental health of some of the people who point their wavering fingers at the morality, the art, of others. – Jock Sturges Despite the acclaim garnered by his work, Sturges has faced controversy throughout his career. In 1990, his San Francisco studio was raided by FBI officers, and his equipment was seized. However, a subsequent grand jury declined to bring charges against him. In 1998, his books "The Last Day of Summer" and "Radiant Identities" were targeted as potential child pornography in Arkansas and Louisiana, sparking legal battles and protests. Despite these challenges, Sturges has continued to create thought-provoking imagery that challenges societal norms and perceptions. Sturges's photographs have also found their way into various forms of media and art. They have graced the covers of novels by authors such as Jennifer McMahon and Karl Ove Knausgård, adding depth and intrigue to literary works. Additionally, his images have been featured in music releases by the band Ride, further highlighting their versatility and impact across different artistic mediums. Throughout his career, Sturges has remained committed to his artistic vision, using his lens to explore themes of innocence, identity, and the passage of time. Despite the controversies surrounding his work, he continues to push the boundaries of conventional photography, challenging viewers to confront their preconceptions and delve deeper into the complexities of the human experience. Jock Sturges's legacy as a photographer is a testament to the power of art to provoke thought, spark dialogue, and inspire change.
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