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Jay Maisel
Jay Maisel
Jay Maisel

Jay Maisel

Country: United States
Birth: 1931

Having studied painting and graphic design at Cooper Union and Yale, Jay Maisel embarked on his photographic career in 1954. While he boasts an impressive portfolio that includes iconic figures like Marilyn Monroe and Miles Davis, Maisel is renowned for his ability to capture the essence of light, color, and gesture in ordinary life.

Among his noteworthy commercial achievements are five Sports Illustrated swimsuit covers, the inaugural two covers of New York Magazine, the cover of Miles Davis' Kind of Blue (the highest-selling jazz album of all time), twelve years of advertising collaboration with United Technologies, and accolades from esteemed organizations such as the International Center for Photography, American Society of Media Photographers, Art Directors Club, Professional Photographers of America, and The Cooper Union.

Although he ceased commercial work in the late '90s, Jay has persistently dedicated himself to personal projects. His reputation as a generous and inspiring teacher has grown through extensive lectures and photography workshops across the country. Additionally, he continues to make prints available, which can be found in private, corporate, and museum collections.

As people, we love pattern. But interrupted pattern is more interesting.

– Jay Maisel


Since he stopped taking on commercial work in 1995, Jay has continued to focus on his personal work. He has developed a reputation as a giving and inspiring teacher as a result of extensive lecturing and photography workshops throughout the country. He also hosted his own workshops at his residence at 190 Bowery in New York City, from 2008-2015, instructing more than 640 students over the eight-year period.

In 2015, Jay sold his famous six-story building where he lived and worked for 50 years. Stephen Wilkes documented Jay’s epic move out of “the Bank” that was released as a feature-length film, Jay Myself, in the summer of 2019.

Since 2015, Jay has committed himself to reviewing his last sixty years of shooting. The results can be seen on his website, jaymaisel.com. Jay continues to sell prints of his photographs, many of which can be found in private, corporate, and museum collections.

Source: International Photography Hall of Fame and Museum

Selected Books on Available on Amazon
It’s Not About the F-Stop
It's Not About the F-Stop
Jay Maisel
Jay Maisel: Light, Gesture, and Color
Jay Maisel: Light, Gesture, and Color
Jay Maisel
Jay Maisel’s New York
Jay Maisel's New York
Jay Maisel

Agency

Trunk Archive

Gallery

Peter Fetterman Gallery

Website

www.jaymaisel.com

 

Jay Maisel's Video

Selected Books

It’s Not About the F-Stop
It's Not About the F-Stop
Jay Maisel
Jay Maisel: Light, Gesture, and Color
Jay Maisel: Light, Gesture, and Color
Jay Maisel
Jay Maisel’s New York
Jay Maisel's New York
Jay Maisel

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More Great Photographers To Discover

Édouard Baldus
Édouard Baldus
France
1813 | † 1889
Édouard Baldus was a French landscape, architectural and railway photographer, born on June 5, 1813 in Grünebach, Prussia. He was originally trained as a painter and had also worked as a draughtsman and lithographer before switching to photography in 1849. In 1851, he was commissioned for the Missions Héliographiques by the Historic Monuments Commission of France to photograph historic buildings, bridges and monuments, many of which were being razed to make way for the grand boulevards of Paris, being carried out under the direction of Napoleon III's prefect Baron Georges-Eugène Haussmann. The high quality of his work won him government support for a project entitled Les Villes de France Photographiées, an extended series of architectural views in Paris and the provinces designed to feed a resurgent interest in the nation's Roman and medieval past. In 1855, Baron James de Rothschild, President of Chemin de Fer du Nord, commissioned Baldus to do a series of photographs to be used as part of an album that was to be a gift to Queen Victoria and Prince Albert as a souvenir of their visit to France that year. The lavishly bound album is still among the treasures of the Royal Library at Windsor Castle. In 1856, he set out on a brief assignment to photograph the destruction caused by torrential rains and overflowing rivers in Lyon, Avignon, and Tarascon. He created a moving record of the flood without explicitly depicting the human suffering left in its wake. Baldus was well known throughout France for his efforts in photography. One of his greatest assignments was to document the construction of the Louvre museum. He used wet and dry paper negatives as large as 10x14 inches in size. From these negatives, he made contact prints. To create a larger image, he put contact prints side by side to create a panoramic effect. He was renowned for the sheer size of his pictures, which ranged up to eight feet long for one panorama from around 1855, made from several negatives. Despite the documentary nature of many of his assignments, Baldus was inventive in overcoming the limitations of the calotype process (described here). He often retouched his negatives to blank outbuildings and trees, or to put clouds in white skies; in his composite print of the medieval cloister of St. Trophime, in Arles (1851), he pieced together fragments of 10 different negatives to capture focus in-depth in a panoramic view of the interior space and also render detail in the brightly lit courtyard outside. He died in 1889 in Arcueil, France.Source: Wikipedia Baldus was one of the great calotypists of the 1850s, producing works of an unprecedented range and scale. He moved to Paris in 1838 to study painting alongside other future photographers such as Le Gray, Le Secq, and Nègre. He frequently retouched his paper negatives, adding pencil and ink, to add clouds or clarify details, then printing his own large-scale negatives. He was also adept at stitching several negatives together to re-create architectural views, most famously in his views of the cloisters of Saint Trophime. Famed especially for his depiction of architecture, Baldus not only documented the modernization of Paris but also traveled widely through France recording modernity and new construction - including new railways and aqueducts, as well as the building of the new Louvre. In 1851 the Commission des Monuments Historiques cited Baldus as one of the five best architectural photographers and he was commissioned to record the monuments of France for what became known as the Mission heliographic. His beginnings in photography are not well documented before his participation in the Mission héliographique, although it is known that he took photographs of Montmajour in 1849.Source: James Hyman Gallery "Everyone knows Mr. Baldus," a reviewer wrote in 1859. By the mid-1850s, Édouard-Denis Baldus was the most successful photographer in France and at the height of his career. He began as a painter, turning to photography in 1849 when paper negatives were just becoming popular. Throughout much of his life, he listed himself in city directories as "peintre photographe" (painter photographer), in reference more to his training than to his practice. In 1851 Baldus became one of the forty founding members of the Société Héliographique, the first photographic organization in the world. Baldus specialized in images of the landscape, architecture, and railways. In 1851 the Commission des Monuments Historiques (Historic Monuments Commission) asked Baldus to document architecture in France. These assignments, which were awarded to several photographers, were called missions héliographiques. In 1855 Baldus received his largest commission to document the construction of the Musée du Louvre. Photographic enlargements were not yet possible in the 1850s, so Baldus's photographs were contact prints from negatives as large as 10 x 14 inches. He often joined together several negatives to produce panoramas, creating images on an even grander scale.Source: The J. Paul Getty Museum
Hannah Price
Hannah Price
United States
1986
Raised in Fort Collins, Colorado, Hannah Price (b. 1986) is a photographic artist and filmmaker primarily interested in documenting relationships, race politics, social perception and misperception. Price is internationally known for her project City of Brotherly Love (2009-2012), a series of photographs of the men who catcalled her on the streets of Philadelphia. In 2014, Price graduated from the Yale School of Art MFA Photography program, receiving the Richard Benson Prize for excellence in photography. Over the past eight years, Price's photos have been displayed in several cities across the United States, with a few residing in the permanent collection of the Philadelphia Museum of Art. Currently, Ms. Price lives and works in Philadelphia, PA.Source: www.hannahcprice.com Born in Annapolis, Maryland; raised in Fort Collins, Colorado; and now based in Philadelphia, photographer and documentary filmmaker Hannah Price has spent years capturing the nuances of racial identities and societal perceptions. Her work is a critique of the negative and destructive powers of visual representation in determining the realities of black people and other racialized groups. For Price, image-making also offers a strategy of recuperating different ways of relating to other people and the world around us. To date, her projects have included: the internationally-renowned City of Brotherly Love— a visual survey of catcallers she encountered in Philadelphia; Resemblance— a series of portraits of inner-city high schoolers in Rochester New York; Cursed By Night, made in 2012-2013, on the perceived threat of black masculinity; and 2018’s Semaphore, exploring how individuals signal their identities. Price’s photos evince a rare attention to the subjectivities of those she photographs, even as she probes the validity and significance of the social constructs that operate around them. She has previously exhibited in several cities across the United States, with solo shows at Milwaukee Institute of Art and Design, Philadelphia Photo Arts Center, and the Silver Eye Center for Photography, Pittsburgh, while several of her photographs reside in the permanent collection of the Philadelphia Museum of Art. Now, as a 2020 Magnum nominee, Price discusses the political and aesthetic concerns that inform her work, as well as some of the problems and possibilities to be found in using visual communication as a means of fighting racism.Source: Magnum Photos Price moved to Philadelphia in 2009 from Colorado and noticed for the first time that she was getting catcalled. The photographer, who's currently working toward an MFA in photography at Yale, decided to turn the camera on the people who approached her on the Philly streets. This resulted in the series City of Brotherly Love (Philly's nickname). Ambiguity might be one of this project's most prevalent themes. It's been mistakenly referred to as "My Harassers" on some blogs, which Price does not like. Her series doesn't take an aggressive stance on catcalling; it's not meant to incite social action, she says. Rather, it's an observation, a way to react behind the camera lens. Price's portraits leave much to interpretation. Not only do we not know the situations in which she crossed paths with these men, but we also have no idea of their relationship. The photos are framed in a variety of ways; the lighting, composition and even positioning of the subjects themselves vary so much that viewers have plenty of freedom to interpret them.Source: npr
Carlo Naya
Carlo Naya
Italy
1816 | † 1882
Carlo Naya was an Italian photographer known for his pictures of Venice including its works of art and views of the city for a collaborative volume in 1866. He also documented the restoration of Giotto's frescoes at the Scrovegni Chapel in Padua. Naya was born in Tronzano di Vercelli in 1816 and studied law at the University of Pisa. An inheritance allowed him to travel to major cities in Europe, Asia, and northern Africa. He was advertising his services as portrait photographer in Istanbul in 1845, and opened his studio in Venice in 1857. He sold his work through photographer and optician Carlo Ponti. Following Naya's death in 1882, his studio was run by his wife, then by her second husband. In 1918 it was closed and publisher Osvaldo Böhm bought most of Naya's archive.Source: Wikipedia Carlo Naya studied law in Pisa before becoming a diplomat according to his father’s wishes. After his father’s death Naya embarked on a tour through Europe and Asia with his brother. During his stay in Paris in 1839 he was taught the daguerreotype process, which fascinated him. Naya settled in Venice in 1857, where he set up a photographic studio. For several years he collaborated closely with photographer Carlo Ponti but in 1868 he founded his own studio. During his long career, Naya photographed every aspect of the city of Venice. His views of the palaces on the Grand Canal, and his panoramas of the city give a complete picture of Venice’s architecture in the mid-nineteenth century.Source: The National Galleries of Scotland Carlo Naya (1816-1882) was born Carlo Naja at Tronzano Vercellese near Turin. He studied law in Pisa, where he graduated in 1840. Until recently it was thought that for the next fifteen years, he and his brother Giovanni travelled widely throughout Europe, Asia and Africa, only photographing occasionally for pleasure. However, recent research has revealed that Carlo Naya worked as a professional daguerreotypist long before his move to Venice. He apparently operated briefly in Prague around 1845, before opening a daguerreotype studio in Constantinople the following year. When his brother died in 1857, Carlo returned to Italy and settled in Venice. Initially he worked with the established publisher Carlo Ponti, who distributed his prints. The two men soon quarrelled, however, and Naya opened his own studio. In 1868 he opened a larger photographic shop in the Piazza San Marco, his business soon growing to rival Ponti‘s. In the latter half of the nineteenth century, the two firms were considered the leading photographic concerns in the city. At the time of Naya‘s death in 1882, Edward Wilson, an experienced and knowledgeable writer on photography, described Naya‘s studio as ‘the largest establishment we think we ever saw devoted to photography, in an old palace on the other side of the grand canal‘. Ponti and Naya were both photographic chroniclers of the city‘s tourist sights. Greater ease of travel meant that tourists came in ever increasing numbers to see the splendours of Italy, and these visitors were eager to take away with them souvenirs to show their friends and family at home and to help them remember what they had seen. Thus a photographer with a large stock of negatives showing the buildings and monuments, canals and palaces, harbour views and gondolas of Venice was assured of a steady, reliable income for years to come.Source: Luminous-Lint
Micha Bar-Am
Micha Bar-Am
Germany
1930
Micha Bar-Am is a German-born Israeli journalistic photographer. His images cover every aspect of life in Israel in the past sixty years. Since 1968 he has been a correspondent with Magnum, the photographic cooperative. From 1968 to 1992, he was The New York Times photographic correspondent from Israel. He has published several books of photography, beginning in 1957. His work is held in numerous international museums and institutes throughout the world. Born in Berlin to a Jewish family, Bar-Am moved with his parents in 1936 to then British Mandate of Palestine. He attended local schools. He was drafted in 1948 and served during the 1947–1949 Palestine war, when he was part of the Palmach Unit. Afterward, he worked several jobs, including as a locksmith and a mounted guard, before becoming a photographer. In 1949 he co-founded the kibbutz Malkia in Galilee. Later he became a member of Kibbutz Gesher HaZiv. In the early 1940s, Bar-Am started taking pictures of life on a kibbutz; he used borrowed cameras until he bought a Leica. After his military service, he began photographing more seriously. After publishing his first book, Across Sinai (1957), Bar-Am gained work as a photographic reporter and in the editorial staff of the Israeli Army magazine, Ba-Mahaneh, from 1957 to 1967. In 1961 he covered the Eichmann trial. In 1967 he covered the Six-Day War, during which time he met Cornell Capa. Many of his war images brought him renown. Since 1968, he has been a correspondent for Magnum Photos. In 1974 he helped Capa found the International Center of Photography in New York City. In 1968, Bar-Am also became the photographic correspondent from Israel for The New York Times, a position he held until 1992. From 1977 to 1992, he was head of the department of photography at the Tel Aviv Museum of Art. He continues to work on his photography. He writes about his work: "I keep my internal eye open for that other, metaphorical image that transcends illustration to achieve a wholeness of its own. I strive for the elusive entity that is both evidence and evocation, public record and personal vision." He says that he has adopted Robert Capa's saying, "If your photographs aren't good enough, you weren't close enough," but has added a caveat: "If you're too close you lose perspective. It is not easy to be fair with the facts and keep your own convictions out of the picture. It is almost impossible to be both a participant in the events and their observer, witness, interpreter. The effort brings great frustration, and equally great reward."Source: Wikipedia Born in Berlin in 1930, Micha Bar-Am emigrated to Israel (then Palestine) with his parents at age six. During his youth, Bar-Am became active in the pre-state underground and was drafted in 1948. After serving in the war, he helped found the Kibbutz Malkiya in Galilee. Soon after, Bar-Am moved to Kibbutz Gesher-Haziv, where he took his first photographs of archeological digs in the Judean desert. He borrowed his camera from an American member of his kibbutz who teased that though Bar-Am’s photographs were better than his own, they would never be used, as Bar- Am was only a “kibbutz dilettante.” Bar-Am proved this statement wrong; his work was soon published in the Israeli Army magazine Bama Hana. In 1957, he was offered a full time job as a staff photographer for the magazine. In the following years, Bar-Am continued to document the Israeli army. In 1967, he photographed the Six-Day War, during which he met Cornell Capa. Capa and Bar-Am became friends and he introduced Bar-Am to Magnum, a photographic co-operative where Bar-Am would become an associate. In 1968, Bar-Am began his career as a New York Times correspondent and documented the Israeli Palestinian conflict from Suez to the Golan Heights. Bar-Am was closely involved with the founding of the International Center of Photography in 1974, working alongside Cornell Capa as a curator. He became the Curator of Photography for the Tel Aviv Art Museum in 1977. He left this position in 1992, and has been working on his own photography ever since. Though often classified as such, Micha Bar-Am is not merely a photojournalist (an assignation Bar-Am himself refuses). His work represents more than documentation of the action of war. Bar-Am’s photography captures the changed lives and lifestyles of Israeli men and women as a result of the years of conflict. His carefully composed shots contain a thoughtfulness and artfulness often unseen within documentary photography. His work continues to be published and exhibited around the world.Source: International Center of Photography
Susanne Middelberg
Susanne Middelberg
Germany
After completing a modern dance education at the Higher School for Arts in Arnhem, she graduated in 1998 from the Royal Academy of Arts, from the photography department. Susanne specializes in portrait and theater-dance photography. Susanne exhibited a.o. at Soho Photo Gallery in Soho, New York, Deelen Art in Rotterdam, Reflex Modern Art Gallery in Amsterdam, Smelijk en Stokking and gallery Hollandsche Maagd in Gouda and galerie Fontana Fortuna in Amsterdam. She won several awards a.o. the Canon Master, International Photo Awards, Trierenberg Super Circuit 2019 - gold Susanne's work concerns people and their feelings. Being human, concerning life. She does not want to make a statement, or be judgmental, but show how she is touched by people, and what she sees in them. If someone can be true to their nature, and not pretend to be anything other them themselves it is almost always beautiful. Then people show their openness, vulnerability and love.That is what she wishes to voice in her work. Statement"In my portraits I am looking for honesty and vulnerability. I believe that vulnerability makes us nicer human beings and that this makes the world a little more friendly and more understanding. People who show themselves vulnerable give the other the confidence that they themselves may be who they are. I am most fascinated when I can see opposite qualities of a person at the same moment. I find this exciting because people are complex. I hope that the portrait touches something of the viewer himself." -- Susanne Middelberg
Jet Long
Jet Long
United States
1965
Growing up in the dense, vertical landscape of Hong Kong, Jet Long was captivated by the interplay of light, shadow, and form that defined his urban environment. Surrounded by modern architecture and the constant hum of city life, he developed a deep sensitivity to the structures and rhythms that shape the world around us. After working in Information Technology, he transitioned to photography, channeling his analytical mindset into an artistic pursuit. Now based in Los Angeles, his work involves the abstract forms of modern buildings, capturing the minimalist lines and textures that transform everyday structures into visual narratives. A passionate traveler, he is deeply inspired by the cultures, landscapes, and people he encounters along the way. From remote natural environments to the vibrant street life of cities, he seeks to capture not only the natural beauty of the world but also the rich tapestry of human stories woven into each place.
Aaron Deppe
Aaron Deppe
Germany
1988
Aaron Deppe is a German Lifestyle and Portrait Photographer, born in Gifhorn (Germany) in 1988. Before photography, Aaron worked in the music industry and lived in Australia, Sydney for a while. Currently, he is a Berlin-based photographer who works with actors and other artists on their internet presence, as well as commercially for several brands and on movie sets.
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.
Cristina de Middel
Cristina de Middel
Spain
1975
Cristina de Middel (born 1975) is a Spanish documentary photographer and artist living and working in Uruapan, Mexico. De Middel self-published The Afronauts in 2012, a photobook about the short-lived Zambian space program in Southern Africa. The book quickly sold out and the work was met with critical acclaim. She was nominated for the 2013 Deutsche Börse Photography Prize for The Afronauts. In 2013, de Middel received the Infinity Award from the International Center of Photography. In 2017 she became a nominee member of Magnum Photos and in 2019 an associate member. Source: Wikipedia Cristina de Middel investigates photography’s ambiguous relationship to truth. Blending documentary and conceptual photographic practices, she plays with reconstructions and archetypes in order to build a more layered understanding of the subjects she approaches. Working from the premise that mass media is reducing our real understanding of the world we live in, De Middel responds to an urgency to re-imagine tired aesthetic tropes and insert opinion in place of facts. Her impulse for an unconventional angle developed after a 10-year career as a photojournalist when De Middel stepped outside of straight documentary and produced the acclaimed series The Afronauts (2012). It explored the history of a failed space program in Zambia in the 1960s through staged reenactments of obscure narratives, challenging the traditional depiction of the African continent. De Middel’s ongoing project Gentleman’s Club (which began in Rio de Janeiro in 2015 and has now expanded to every continent around the globe bar Australasia) focuses on prostitution’s less documented side: the male clients. Her intimate portraits of these men subvert the paradigms of the status quo to provide new sources of insight and understanding. As well as her acclaimed personal projects, De Middel has worked on commission for clients including The Nobel Peace Foundation, Christian Dior, Vanity Fair USA, Vogue USA and FC Barcelona. De Middel was born in Spain and is based between Mexico and Brazil. She became a Magnum nominee in 2017.Source: Magnum Photos
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AAP Magazine #55 Women
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