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Yann Arthus-Bertrand
Yann Arthus-Bertrand
Yann Arthus-Bertrand

Yann Arthus-Bertrand

Country: France
Birth: 1946

Yann Arthus-Bertrand, born in 1946, has always had a passion for the animal world and the natural environment. At the age of 20, he settled in central France and became the director of a nature reserve. When he was 30, he travelled to Kenya with his wife with whom he carried out a three-year study on the behaviour of a family of lions in the Massaï Mara reserve.

He quickly started using a camera as a visual aid to capture his observations and enhance the written reports they compiled. While in Africa, he earned his living as a hot-air balloon pilot. This was when he really discovered the earth from above and the advantages of viewing what he was studying from afar to gain an overall picture of an area and its resources. He discovered his calling: to demonstrate the Earth’s beauty and show the impact of mankind on the Planet. His first book, Lions, was born of this adventure – he likes to call these lions his "first photography teachers."

Little by little, Yann became a reporter focusing on environmental issues, and collaborating with Geo, National Geographic, Life, Paris Match, Figaro Magazine etc. He then started a personal work on the relationship mankind/ animal, which led to the books Good Breeding and Horses. In 1991, he founded the first aerial photography agency in the world. For the First Rio Conference in 1992, Yann decided to prepare a big work for the year 2000 on the state of the planet: it is The Earth From the Air. This book encountered a great success and over 3 million copies were sold. The outdoor exhibitions have been seen so far by about 200 Million people.

Yann then created the Goodplanet Foundation that aims to raise public awareness of environmental issues, implement carbon offset programmes and fight deforestation with local NGOs. Within the Foundation, he developed the 6 billion Others project, that has just changed names and become 7 billion Others. More than 6000 interviews were filmed in 84 countries. From a Brazilian fisherman to a Chinese shopkeeper, from a German performer to an Afghan farmer, all answered the same questions about their fears, dreams, ordeals, hopes: "What have you learned from your parents? What do you want to pass on to your children? What difficult circumstances have you been through? What does love mean to you?" Forty or so questions that help us to find out what separates and what unites us. Due to this involvement, Yann Arthus-Bertrand is today considered more an environmentalist and activist than a photographer. It is because of this commitment that Yann Arthus-Bertrand was designated Goodwill Ambassador for the United Nations Environment Programme on Earth Day (April 22nd, 2009).

In 2006, Yann started the series Vu Du Ciel, a television documentary series of several one-and-a-half hour episodes, each dealing with a particular environmental problem. It was shown on French public television and is currently being distributed for broadcast in 49 countries. Encouraged by his television experiment, Yann Arthus-Bertrand undertook the production of a full-length feature film, HOME, that deals with the state of our planet. The film was released on the 5th of June 2009 on television, on the Internet, on DVD and in cinemas simultaneously worldwide, almost entirely free of charge to the public. More than 600 million people have seen it so far. In 2011, Yann directed two films for the United Nations : the film Forest, official film of the 2011 International Year of the Forest, and the film Desertification. Both were screened during UN General Assemblies. Yann founded a non-profit production company, Hope. For the World Water Forum in March 2012, Yann, Thierry Piantanida and Baptiste Rouget-Luchaire directed a film narrating the history of water and reminding us that reasoned management of water is a crucial challenge for our century. This documentary was broadcast on French national television on the 20 th of March 2012.

For Rio + 20, Yann directed the film Planet Ocean with Michael Pitiot. This film aims to promote understanding of the importance of oceans in the ecosystem. In the same time, the GoodPlanet Foundation initiated a “Ocean Programme”, to raise awareness of the importance of marine ecosystems. At the heart of this programme, the publication of the book “L’Homme et la Mer” by the Editions de la Martinière, available in bookstores from the 18 th of October 2012.

All the films produced by HOPE are available free of charge to NGOs, nonprofits and schools in the frame work of environmental education.

Source: www.yannarthusbertrand.org

 

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Eggleston taught at Harvard in 1973 and 1974, and it was during these years that he discovered dye-transfer printing; he was examining the price list of a photographic lab in Chicago when he read about the process. As Eggleston later recalled: "It advertised 'from the cheapest to the ultimate print.' The ultimate print was a dye-transfer. I went straight up there to look and everything I saw was commercial work like pictures of cigarette packs or perfume bottles but the colour saturation and the quality of the ink was overwhelming. I couldn't wait to see what a plain Eggleston picture would look like with the same process. Every photograph I subsequently printed with the process seemed fantastic and each one seemed better than the previous one." The dye-transfer process resulted in some of Eggleston's most striking and famous work, such as his 1973 photograph entitled The Red Ceiling, of which Eggleston said, "The Red Ceiling is so powerful, that in fact I've never seen it reproduced on the page to my satisfaction. When you look at the dye it is like red blood that's wet on the wall.... A little red is usually enough, but to work with an entire red surface was a challenge." At Harvard, Eggleston prepared his first portfolio, entitled 14 Pictures (1974). Eggleston's work was exhibited at MoMA in 1976. Although this was over three decades after MoMa had mounted a solo exhibition of color photographs by Eliot Porter, and a decade after MoMA had exhibited color photographs by Ernst Haas, the tale that the Eggleston exhibition was MoMA's first exhibition of color photography is frequently repeated, and the 1976 show is regarded as a watershed moment in the history of photography, by marking "the acceptance of colour photography by the highest validating institution" (in the words of Mark Holborn). Around the time of his 1976 MoMA exhibition, Eggleston was introduced to Viva, the Andy Warhol "superstar", with whom he began a long relationship. During this period Eggleston became familiar with Andy Warhol's circle, a connection that may have helped foster Eggleston's idea of the "democratic camera", Mark Holborn suggests. Also in the 1970s Eggleston experimented with video, producing several hours of roughly edited footage Eggleston calls Stranded in Canton. Writer Richard Woodward, who has viewed the footage, likens it to a "demented home movie", mixing tender shots of his children at home with shots of drunken parties, public urination and a man biting off a chicken's head before a cheering crowd in New Orleans. Woodward suggests that the film is reflective of Eggleston's "fearless naturalism—a belief that by looking patiently at what others ignore or look away from, interesting things can be seen." Eggleston's published books and portfolios include Los Alamos (completed in 1974, but published much later), William Eggleston's Guide (the catalog of the 1976 MoMa exhibit), the massive Election Eve (1977; a portfolio of photographs taken around Plains, Georgia, the rural seat of Jimmy Carter before the 1976 presidential election), The Morals of Vision (1978), Flowers (1978), Wedgwood Blue (1979), Seven (1979), Troubled Waters (1980), The Louisiana Project (1980), William Eggleston's Graceland (1984; a series of commissioned photographs of Elvis Presley's Graceland, depicting the singer's home as an airless, windowless tomb in custom-made bad taste), The Democratic Forest (1989), Faulkner's Mississippi (1990), and Ancient and Modern(1992). Some of his early series have not been shown until the late 2000s. The Nightclub Portraits (1973), a series of large black-and-white portraits in bars and clubs around Memphis was, for the most part, not shown until 2005. Lost and Found, part of Eggleston's Los Alamos series, is a body of photographs that have remained unseen for decades because until 2008 no one knew that they belonged to Walter Hopps; the works from this series chronicle road trips the artist took with Hopps, leaving from Memphis and traveling as far as the West Coast. Eggleston's Election Eve photographs were not editioned until 2011. Eggleston also worked with filmmakers, photographing the set of John Huston's film Annie (1982) and documenting the making of David Byrne's film True Stories (1986). In 2017 an album of Eggleston's music was released, Musik. It comprises 13 "experimental electronic soundscapes", "often dramatic improvisations on compositions by Bach (his hero) and Haendel as well as his singular takes on a Gilbert and Sullivan tune and the jazz standard On the Street Where You Live." Musik was made entirely on a 1980s Korg synthesiser, and recorded to floppy disks. The 2017 compilation Musik was produced by Tom Lunt, and released on Secretly Canadian. In 2018, Áine O'Dwyer performed the music on a pipe organ at the Big Ears music festival in Knoxville. Source: Wikipedia William Eggleston assumes a neutral gaze and creates his art from commonplace subjects: a farmer's muddy Ford truck, a red ceiling in a friend's house, the contents of his own refrigerator. In his work, Eggleston photographs "democratically"--literally photographing the world around him. His large-format prints monumentalize everyday subjects, everything is equally important; every detail deserves attention. A native Southerner raised on a cotton plantation in the Mississippi Delta, Eggleston has created a singular portrait of his native South since the late 1960s. After discovering photography in the early 1960s, he abandoned a traditional education and instead learned from photographically illustrated books by Walker Evans, Henri Cartier-Bresson, and Robert Frank. Although he began his career making black-and-white images, he soon abandoned them to experiment with color technology to record experiences in more sensual and accurate terms at a time when color photography was largely confined to commercial advertising. In 1976 with the support of John Szarkowski, the influential photography historian, critic, and curator, Eggleston mounted "Color Photographs" a now famous exhibition of his work at the Museum of Modern Art, New York. William Eggleston's Guide , in which Szarkowski called Eggleston's photographs "perfect," accompanied this groundbreaking one-person show that established his reputation as a pioneer of color photography. His subjects were mundane, everyday, often trivial, so that the real subject was seen to be color itself. These images helped establish Eggleston as one of the first non-commercial photographers working in color and inspired a new generation of photographers, as well as filmmakers. Eggleston has published his work extensively. He continues to live and work in Memphis, and travels considerably for photographic projects. Source: The Getty Museum
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