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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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Jack Montgomery
Jack Montgomery
Jack Montgomery

Jack Montgomery

Country: United States
Birth: 1950

"I am a photographer living on the coast of Maine, USA. I have photographed with some seriousness for many years, first with film and then transitioning (in part) to digital. My focus at present is making images by photogravure although I have employed many processes through the years including gelatin-silver, inkjet and palladium. My images are part of the permanent collection of a number of museums. A monograph of the photographs was published by Galerie Vevais (Germany) a few years ago. My images have appeared as book covers for Random House and other international publishers.
A full biography and list of exhibitions and publications can be found at my website."
-- Jack Montgomery
 

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Jeff Schewe
United States
Jeff Schewe is a renowned, award-winning photographer based in Chicago, Illinois, with nearly 50 years of experience in commercial and fine art photography. Originally trained as a painter, Schewe transitioned to photography, bringing a painterly sensibility to his images and making significant contributions to digital imaging and fine art printing. A pioneer in the use and development of Adobe Photoshop and Lightroom, Schewe has influenced the field through both technical innovation and artistic vision, serving as a longtime alpha and beta tester and earning multiple credits in Photoshop. He has been recognized as an Epson Stylus Pro, an Apple Master of the Medium, and was inducted into the Photoshop Hall of Fame in 2006. Schewe is the author of two seminal books, The Digital Negative and The Digital Print (Peachpit Press). Though retired from commercial work, he continues to share his expertise through writing, workshops, and exhibitions, with recent acclaim for his Black and White in Antarctica series, featured in Communication Arts Photography Annual, Rfotofolio Selections, and as a Critical Mass finalist. Schewe holds degrees from Rochester Institute of Technology, including a B.S. with Highest Honors in Professional Photography. Statement I am a photographer with a painter’s eye, creating images that transform fleeting moments into lasting visual experiences. My work is about revealing the extraordinary in the ordinary, capturing overlooked details and quiet gestures that often go unnoticed. Through careful attention to light, and composition, I strive to see the unseen—moments made visible—and invite viewers to pause, reflect, and connect with the world around them. Whether in familiar spaces or distant places, my practice balances authenticity and artistic vision, translating real-life encounters into photographs that illuminate the hidden beauty within everyday life. AAP Magazine 50 Shapes
David Bailey
United Kingdom
1938
David Royston Bailey CBE (born 2 January 1938) is an English fashion and portrait photographer. David Bailey was born at Whipps Cross University Hospital in Leytonstone, to Herbert Bailey, a tailor's cutter, and his wife, Gladys a machinist. From the age of three he lived in East Ham. Bailey developed a love of natural history, and this led him into photography. Suffering from undiagnosed dyslexia, he experienced problems at school. He attended a private school, Clark's College in Ilford, where he says they taught him less than the more basic council school. As well as dyslexia he also has the motor skill disorder dyspraxia (developmental coordination disorder). In one school year, he claims he only attended 33 times. He left school on his fifteenth birthday, to become a copy boy at the Fleet Street offices of the Yorkshire Post. He raced through a series of dead-end jobs, before his call up for National Service in 1956, serving with the Royal Air Force in Singapore in 1957. The appropriation of his trumpet forced him to consider other creative outlets, and he bought a Rolleiflex camera. He was demobbed in August 1958, and determined to pursue a career in photography, he bought a Canon rangefinder camera. Unable to obtain a place at the London College of Printing because of his school record, he became a second assistant to David Ollins, in Charlotte Mews. He earned £3 10s (£3.50) a week, and acted as studio dogsbody. He was delighted to be called to an interview with photographer John French. In 1959, Bailey became a photographic assistant at the John French studio, and in May 1960, he was a photographer for John Cole's Studio Five, before being contracted as a fashion photographer for British Vogue magazine later that year. He also undertook a large amount of freelance work. Along with Terence Donovan and Brian Duffy, Bailey captured and helped create the 'Swinging London' of the 1960s: a culture of fashion and celebrity chic. The three photographers socialized with actors, musicians and royalty, and found themselves elevated to celebrity status. Together, they were the first real celebrity photographers, named by Norman Parkinson "the Black Trinity". The film Blowup (1966), directed by Michelangelo Antonioni, depicts the life of a London fashion photographer who is played by David Hemmings, whose character was inspired by Bailey. The "Swinging London" scene was aptly reflected in his Box of Pin-Ups (1964): a box of poster-prints of 1960s celebrities including Terence Stamp, The Beatles, Mick Jagger, Jean Shrimpton, PJ Proby, Cecil Beaton, Rudolf Nureyev and East End gangsters, the Kray twins. The Box was an unusual and unique commercial release. It reflected the changing status of the photographer that one could sell a collection of prints in this way. Strong objection to the presence of the Krays by fellow photographer, Lord Snowdon, was the major reason no American edition of the "Box" was released, and that a second British edition was not issued. The record sale for a copy of 'Box of Pin-Ups' is reported as "north of £20,000". At Vogue Bailey was shooting covers within months, and, at the height of his productivity, he shot 800 pages of Vogue editorial in one year. Penelope Tree, a former girlfriend, described him as "the king lion on the Savannah: incredibly attractive, with a dangerous vibe. He was the electricity, the brightest, most powerful, most talented, most energetic force at the magazine". American Vogue's creative director Grace Coddington, then a model herself, said "It was the Sixties, it was a raving time, and Bailey was unbelievably good-looking. He was everything that you wanted him to be – like the Beatles but accessible – and when he went on the market everyone went in. We were all killing ourselves to be his model, although he hooked up with Jean Shrimpton pretty quickly". Of model Jean Shrimpton, Bailey said: "She was magic and the camera loved her too. In a way she was the cheapest model in the world – you only needed to shoot half a roll of film and then you had it. She had the knack of having her hand in the right place, she knew where the light was, she was just a natural." Since 1966, Bailey has also directed several television commercials and documentaries. From 1968 to 1971 he directed and produced TV documentaries titled Beaton, Warhol and Visconti. As well as fashion photography, Bailey photographed album sleeve art for musicians including The Rolling Stones and Marianne Faithfull. One of Bailey's most famous works depicts the Rolling Stones including Brian Jones, who drowned in 1969 while under the influence of drink and drugs. He is seen standing slightly apart from the rest of the group. Bailey was hired in 1970 by Island Records' Chris Blackwell to shoot publicity photos of Cat Stevens for his upcoming album Tea for the Tillerman. Stevens, who is now known as Yusuf Islam maintains that he disliked having his photo on the cover of his albums, as had previously been the case, although he allowed Bailey's photographs to be placed on the inner sleeve of the album. In 1972, rock singer Alice Cooper was photographed by Bailey for Vogue magazine, almost naked apart from a snake. Cooper used Bailey the following year to shoot for the group's chart-topping 'Billion Dollar Babies' album. The shoot included a baby wearing shocking eye makeup and, supposedly, one billion dollars in cash requiring the shoot to be under armed guard. In 1976, Bailey published Ritz Newspaper together with David Litchfield. In 1985, Bailey was photographing stars at the Live Aid concert at Wembley Stadium. As he recalled later: "The atmosphere on the day was great. At one point I got a tap on my shoulder and spun round. Suddenly there was a big tongue down my throat! It was Freddie Mercury." In October 2020 Bailey's Memoir "Look Again" in co-operation with author James Fox was published by Macmillan Books a review on his life and work.Source: Wikipedia David Bailey is an English fashion photographer best known for his images of celebrities, models, and musicians. Though he is also known for his photography book NWI (1982), which documented the process of gentrification in the London neighborhoods of Primrose Hill and Camden. Born on January 2, 1938 in London, United Kingdom, Bailey dropped out of high school to serve in the Royal Air Force where he developed an interest in the photography of Henri Cartier-Bresson. Returning to England, Bailey began working as the fashion photographer John French’s assistant. Over the course of the 1960s and 70s, the artist gained attention from the press after a string of high-profile marriages to Jean Shrimpton, Catherine Deneuve, and Marie Helvin. In 1965, he published his first photography book Box of Pin-Ups, a collection of black-and-white images portraying Mick Jagger, The Beatles, Twiggy, and Andy Warhol, along with several other celebrity figures. Bailey has gone on to receive the title of Commander of the Order of the British Empire from Queen Elizabeth II, and in 2016 a Lifetime Achievement award from the International Center of Photography in New York. The artist’s photographs are held in the collections of the National Portrait Gallery and the Victoria and Albert Museum in London. Bailey currently lives and works in London, United Kingdom.Source: Artnet
Melissa Stewart
Australia
1963
Born in Melbourne, Australian Photographer Melissa Stewart currently resides between the Victorian country regions of the Macedon Ranges and the Mornington Peninsula. She has an affinity with the Australian landscape, nature and its wilderness. It is through her raw, true Australian aesthetic, she draws awareness towards the environment and the landscape we inhibit to protect it. Living in the country with horses has helped shape her awareness and interest in connecting and belonging. After graduating in 1980, she studied Art and Design and then Interior design in 2006 which has only enhanced her focus for detail, shape, line and form, this reflects in her Photography. Melissa returned to study Professional Photography in 2016 at Photography Studies College in Melbourne, studying part time, she has her final year to complete after deferment in 2019. She has been awarded finalist in Click 17, SE Centre for Contemporary Photography, Brunswick Street Gallery and exhibited in several group shows. A Finalist in the Australian Photography Awards awarded top 5, Student category and third place student category in the Australian Photography Awards exhibition, 2019. Statement Being in nature has always allayed my anxiety; it's my form of meditation. We can so easily forget about those simple needs and pleasure in life. Isolation has enabled me to reconnect, being at home creates a security a protection and comfort, and it brings me to a peaceful and happier state of mind. More so now it's imperative to connect with parts of yourself that you haven't before and reconnect with the things that you love. Given this time to slow down; I have been able to be inspired by books and music, long walks and observing the natural world in a different perspective. I have had wonderful moments where I have really be in awe and wonder with nature, the sea, the trees, and the silence. It is exactly in these moments that we can assess what matters, and what we want our life to mean. My interest in drawing awareness towards our environment and the landscape motivates my belief that it is essential to our quality and balance of life.
Shay Lari-Hosain
United States/Pakistan/United Kingdom
1998
Shay Lari-Hosain is a Bay Area-based artist whose work spans photography, video art, mixed media, graphic design, and writing. Their studio work explores how personal experiences of creativity and family history intersect with the politics of contemporary foreign policy, reflects on the shifting histories of the built environment, and investigates the ways time and memory shape perception in the photographic image. As a visual designer, Lari-Hosain crafts intentional experiences in both print and motion, and their music background influences their artistic practice. Their art is currently or previously on view in juried and institutional group exhibitions across the United States, including at SF Camerawork where they were invited to participate in both the annual benefit auction and a landmark members' exhibition, the Triton Museum of Art, New Museum Los Gatos (NUMU), Colorado Photographic Arts Center and more, and in Europe at PH21 Gallery. Their writing has appeared in the San Jose Mercury News and Pakistani English-language dailies like the Express Tribune and DAWN. They have won juror recognitions at Triton and NUMU and recognition by YoungArts, and given art talks at New Museum Los Gatos and PH21 Gallery. Recent design clients include Yvette Young’s Covet, SF Camerawork, and San José City College. Silence in B-Flat: Silence in B-Flat critiques the individualistic surveillance-centric natures of the built environment, investigates localized histories through dreamlike layering and sequencing, and plays with time by blurring the boundaries of verisimilitude in a photograph. In Silence in B-Flat I, by making hundreds of exposures and selectively averaging frames of my choosing, I assume editorial control—toggling the positions of stoplights, illuminated windows, cars, and pedestrians. Some scenes may resemble a single frame, while others are effectively "staged" from events that transpired over hours. The resulting scenes reconstruct time nonlinearly, creating new narratives. This process creates a surreal rendering of the scene that appears simultaneously authentic and unreal (almost painterly, as the process removes nearly all photographic noise, heightening the radiance of color gradients through no other manipulation), raising instinctive questions in the viewer about the veracity of the scene. This ambiguity impacts the trust the viewer may place in the images as a photographic record. AAP Magazine: AAP Magazine 52 Street
Jon Wollenhaupt
United States
For more than 20 years I have been dedicated to photography and fine art printmaking. During this span of time, I have I provided photography services to corporations, not-for-profit organizations, and news and media outlets. My street photography has been exhibited nationally in the United States and published internationally. I have a degree in Fine Art from Grossmont College and further studies in Studio Arts at San Francisco State University. Other current work includes a series called Awakening, which is a series of photomontage works that involve the overlaying of disparate images that reflect the workings of the unconscious mind and amorphous embedded memories. I also experiment extensively with alternative printing processes such as platinum pallidum and cyanotype. About Tales of a City: San Francisco Artist North Beach© Jon Wollenhaupt For more than 10 years I prowled the streets of San Francisco taking photos without a particular theme in mind. Or, you could say the city itself was the theme. I was more interested in trying to reveal something about the fabric of the city than looking only at specific threads. I hope these photos display a faithful chronicle of everyday life, in which there is glimmer of what John Szarkowski calls “ineffable dramatic possibilities.” Can it be that the capture of those small daily dramas that take place on busy streets, in alleys, and between tall buildings, can tell the story of a city as complex and unique as San Francisco? Perhaps. The story of a great city is always unfolding, and each day a page of a new chapter begins."
Gilles Peress
France
1946
Gilles Peress (born December 29, 1946) is a French photographer and a member of Magnum Photos. Peress began working with photography in 1970, having previously studied political science and philosophy in Paris. One of Peress’ first projects examined immigration in Europe, and he has since documented events in Northern Ireland, Lebanon, Palestine, Iran, the Balkans, Rwanda, the U.S., Afghanistan, and Iraq. His project, Hate Thy Brother, a cycle of documentary narratives, looks at intolerance and the re-emergence of nationalism throughout the world and its consequences. Peress’ books include Telex Iran; The Silence: Rwanda; Farewell to Bosnia; The Graves: Srebrenica and Vukovar; A Village Destroyed; and Haines. Portfolios of his work have appeared in the New York Times Magazine, The Sunday Times Magazine, Du magazine, Life, Stern, Geo, Paris Match, Parkett, Aperture and The New Yorker. Gilles Peress’ work has been exhibited and is collected by the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art and MoMA PS1, all in New York; Art Institute of Chicago; Corcoran Gallery of Art, Washington, D.C; San Francisco Museum of Modern Art; The J. Paul Getty Museum in Los Angeles; Walker Art Center and Minneapolis Institute of Arts; Victoria and Albert Museum in London; Musée d'Art Moderne de la Ville de Paris, Musée Picasso, Parc de la Villette and Centre Georges Pompidou in Paris; Museum Folkwang, Essen; and Sprengel Museum in Hannover. Awards and fellowships Peress has received include a Guggenheim Fellowship, National Endowment for the Arts grants, Pollock-Krasner and New York State Council on the Arts fellowships, the W. Eugene Smith Grant for Humanistic Photography and the International Center of Photography Infinity Award. Peress is Professor of Human Rights and Photography at Bard College in New York and Senior Research Fellow at the Human Rights Center at UC Berkeley. Peress joined Magnum Photos in 1971 and served three times as vice president and twice as president of the co-operative. He and his wife, Alison Cornyn, live in Brooklyn with their three children.Source: Wikipedia Born in Neuilly-sur-Seine, Gilles Peress made his first photographic series in 1970 after attending the Institut d'Études Politiques (1966-68) and the Université de Vincennes (1968-71). By 1971, he had established himself as a freelance photographer, publishing work in Du, the London Sunday Times, The New York Times Magazine, Photo, and other periodicals. In 1972 he joined Magnum, the international cooperative photography agency founded in 1947 by Henri Cartier-Bresson, Robert Capa, George Rodger, and Chim (David Seymour); he has served twice as the organization's president. A National Endowment for the Arts grant in 1979 allowed him to travel to Iran, where he made the photographs published as Telex: Iran--In the Name of Revolution (1984), his first book. Other major projects include his documentation of the Irish civil war from 1971 to 1979, published as An Eye for an Eye: Northern Ireland (1986), and Hate Thy Brother, an ongoing cycle of photographs documenting the resurgence of extreme nationalism around the world. Peress's work has been included in group exhibitions at the Musée d'Art Moderne in Paris, the Corcoran Gallery of Art, ICP, and elsewhere. He has received, among other honors, a W. Eugene Smith Award, the Ernst Haas Award, a Guggenheim Fellowship, and ICP's Infinity Awards for Journalism in 1995 and for his publication The Silence in 1996. Gilles Peress's photography demonstrates his uncommon ability to navigate and communicate the atmosphere and urgency of volatile political environments. While his early work identified him as a "concerned photographer," his more recent work suggests an increasing concern with form and a more obvious sense of subjectivity. In this respect, Peress's photographs echo the photojournalism of Henri Cartier-Bresson, whose conflation of aesthetics and reportage set the precedent for artistic photojournalism earlier in the century.Source: International Center of Photography
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