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Emma Powell
Emma Powell
Emma Powell

Emma Powell

Country: United States

Emma Powell is an artist in residence and lecturer in photography at Iowa State University. Powell graduated from the College of Wooster in Ohio and received her MFA from Rochester Institute of Technology. Her work often examines photography's history while incorporating historic processes and or devices within the imagery. In her series In Search of Sleep, Powell uses the cyanotype process to create a visual lullaby in wish she explores personal narratives and metaphors.

In Search of Sleep
From my earliest days I have had a difficult relationship with sleep. As a child I avoided it at all costs, especially at night. To get me back to bed, my father used to tell me stories. They were not traditional children’s bedtime stories, but invented tales that began on our quiet street and journeyed down open drains to a dream-world of caverns, forests, and oceans full of unexpected animals and dangers. The story would always find its way back to the real world and end where it had begun, hopefully but doubtfully with me that much closer to sleep.
In Search of Sleep recreates this shadowy realm and allows me to explore my real-life questions, from personal dramas to romantic doubts. The cyanotype process, with its distinctive blue tones, visually traverses the distance between waking and sleeping. These images are also toned with tea and wine to both dull the blues and add warmth. Tea, wine, cyanide – all three of these substances relate to different levels of consciousness that often mirror the mental states evoked by my photographs. In Search of Sleep creates a visual lullaby that allows me to safely explore what I love, what I fear, what I remember, and what I imagine.
 

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Soumya Sankar Bose
I am a documentary photographer based in India. I did my Post graduate diploma in photography from Pathshala South Asian Media Institute.Born in 1990 Midnapore - Lives and works in KolkataAwards and Fellowships: The Toto-Tasveer Emerging Photographer of the Year. India foundation for the Arts grant for the Project "Let's Sing an Old Song". Magnum Foundation's Photography and Social Justice Fellowship for the Project "Full Moon in a Dark night"Publications: The Telegraph, The Indian Express , Better Photography, Kindle Magazine, Mint Lounge, The Caravan, Wired, A’int-Bad Magazine, Platform, Harmony . As well as online portals such as Scroll.in, The Huffington Post, BBC Online, Gallery Carte Blanche, F-Stop Magazine, Galli Magazine, Fltr , Medium and etc. AAP: Do you have a mentor or role model? Yes, Shahidul Alam who is the principal of Pathshala .And Morten Krogvold was one of my mentor during Chobimela VII .AAP: Do you remember your first shot? What was it?I don't remember my first shot exactly but when I was 7-8 years old, I got a Kodak KB10 from my mother and then I started to capture each and everything around me.AAP: What or who inspires you?My Parents ,Friends, Barnali But mostly my Grand father whose photographs inspire me to become a photographer in my childhood.AAP: How could you describe your style?Once one of my mentor Hasib Zakaria told me that my work is about hyper real. "Hyper reality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins."AAP: What kind of gear do you use? Camera, lens, digital, film?I like to shoot only on 35mm Prime lens in Film and Digital both.AAP: Do you spend a lot of time editing your images? For what purpose?I don't spend lot of time in editing my pictures but what I keep in mind during my editing is that I should not off-tracked.AAP: Favorite(s) photographer(s)?Alec Soth, Stfan bladh, Graciela Iturbide, Diane Arbus, Dayanita Singh and so on.AAP: What advice would you give a young photographer?I am also a young Photographer.AAP: What are your projects?My project documents retired Jatra artists (Jatra is four hundred years old Bengali folk theater which is disappearing day by day) or who have been working in Jatra for more than 25-30 years.AAP: Your favorite photo book?Calcutta Ladies by Dayanita Singh, Fauna and Flora by Dietmar Busse and so on.
Frederick Sommer
United States
1905 | † 1999
Frederick Sommer (September 7, 1905 – January 23, 1999), was an artist born in Angri, Italy and raised in Brazil. He earned a M.A. degree in Landscape Architecture (1927) from Cornell University where he met Frances Elizabeth Watson (September 20, 1904 – April 10, 1999) whom he married in 1928; they had no children. The Sommers moved to Tucson, Arizona in 1931 and then Prescott, Arizona in 1935. Sommer became a naturalized citizen of the United States on November 18, 1939. Considered a master photographer, Sommer first experimented with photography in 1931 after being diagnosed with tuberculosis the year prior. Early works on paper (starting in 1931) include watercolors, and evolve to pen-and-ink or brush plus drawings of visually composed musical score. Concurrent to the works on paper, Sommer started to seriously explore the artistic possibilities of photography in 1938 when he acquired an 8×10 Century Universal Camera, eventually encompassing the genres of still life (chicken parts and assemblage), horizonless landscapes, jarred subjects, cut-paper, cliché-verre negatives and nudes. According to art critic Robert C. Morgan, Sommer's "most extravagant, subtle, majestic, and impressive photographs—comparable in many ways to the views of Yosemite Valley’s El Capitan and Half Dome by Ansel Adams—were Sommer’s seemingly infinite desert landscapes, some of which he referred to as 'constellations.'" The last artistic body of work Sommer produced (1989–1999) was collage-based largely on anatomical illustrations. Frederick Sommer had significant artistic relationships with Edward Weston, Max Ernst, Aaron Siskind, Richard Nickel, Minor White, and others. His archive (of negatives and correspondence) was part of founding the Center for Creative Photography in 1975 along with Ansel Adams, Harry Callahan, Wynn Bullock, and Aaron Siskind. He taught briefly at Prescott College during the late 60s and substituted for Harry Callahan at IIT Institute of Design in 1957–1958 and later at the Rhode Island School of Design. In 1934, Frederick Sommer visited Los Angeles. Walking through the art museum one day, he noticed a display of musical scores. He saw them not as music, but as graphics, and found in them an elegance and grace that led him to a careful study of scores and notation. He found that the best music was visually more effective and attractive. He assumed that there was a correlation between music as we hear it and its notation; and he wondered if drawings that used notational motifs and elements could be played. He made his first “drawings in the manner of musical scores” that year. (After reviewing this text, Fred asked that the author refer to his scores “only” in this way. When the author suggested that it was perhaps too long to be repeated throughout the text, he laughed and said, “Well, use it at least once.”) Although people knew of his scores, and occasionally brought musicians to his house to play them, no one ever stayed with it for long. In 1967, both Walton Mendelson and Stephen Aldrich attended Prescott College, Prescott, Arizona, where Sommer was on the faculty. They barely knew of his reputation as a photographer, and nothing of the scores. Towards the end of September he invited them to his house for dinner, but they were to come early, and Mendelson was to bring my flute. “Can you play that?” he asked, as they looked at one of the scores, framed, and sitting atop his piano. With no guidance from him, they tried. Nervous and unsure of what they were getting into, they stopped midway through. Mendelson asked Aldrich where he was in the score: he pointed to where Mendelson had stopped. They knew then, mysterious though the scores were, they could be played. On May 9, 1968, the first public performance of the music of Frederick Sommer was given at Prescott College. Sommer had no musical training. He didn't know one note from another on his piano, nor could he read music. His record collection was surprisingly broad for that time, and his familiarity with it was thorough. What surprised Mendelson and Aldrich when they first met him were his visual skills: he could identify many specific pieces and almost any major composer by looking at the shapes of the notation on a page of printed music. Of Sommer's known works, his drawings, glue-color on paper, photographs, and writings, it is only these scores that have been a part of his creative life throughout the entirety of his artistic career. He was still drawing elegant scores in 1997. And like his skip reading, they are the closest insight to his creative process, thinking and aesthetic. Bruce Silverstein Gallery is the New York representative of the Frederick & Frances Sommer Foundation.Source: Wikipedia Frederick Sommer was an artistic polymath, with deep interests in painting, drawing, photography, sculpture and collage. With his work he intended to engage the world formally, to harvest its chance gifts, decontextualizing and rearranging found images and objects according to often shocking visual affinities. The artist played with a wide variety of forms, textures and scale to create startling compositions amid objects and sites others found too insignificant to notice. Sommer was intent on expanding the limits of where beauty could be found, and after viewing a display of original musical scores, he began to formulate his own theories correlating the graphic design to the sound of musical scores. Alongside many great artists of the period including Edward Weston, Max Ernst, Man Ray and Aaron Siskind, Sommer created a unique and avant-garde body of work formulated from his interest in Surrealism. His works have been exhibited by the world’s most important institutions, including the George Eastman House, Rochester; The J. Paul Getty Museum, Los Angeles; Delaware Art Museum; Serpentine Gallery, London; Charles Egan Gallery, New York; Philadelphia College of Art; Washington Gallery of Modern Art, Washington D.C.; Pasadena Art Museum, California; Museum of Modern Art, New York; Institute of Design, Chicago; Zimmergalerie Franck, Germany; and the Los Angeles County Museum of Art. Work by the artist is represented in major museum collections internationally such as the Metropolitan Museum of Art, New York; Smithsonian Institution, Washington D.C.; Art Institute of Chicago; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; National Gallery of Art, Washington D.C.; Maison Européenne de la Photographie; George Eastman House, Rochester; and the Victoria and Albert Museum, London. Sommer’s work has been published widely. Noteworthy publications include Frederick Sommer: Photography, Drawing, Collage (2005), The Mistress of the World Has No Name: Where Images Come From (1987), Frederick Sommer at Seventy Five, a Retrospective (1980), and Venus, Jupiter and Mars: The Photographs of Frederick Sommer (1980).Source: Bruce Silverstein Gallery
Tebani Slade
Australia
1966
Tebani Slade is a fine art, street and documentary photographer based between Australia and Barcelona. Her approach to photography involves storytelling and seeking the truth in her observations. She prefers to venture to unfamiliar destinations with an open mind, devoid of preconceived notions or generic perspectives. Armed only with her camera, Tebani allows events to unfold naturally, following the path that each location leads her on. A former graduate of the Queensland College of Art, Australia she also holds a Master of Distinction with the NZIPP (New Zealand Institute of Professional Photography). She has received recognition and awards for her photography, which has been exhibited both nationally and internationally. Her work has been showcased in group exhibitions such as Women Street Photographers in Kuala Lumpur and the Indian Photo Festival, as well as the Women Street Photographers annual exhibition in New York and the MIA Photo Fair in Milan. She was a finalist in the Australian Head On Photo Awards 2021 and 2022 and took first place in the 2022 Australian Mono Awards. In 2023 she was a finalist in the Mullins Conceptual Photography Prize and was awarded Australian Documentary Photography of the Year with the NZIPP. Her work has been featured in numerous publications including Australian Photography Magazine, Aust Capture Magazine, Aust Commercial Photography, Black & White Photography (UK edition), B&W (US edition), Nikon UK, The Guardian Australia, Loud & Luminous Book 2020 (a Celebration of Australian Women Photographers).
Louis Stettner
United States
1922 | † 2016
Louis Stettner was an American photographer of the 20th century whose work included streetscapes, portraits and architectural images of New York and Paris. His work has been highly regarded because of its humanity and capturing the life and reality of the people and streets. Starting in 1947, Stettner photographed the changes in the people, culture, and architecture of both cities. He continued to photograph New York and Paris up until his death. My way of life, my very being is based on images capable of engraving themselves indelibly in our inner soul’s eye. -- Louis Stettner Louis Stettner was born in Brooklyn, New York, where he was one of four children. His father was a cabinet maker, and Louis learned the trade when young, using the money he earned to support his growing love of photography. He was given a box camera as a child, and his love affair with photography began. His family went on trips to Manhattan and visited museums, including the Metropolitan Museum of Art, where his love of art began. At 18, in 1940, Stettner enlisted in the United States army and became a combat photographer in Europe for the Signal Corps. After a brief stint in Europe he was sent to New Guinea, the Philippines, and Japan. Back from the war Stettner joined the Photo League in New York. Stettner visited Paris in 1946 and in 1947 moved there. From 1947 to 1949 he studied at the Institut des Hautes Études Cinématographiques in Paris and received a Bachelor of Arts in Photography & Cinema. He went back and forth between New York and Paris for almost two decades and finally settled permanently in Saint-Ouen, near Paris, in 1990. Stettner still frequently returned to New York. Stettner's professional work in Paris began with capturing life in the post-war recovery. He captured the everyday lives of his subjects. In the tradition of the Photo League, he wanted to investigate the bonds that connect people to one another. In 1947 he was asked by the same Photo League to organize an exhibition of French photographers in New York. He gathered the works of some of the greatest photographers of the era, including Robert Doisneau, George Brassaï, Edouard Boubat, Izis, and Willy Ronis. The show was a big success and was largely reviewed in the annual issue of U.S. Camera. Stettner had begun a series of regular meetings with Brassaï who was a great mentor and had a significant influence on his work. In 1949, Stettner had his first exhibition at the Salon des Indépendants at the Bibliothèque Nationale de France, Paris. Brassaï showed me that it was possible to find something significant in photographing subjects in everyday life doing ordinary things by interpreting them in your own way and with your own personal vision. -- Louis Stettner In 1951 his work was included in the famous Subjektive Fotografie exhibition in Germany. During the 1950s he freelanced for Time Magazine, Life, Fortune, and Du (Germany). While in Paris he reconnected with Paul Strand, who had also left New York because of the political intolerance of the McCarthy era—Strand had been a founder of the Photo League that would be blacklisted and then banned during those years. In the 1970s Stettner spent more time in New York City, where he taught at Brooklyn College, Queens College, and Cooper Union. In his own work, Stettner focused on documenting the lives of the working class in both Paris and New York. He felt that the cities belong to the people who live there, not to tourists or visitors. His upbringing caused him to take great care in capturing the simple human dignity of the working class. He also captured noteworthy architectural images of both cities, including bridges, buildings, and monuments. Stettner produced well-known images, including: Aubervilliers, Brooklyn Promenade, Twin Towers with Sea Gull, Penn Station, and the Statue of Liberty, Battery Park. In his nineties, Stettner turned to a large format camera of the dimensions used by his hero, Paul Strand; an 8×10 Deardorff in order to photograph details of the landscape of Les Alpilles in Provence where Van Gogh often painted, assisted by his wife Janet. Stettner received numerous honors, and in 1950 he was named Life's top new photographer. In 1975 he won First Prize in the Pravda World Contest. Louis Stettner’s works are posthumously managed by the Louis Stettner Estate.Source: Wikipedia
Marcos Zegers
Chile
1987
"I am a Chilean photographer, with a background in architecture and with a strong interest in geopolitical, territorial and migration conflicts. My work focuses on long-term documentary projects in which I illustrate urgent situations through a careful and studied proposal. My work has been exhibited in Chile (Animal, Ekho Gallery), and fairs in London, Paris, Shanghai and New York and I participated in photo festivals as PhotoEspaña (Esp), Format (UK) and FIFV (Chile). Recently my documentary project was published on The New York Times which gave me the opportunity to start working as a freelancer for the same newspaper. I teach at the University Diego Portales in Chile where I currently live." About Mining and Exodus in the Atacama Desert This visual essay is the narrative of an endless journey through the desert and the Andes Highlands in Bolivia and Chile. A paused and deep journey through places full of memory. What appears to be photographs of elements randomly dispersed throughout the territory, when consciously grouped together, are transformed into a linear narrative linked to the extractive era. Like a map that is revealed in parts, a harsh story uncovers the relationship between mining activities and cultural displacements, all united under a common element in dispute, water. Following the course of the extractive history of colonial Latin America, what was rubber in Iquitos, cane in the Caribbean, gold in Guanajuato, or silver in Potosi, in Chile was the nitrate (saltpeter). For almost two centuries, the Atacama Desert has been a constant source of mineral resource extraction. The "Saltpetre Offices" has left the mark of an era of wealth and exploitation. Today the situation repeats itself as an exact cycle: what was nitrate, passed to copper, and today, it turns to lithium. Right in the middle of this extractive history are the woman and the man who inhabited the territory. On the one hand, there is the Aymara woman who walks and grazes the cattle in the Andean mountain range. She has not seen the face of the mining company. However, they critically meet in the use of the same resource: water. The excessive water consumption by mining companies has dried the soil, making livestock and agriculture unviable. Consequently, the highlands man has been forced to go down to work in the city, where possible, the job to which he aspires, is precisely in mining. This uncovers a vicious circle which is greatly enhanced by the government's lack of attention to these isolated areas. The risk is profound. The desert has not been completely unravelled. It continues to have lots of minerals, and at the same time, it stalks a climate change that will not stop any time soon. In Chile the water is sold, the water rights belong to private. This situation has alarmed the inhabitants of this territory, amongst organizations and activists who wage real legal battles in the courts. This visual essay, far from addressing the issue on all its extents, seeks to contribute to the latent conversation about extractive practices and the current economic model in Chile. To bring back this apparently scenic desert to an urgent reality, promoting a reflection that contributes to the appreciation of rural territory and its culture.
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