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Keiichi Tahara
Keiichi Tahara
Keiichi Tahara

Keiichi Tahara

Country: Japan
Birth: 1951 | Death: 2017

Tahara was born in Kyoto. He learned photographic techniques at an early age from his grandfather, a professional photographer.

In 1972, he travelled Europe with Red Buddha Theatre as a lighting and visual technician. While in France, he encountered a sharp, harsh and piercing light that he had never experienced in Japan. Since then, he remained in Paris for next 30 years and started his career as a photographer.

His first series of work "Ville (City)" (1973-1976) captured the unique light in Paris in black-and-white photography. His next series of work "Fenêtre (Windows)" (1973-1980) awarded the best new photographer by Arles International Photography Festival in 1977 and he moved into the limelight.The following year, he started the new series "Portrait" (1978), then "Eclat" (1979-1983) and "Polaroid" (1984) and received number of awards such as Ihei Kimura award (1985).

His morphological approach to light has extended to sculpture, installations, and other various method crossing over the genre of photography. In 1993, in moat of the Castle of Angers (1993), the first light sculpture in France, "Fighting the Dragon" (1993) was installed.

"Garden of Light" (Eniwa, Hokkaido, 1989) is a representative piece in which light sculptures are installed in a public space covered in snow for six months of the year. The light changes in response to music and presents a space of poetic dimensions. Based on the same concept, "Échos du Lumières" (2000) was installed in the Canal Saint-Martin, commissioned as a public space project by the City of Paris. The spectacle colors from the prisms illuminate the stone wall synchronizing with the sounds.

The rest of his work include a permanent outdoor installation "Niwa (Garden)" (2001) at the Photography Museum in Paris (Maison Européenne de la Photographie), "Portail de Lumière", an installation created as a part of the cultural project Lille 2004, and " Light Sculpture" exhibition at Tokyo Metropolitan Teien Art Museum in 2004.

In 2008, Tahara lead the project of building Ginza 888, with the artistic direction of the Museum of Islamic Art. A photography book was published.

He continued to produce a number of light installation projects in urban spaces. He died on 6 June 2017.

Source: Wikipedia



When did you realize you wanted to be a photographer?
It was 1972 when I am 21 years old

Where did you study photography? With whom?
From my grand father

Do you have a mentor or role model?
Trace of light. Moholy-Nagy / Man-Ray

How long have you been a photographer?
40 years

Do you remember your first shot? What was it?
Yes, when I was 6 years old took the picture of garden of our family house

What or who inspires you?
So many artists which I met in my life

How could you describe your style?
Trace of light.

Do you have a favorite photograph or series?
Serie de Eclat 1979-1983

Do you spend a lot of time editing your images? For what purpose?
Light/Observation/Notation

what mistake should a young photographer avoid?
Do not afraid mistake, mistake make a art

An idea, a sentence, a project you would like to share?
1970

What are your projects?
1970
 

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Alfred Stieglitz
United States
1864 | † 1946
Through his activities as a photographer, critic, dealer, and theorist, Alfred Stieglitz had a decisive influence on the development of modern art in America during the early twentieth century. Born in 1864 in New Jersey, Stieglitz moved with his family to Manhattan in 1871 and to Germany in 1881. Enrolled in 1882 as a student of mechanical engineering in the Technische Hochschule (technical high school) in Berlin, he was first exposed to photography when he took a photochemistry course in 1883. From then on he was involved with photography, first as a technical and scientific challenge, later as an artistic one. Returning with his family to America in 1890, he became a member of and advocate for the school of pictorial photography in which photography was considered to be a legitimate form of artistic expression. In 1896 he joined the Camera Club in New York and managed and edited Camera Notes, its quarterly journal. Leaving the club six years later, Stieglitz established the Photo-Secession group in 1902 and the influential periodical Camera Work in 1903. In 1905, to provide exhibition space for the group, he founded the first of his three New York galleries, The Little Galleries of the Photo-Secession, which came to be known as Gallery 291. In 1907 he began to exhibit the work of other artists, both European and American, making the gallery a fulcrum of modernism. As a gallery director, Stieglitz provided emotional and intellectual sustenance to young modernists, both photographers and artists. His Gallery 291 became a locus for the exchange of critical opinions and theoretical and philosophical views in the arts, while his periodical Camera Work became a forum for the introduction of new aesthetic theories by American and European artists, critics, and writers. After Stieglitz closed Gallery 291 in 1917, he photographed extensively, and in 1922 he began his series of cloud photographs, which represented the culmination of his theories on modernism and photography. In 1924 Stieglitz married Georgia O'Keeffe, with whom he had shared spiritual and intellectual companionship since 1916. In December of 1925 he opened the Intimate Gallery; a month later Duncan Phillips purchased his first works from Stieglitz’s gallery, paintings by Dove, Marin, and O'Keeffe. In 1929 Stieglitz opened a gallery called An American Place, which he was to operate until his death. During the thirties, Stieglitz photographed less, stopping altogether in 1937 due to failing health. He died in 1946, in New York. The Collection contains nineteen gelatin-silver photographs of clouds by Stieglitz.Source: The Phillips Collection My photographs are a picture of the chaos in the world, and of my relationship to that chaos. My prints show the world’s constant upsetting of man’s equilibrium, and his eternal battle to reestablish it. -- Alfred Stieglitz In early June 1918, O'Keeffe moved to New York from Texas after Stieglitz promised he would provide her with a quiet studio where she could paint. Within a month he took the first of many nude photographs of her at his family's apartment while his wife Emmy was away, but she returned while their session was still in progress. She had suspected something was going on between the two for a while, and told him to stop seeing her or get out. Stieglitz left and immediately found a place in the city where he and O'Keeffe could live together. They slept separately for more than two weeks, but by the end of July they were in the same bed together. Once he was out of their apartment Emmy had a change of heart. Due to the legal delays caused by Emmy and her brothers, it would be six more years before the divorce was finalized. During this period Stieglitz and O'Keeffe continued to live together, although she would go off on her own from time to time to create art. Stieglitz used their times apart to concentrate on his photography and promotion of modern art. O'Keeffe was the muse Stieglitz had always wanted. He photographed O'Keeffe obsessively between 1918 and 1925 in what was the most prolific period in his entire life. During this period he produced more than 350 mounted prints of O'Keeffe that portrayed a wide range of her character, moods and beauty. He shot many close-up studies of parts of her body, especially her hands either isolated by themselves or near her face or hair. O'Keeffe biographer Roxanna Robinson states that her "personality was crucial to these photographs; it was this, as much as her body, that Stieglitz was recording." In 1920, Stieglitz was invited by Mitchell Kennerly of the Anderson Galleries in New York to put together a major exhibition of his photographs. In early 1921, he hung the first one-man exhibit of his photographs since 1913. Of the 146 prints he put on view, only 17 had been seen before. Forty-six were of O'Keeffe, including many nudes, but she was not identified as the model on any of the prints. In 1922, Stieglitz organized a large show of John Marin's paintings and etching at the Anderson Galleries, followed by a huge auction of nearly two hundred paintings by more than forty American artists, including O'Keeffe. Energized by this activity, he began one of his most creative and unusual undertakings – photographing a series of cloud studies simply for their form and beauty. He said: "I wanted to photograph clouds to find out what I had learned in forty years about photography. Through clouds to put down my philosophy of life – to show that (the success of) my photographs (was) not due to subject matter – not to special trees or faces, or interiors, to special privileges – clouds were there for everyone…" By late summer he had created a series he called "Music – A Sequence of Ten Cloud Photographs". Over the next twelve years he would take hundreds of photographs of clouds without any reference points of location or direction. These are generally recognized as the first intentionally abstract photographs, and they remain some of his most powerful photographs. He would come refer to these photographs as Equivalents. Stieglitz's mother Hedwig died in November 1922, and as he did with his father he buried his grief in his work. He spent time with Paul Strand and his new wife Rebecca (Beck), reviewed the work of another newcomer named Edward Weston and began organizing a new show of O'Keeffe's work. Her show opened in early 1923, and Stieglitz spent much of the spring marketing her work. Eventually, twenty of her paintings sold for more than $3,000. In the summer, O'Keeffe once again took off for the seclusion of the Southwest, and for a while Stieglitz was alone with Beck Strand at Lake George. He took a series of nude photos of her, and soon he became infatuated with her. They had a brief physical affair before O'Keeffe returned in the fall. O'Keeffe could tell what had happened, but since she did not see Stieglitz's new lover as a serious threat to their relationship she let things pass. Six years later she would have her own affair with Beck Strand in New Mexico. In 1924, Stieglitz's divorce was finally approved by a judge, and within four months he and O'Keeffe married in a small, private ceremony at Marin's house. They went home without a reception or honeymoon. O'Keeffe said later that they married in order to help soothe the troubles of Stieglitz's daughter Kitty, who at that time was being treated in a sanatorium for depression and hallucinations. For the rest of their lives together, their relationship was, as biographer Benita Eisler characterized it, "a collusion ... a system of deals and trade-offs, tacitly agreed to and carried out, for the most part, without the exchange of a word. Preferring avoidance to confrontation on most issues, O'Keeffe was the principal agent of collusion in their union." In the coming years O'Keeffe would spend much of her time painting in New Mexico, while Stieglitz rarely left New York except for summers at his father's family estate in Lake George in the Adirondacks, his favorite vacation place. O'Keeffe later said "Stieglitz was a hypochondriac and couldn't be more than 50 miles from a doctor." The great geniuses are those who have kept their childlike spirit and have added to it breadth of vision and experience. -- Alfred Stieglitz At the end of 1924, Stieglitz donated 27 photographs to the Boston Museum of Fine Arts. It was the first time a major museum included photographs in its permanent collection. In the same year he was awarded the Royal Photographic Society's Progress Medal for advancing photography and received an Honorary Fellowship of the Society. In 1925, Stieglitz was invited by the Anderson Galleries to put together one of the largest exhibitions of American art, entitled Alfred Stieglitz Presents Seven Americans: 159 Paintings, Photographs, and Things, Recent and Never Before Publicly Shown by Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O'Keeffe and Alfred Stieglitz. Only one small painting by O'Keeffe was sold during the three-week exhibit. Soon after, Stieglitz was offered the continued use of one of the rooms at the Anderson Galleries, which he used for a series of exhibitions by some of the same artists in the Seven Americans show. In December 1925, he opened his new gallery, The Intimate Gallery, which he nicknamed The Room because of its small size. Over the next four years, he put together sixteen shows of works by Marin, Dove, Hartley, O'Keeffe and Strand, along with individual exhibits by Gaston Lachaise, Oscar Bluemner and Francis Picabia. During this time, Stieglitz cultivated a relationship with influential new art collector Duncan Phillips, who purchased several works through The Intimate Gallery. In 1927, Stieglitz became infatuated with the 22-year-old Dorothy Norman, who was then volunteering at the gallery, and they fell in love. Norman was married and had a child, but she came to the gallery almost every day. O'Keeffe accepted an offer by Mabel Dodge to go to New Mexico for the summer. Stieglitz took advantage of her time away to begin photographing Norman, and he began teaching her the technical aspects of printing as well. When Norman had a second child, she was absent from the gallery for about two months before returning on a regular basis. Within a short time, they became lovers, but even after their physical affair diminished a few years later, they continued to work together whenever O'Keeffe was not around until Stieglitz died in 1946. In early 1929, Stieglitz was told that the building that housed The Room would be torn down later in the year. After a final show of Demuth's work in May, he retreated to Lake George for the summer, exhausted and depressed. The Strands raised nearly sixteen thousand dollars for a new gallery for Stieglitz, who reacted harshly, saying it was time for "young ones" to do some of the work he had been shouldering for so many years. Although Stieglitz eventually apologized and accepted their generosity, the incident marked the beginning of the end of their long and close relationship. In the late fall, Stieglitz returned to New York. On December 15, two weeks before his sixty-fifth birthday, he opened An American Place, the largest gallery he had ever managed. It had the first darkroom he had ever had in the city. Previously, he had borrowed other darkrooms or worked only when he was at Lake George. He continued showing group or individual shows of his friends Marin, Demuth, Hartley, Dove and Strand for the next sixteen years. O'Keeffe received at least one major exhibition each year. He fiercely controlled access to her works and incessantly promoted her even when critics gave her less than favorable reviews. Often during this time, they would only see each other during the summer, when it was too hot in her New Mexico home, but they wrote to each other almost weekly with the fervor of soul mates. In 1932, Stieglitz mounted a forty-year retrospective of 127 of his works at The Place. He included all of his most famous photographs, but he also purposely chose to include recent photos of O'Keeffe, who, because of her years in the Southwest sun, looked older than her forty-five years, in comparison to Stieglitz's portraits of his young lover Norman. It was one of the few times he acted spitefully to O'Keeffe in public, and it might have been as a result of their increasingly intense arguments in private about his control over her art. Later that year, he mounted a show of O'Keeffe's works next to some amateurish paintings on glass by Becky Strand. He did not publish a catalog of the show, which the Strands took as an insult. Paul Strand never forgave Stieglitz for that. He said, "The day I walked into the Photo-Secession 291 [sic] in 1907 was a great moment in my life… but the day I walked out of An American Place in 1932 was not less good. It was fresh air and personal liberation from something that had become, for me at least, second-rate, corrupt and meaningless." In 1936, Stieglitz returned briefly to his photographic roots by mounting one of the first exhibitions of photos by Ansel Adams in New York City. The show was successful and David McAlpin bought eight Adams photos. He also put on one of the first shows of Eliot Porter's work two years later. Stieglitz, considered the "godfather of modern photography", encouraged Todd Webb to develop his own style and immerse himself in the medium. The next year, the Cleveland Museum of Art mounted the first major exhibition of Stieglitz's work outside of his own galleries. In the course of making sure that each print was perfect, he worked himself into exhaustion. O'Keeffe spent most of that year in New Mexico. In early 1938, Stieglitz suffered a serious heart attack, one of six coronary or angina attacks that would strike him over the next eight years, each of which left him increasingly weakened. During his absences, Dorothy Norman managed the gallery. O'Keeffe remained in her Southwest home from spring to fall of this period. In the summer of 1946, Stieglitz suffered a fatal stroke and went into a coma. O'Keeffe returned to New York and found Dorothy Norman was in his hospital room. She left and O'Keeffe was with him when he died. According to his wishes, a simple funeral was attended by twenty of his closest friends and family members. Stieglitz was cremated, and, with his niece Elizabeth Davidson, O'Keeffe took his ashes to Lake George and "put him where he could hear the water." The day after the funeral, O'Keeffe took control of An American Place.Source: Wikipedia Image:All images © Library of Congress, Prints & Photographs Division, The Alfred Stieglitz Collection, Gift of Georgia O'Keeffe
Cole Weston
United States
1919
Cole Weston, born on January 30, 1919 in Los Angeles, was the fourth and youngest son of famed 20th Century photographer, Edward Henry Weston. Cole received his first camera, a 4 by 5 Autograflex, from his brother Brett in 1935. Cole graduated with a degree in theater arts from the Cornish School in Seattle in 1937 and then served in the Navy during World War II as a welder and photographer. After his discharge from the Navy in 1945 Cole worked for Life Magazine. In 1946 he moved to Carmel to assist his father Edward. During this time Eastman Kodak started sending their new color film, Kodachrome, for Edward to try out. Cole took this opportunity to experiment with this new medium and eventually became one of the world’s great masters of fine art color photography. In 1957 Cole began shooting his first color photographs of the magnificent Big Sur coast, Monterey Peninsula and central California. At this time he carried on his own portrait business while assisting his ailing father, who passed away in 1958. Edward had authorized Cole to print from Edward’s negatives after his death, so Cole continued printing Edward’s work while pursuing his own fine art photography. In 1975 Cole began lecturing and conducting workshops on his father’s photography as well as his own. With his work in the theater arts Cole was a natural when it came to teaching and lecturing and his many students still comment on what a great workshop he gave. He traveled throughout the United States, England, Europe, Russia, Mexico, New Zealand and the South Pacific photographing and inspiring others with his characteristic enthusiasm and charm. In 1988 after three decades devoted to printing his father’s work, Cole at last set aside his responsibility to Edward’s legacy and refocused on his own photography. Cole had his first solo exhibition in San Francisco in 1971. Since then, his work has been featured in more than sixty exhibitions worldwide and has been collected by museums throughout the United States and Europe. His work has been featured in numerous gallery shows and publications with three monographs and numerous articles having been published on his exquisite photography. Michael Hoffman from Aperture Publications once quoted, “In the history of photography there are but a few masters of color photography, Cole Weston is assuredly one of these masters of the medium whose dramatic powerful images are a source of great joy and pleasure”. Cole passed away from natural causes on April 20th, 2003. Like Cole, who once carried on the legacy of his father’s photography, his children have decided, as a tribute to their father, to carry on printing and offer Trust prints of Cole’s fine color photographs. Cole Weston was a dedicated artist and master of fine photography. Hopefully the availability of modern prints will make it possible for photographic enthusiasts everywhere to continue to enjoy his life’s work.
Eva Mallis
United States
Eva Mallis was born in New York City to Greek immigrant parents. Her elementary school years were spent in Queens, New York - the most ethnically diverse area in the U.S. - where she was immersed in a hardworking population striving for the American dream. Pursuing that dream, Eva earned a BA and an MBA and has had a career that encompassed investment banking and real estate. Eva's love of photography surfaced post-college while living in Washington, D.C. and attending photography classes at the Smithsonian Institute. Her passion for street photography grew as she often roamed the streets of downtown Washington, D.C. taking pictures during her lunch hour. After family and career, Eva resumed her passion for photography by taking several classes at the International Center of Photography (ICP) and numerous workshops around the globe. Eva is a New York City based street and documentary photographer. Her photography is best characterized as urban documentary. Eva's work has been shown in numerous group exhibitions in New York City. She has won PDN Magazine's 'Taste' Photo Competition, has received several International Photography Award (IPA) Honorable Mentions and has participated in many juried shows. Statement "I am driven to photograph the human reality, taking a moment to observe, assess and capture sometimes insignificant moments in time. Photography sharpens my awareness of the mundane and the unnoticed. By capturing slivers of time - people going about their every day - my visual slant forces the viewer to recognize the themes of life. I am attempting to thoughtfully communicate that which is too often unseen."
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