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Daniel Beltrá
Photo Robert Leslie
Daniel Beltrá
Daniel Beltrá

Daniel Beltrá

Country: Spain/United States
Birth: 1964

Born in Madrid, Spain, Daniel Beltrá is a photographer based in Seattle, Washington. His passion for conservation is evident in images of our environment that are evocatively poignant. The most striking large-scale photographs by Beltrá are images shot from the air. This perspective gives the viewer a wider context to the beauty and destruction he witnesses, as well as revealing a delicate sense of scale. After two months of photographing the Deepwater Horizon Gulf Oil Spill, he produced many visually arresting images of the man-made disaster.

Over the past two decades, Beltrá's work has taken him to all seven continents, including several expeditions to the Brazilian Amazon, the Arctic, the Southern Oceans and the Patagonian ice fields. For his work on the Gulf Oil Spill, in 2011 he received the Wildlife Photographer of the Year Award and the Lucie Award for the International Photographer of the Year - Deeper Perspective,. His SPILL photos toured the world independently and as part of the Prix Pictet exhibitions. In 2009, Beltrá received the prestigious Prince's Rainforest Project award granted by Prince Charles. Other highlights include the BBVA Foundation award in 2013 and the inaugural "Global Vision Award" from the Pictures of the Year International in 2008. In 2006, 2007 and 2018 he received awards for his work in the Amazon from World Press Photo. Daniel's work has been published by the most prominent international publications including The New Yorker, Time, Newsweek, The New York Times, Le Monde, and El Pais, amongst many others.

Daniel Beltrá is a fellow of the prestigious International League of Conservation Photographers.

Source: danielbeltra.photoshelter.com


Born in Madrid, Spain, Daniel Beltrá is a photographer based in Seattle, Washington. His passion for conservation is evident in images of our environment that are evocatively poignant. The most striking large-scale photographs by Beltrá are images shot from the air. This perspective gives the viewer a wider context to the beauty and destruction he witnesses, as well as revealing a delicate sense of scale. After two months of photographing the Deepwater Horizon Gulf Oil Spill, he produced many visually arresting images of the man-made disaster. His SPILL exhibit premiered in August 2010, toured around the globe in 2011 and will continue into 2012. Over the past two decades, Beltrá’s work has taken him to all seven continents, including several expeditions to the Brazilian Amazon, the Arctic, the Southern Oceans and the Patagonian ice fields.

For his work on the Gulf Oil Spill, in 2011 he received the Wildlife Photographer of the Year Award, the Lucie Award for the International Photographer of the Year - Deeper Perspective, and was chosen as one of the six finalists for Critical Mass for Photolucida. In 2009, Beltrá received the prestigious Prince’s Rainforest Project award granted by Prince Charles. Other highlights include the inaugural “Global Vision Award” from the Pictures of the Year International in 2008. In 2007 and 2006 he received awards for his work in the Amazon from World Press Photo. Daniel’s work has been published by the most prominent international publications including The New Yorker, Time, Newsweek, The New York Times, Le Monde, and El Pais, amongst many others. Daniel Beltrá is a fellow of the prestigious International League of Conservation Photographers.

Source: edelmangallery.com

 

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Rohina Hoffman
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Rohina is a fine art photographer whose practice uses portraiture and the natural world to investigate themes of identity, home, adolescence and the female experience. Born in India and raised in New Jersey, Rohina grew up in a family of doctors spanning three generations. While an undergraduate at Brown University, Rohina also studied photography at the Rhode Island School of Design and she was a staff photographer for the Brown Daily Herald. A graduate of Brown University Medical School and resident at UCLA Medical Center, her training led to a career as a neurologist. A skilled observer of her patients, Rohina was instilled with a deep and unique appreciation of the human experience. Her ability to forge the sacred trust between doctor and patient has been instrumental in fostering a parallel connection between photographer and subject. Rohina published her first monograph Hair Stories with Damiani Editore (February 2019) accompanied by a solo exhibition at Brown University’s Alpert Medical School. Hair Stories is held in many notable public collections including the Metropolitan Museum of Art, Getty Research Institute, Cleveland Institute of Art, and over 25 university libraries. Her second monograph, Embrace, with Schilt Publishing was released October 2022 (Europe) and January 2023 (U.S.) with a solo show of this work at the Griffin Museum of Photography (April 2023). In 2021, she was the winner of the Purchase Award with Atlanta Photography Group and several of her prints from her Generation 1.75 project were acquired by the High Museum of Art in Atlanta, Georgia. Her photographs have been exhibited in juried group shows both nationally and internationally in venues such as The Center for Fine Art Photography, Griffin Museum, Atlanta Photography Group, Colorado Photographic Arts Center, Los Angeles Center for Photography, Photo LA, and A. Smith Gallery. She has received numerous awards and has been published in Marie Claire Italia, F-Stop Magazine, Lenscratch, Shots Magazine, Dodho Magazine and Aesthetica Magazine among others.
Consuelo Kanaga
United States
1894 | † 1978
Consuelo Kanaga (born Consuelo Delesseps Kanaga) was an American photographer and writer who became well known for her photographs of African-Americans. She is one of the pioneers of modern American photography, began her career as a photojournalist in 1915 in San Francisco. In the 1920s, Alfred Stieglitz inspired her to develop a more aesthetic approach, and a trip to Europe in 1928 awakened her lifelong preoccupation with European modernist painting and the ways in which that work was influenced by the sculpture of Africa. Kanaga successfully combined a Pictorialist aesthetic with a realist strategy, producing handsomely composed and carefully printed images. She was one of few white American photographers in the 1930s to make artistic portraits of African Americans.Source: The Brooklyn Museum Kanaga was born on May 25, 1894 in Astoria, Oregon, the second child of Amos Ream Kanaga and Mathilda Carolina Hartwig. Her father was a successful lawyer and judge in Ohio. After moving to Astoria he became the district attorney for the city, and he also traveled widely, often leaving his family behind with little notice. After they moved to California in 1915 her mother became a real estate broker, a highly unusual occupation for a woman at that time. The last name "Kanaga" is of Swiss origin, and a family genealogy traces its roots back at least 250 years. She spelled her first name "Consuela," at least in the 1920s and '30s, but it is generally listed now as Consuelo, a more common Spanish name. Her middle name "Delesseps" is said to have come from her mother's admiration for Ferdinand de Lesseps, the French diplomat and developer of the Suez Canal. In 1911 the family moved from Oregon to Larkspur in Marin County, California. In 1915 Kanaga got a job as a reporter, feature writer and part-time photographer for the San Francisco Chronicle. Dorothea Lange later said that Kanaga was the first female newspaper photographer she had ever encountered. It was there that she discovered Alfred Stieglitz's journal Camera Work and decided to become a photographer. Lange encouraged her to take up photography as a career and introduced her to the growing San Francisco Bay Area community of artistic photographers, notably Anne Brigman, Edward Weston, Francis Bruguière, and Louise Dahl-Wolf. In 1919 she married mining engineer Evans Davidson, but they separated within two years. In 1922 she moved to New York in order to work as a photojournalist for the New York American newspaper. While in New York a co-worker at the newspaper, Donald Litchfield, introduced her to Alfred Stieglitz. Stieglitz worked with Kanaga to help transform her vision from photojournalism to a more artistic photographic style. By March 1923 she was living with Litchfield, although at the time she had not yet divorced Davidson. In 1924 she and Litchfield moved to California, living at times near Santa Cruz, San Francisco and Los Angeles. By the end of the year she had finalized divorce proceedings against Davidson, and she became engaged to Litchfield. The engagement lasted only six months, however, and by the end of the year they were no longer a couple. In 1926 she met Tina Modotti, who was visiting San Francisco, and she put together a small exhibition of Modotti's photographs at the Kanaga Studio on Post Street. Aided by art patron Albert Bender, she began planning a prolonged "tour" of Europe, and in 1927 she spent the latter part of the year traveling and photographing in France, Germany, Hungary and Italy. While there she met up with Dahl, and the two of them spent many weeks traveling together. While traveling to Tunisia in January 1928, she met James Barry McCarthy, an Irish writer and ex-pilot, and by March they were married. In May they returned to New York City and took up residence there. Kanaga initially found work as a photographic retoucher, but within a few months she had her own darkroom and was printing the first of her many photos from Europe. In 1930 she and McCarthy moved to San Francisco, and soon she was re-established in the photographic community there. In 1931 she met and began to employ African-American Eluard Luchell McDaniels, a young "man-of-all-trades" who worked for her as a handyman and chauffeur. She began to photograph him around her home, and as they talked she became captivated by the plight of African-Americans and their continuing fight against racism. Soon she was devoting much of her photography to images of African-Americans, their homes and their culture. In 1932 she was invited by Weston and Ansel Adams to participate in the famous Group f/64 show at the M.H. de Young Museum, and she showed four prints. There is some confusion about whether Kanaga should actually be called a "member" of Group f/64. The announcement for the show at the de Young Museum listed seven photographers in Group f/64 and said "From time to time various other photographers will be asked to display their work with Group f/64. Those invited for the first showing are: Preston Holder, Consuela Kanaga, Alma Lavenson, Brett Weston." However, in 1934 the group posted a notice in Camera Craft magazine that said "The F:64 group includes in its membership such well known names as Edward Weston, Ansel Adams, Willard Van Dyke, John Paul Edwards, Imogene [sic] Cunningham, Consuela Kanaga and several others." In an interview later in her life, Kanaga herself said "I was in that f/64 show with Edward Weston, Imogen Cunningham, Willard Van Dyke and Ansel Adams, but I wasn't in a group, nor did I belong to anything ever. I wasn't a belonger." In 1935 she moved back to New York without McCarthy, and the two apparently were divorced sometime that year. She began plans for a portfolio of African Americans and interviewed several families in Harlem with whom she hoped to live while documenting their lives. While there she encountered painter Wallace Putnam, whom she had met the last time she lived in New York. Within three months they were married. They spent part of their honeymoon visiting Alfred Stieglitz at his home at Lake George. In 1938 she joined the Photo League, where she lectured a new generation of artistic photographers and became the leader of the Documentary Group projects, including Neighborhoods of New York. Her photographs were printed in progressive publications of the time, including New Masses, Labor Defender, and Sunday Worker. By 1940 she found teaching too restrictive, and she returned to taking photographs full time. She was actively photographing and exhibiting throughout the 1940s, 50s and 60s. In the latter decade she became very active in civil rights, and she took part in and photographed many demonstrations and marches. In 1963 she was arrested in Albany, Georgia during the Walk for Peace. She finally seemed to have found the right romantic and creative partner in Putnam, and the two of them remained together for the rest of her life. They traveled frequently and spent the last half of the 1960s going back and forth to France. A review published in New York Times described that "She continued to work into her 70s, despite suffering from emphysema and cancer, which were probably caused by the chemicals used in creating her prints. Her body of work, though comparatively small, is consistently exceptional. Consuelo Kanaga died virtually unknown on February 28, 1978, but her talent endures." Her entire estate amounted to $1,345 in photographic equipment, almost 2,500 negatives and 375 prints. Everything else she had given away to friends.Source: Wikipedia
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