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Michael Jackson
Michael Jackson

Michael Jackson

Country: United Kingdom
Birth: 1966

British b.1966, in Wokingham, Berkshire. Jackson trained as a painter at West Dean College, England. After moving to Wales In 2007 he started work on an extensive study of a single remote beach, Poppit Sands, which lasted for eight years until 2015. Jackson won the Chris Beetles Award in 2013 and became a Hasselblad Masters Award finalist three times in 2008, 2009 and 2012.

Now regarded as a leading exponent of the luminogram process, he works with uniquely developed techniques and response mirroring using silver gelatin paper in the darkroom.

In 2017 his luminogram work was paired with theologian Edwin A.Abbott in a book published by 21st Editions, titled after Abbott's famous work 'FLATLAND' and premiered at the Grand Palais in Paris. His work is held at the National Gallery of Art in Washington and the collection of the University of Minnesota.


Artist Statement

"I am a British photographer based in rural Wales, UK. Born 1966. Studied art at West Dean College then apprenticed under the landscape painter Christopher W. Baker. Since moving to Wales in 2007 I have been photographing a single beach - Poppit Sands. This seems to be something that I am compelled to do as I have not yet tired of it. My goal is to keep on looking harder and hope that through studying a single subject I can find something new. The images have toured with the Hasselblad Masters On Tour twice and have been exhibited in Copenhagen, Hong Kong, Beijing, Berlin, New York, Cardiff, London & Los Angeles as well being featured in magazines such as LENSWORK, SILVERSHOTZ and SHOTS as well as blogs such as LENSCRATCH, CNN & FEATURESHOOT. The images have also reached the Hasselblad Masters Finals three times."

Source: www.mgjackson.co.uk

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www.mgjackson.co.uk

 

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More Great Photographers To Discover

Jianwei Yang
Jianwei Yang
Canada
1969
"I was born in 1969, Beijing. Studied Computer Science at Beijing University of Technology and University of Tsukuba. I’m currently working for a software company in Vancouver. Photography is a hobby and I became a serious street photographer in late 2010. I love walking on the streets in downtown Vancouver and capture the interesting moments in those familiar places. Urban geometry, light and shadow, strong contrast and precise timing... those are the basic elements in my work. My enthusiasm for photography started with my kids, and it's still on the climb."
Lello Fargione
Lello Fargione
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Photographer for passion and empathetic traveler, I was born in Sicily where I live and have fun with photography. I continue to photograph, to tell things as they happen, as if I were not there, but at the same time remaining deeply inside the image, a "journey" for the desire to know new cultures and penetrate the most remote and inaccessible places by identifying with situations that I meet, to '' narrate '' through images. I remained, by nature and conviction, a freelance "photographer", who likes to "photograph" to tell stories, not to forget, not to stop "dreaming"... Asia, a woman's life Work, fatigue, the unhealthy environment in which women in Asia live, are the theme of my photographic journey in the Burmese and Vietnamese lands. A theme that has imposed itself with all the drama of the apparently impassive gazes of women who seem to be eternal figures in an exotic and enigmatic mosaic. Often in the shadows, as if to underline an obscure and forgetful role of the past, the gesture is repeated with the automatism forged in the labor of days that have consumed the face and limbs. It is known that once these women enjoyed a very different social status and one cannot help but know that what I see today is the result of a "commercialization" of the society that commodifies individuals. The anguish as the sense of guilt intervenes in a second moment: seeing oneself as a privileged observer of the condition of others. But reviewing and showing beyond glossy aesthetics is also a way (the photographer's only way) of going beyond the observer's impotence.
Christer Björkman
Christer Björkman
Sweden
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Christer Björkman aimed to become a photographer in his early teens but eventually chose another career. Now, 40 years later he has taken up photography again. His photos have been published in several exhibitions and magazines. He works on various projects, many of which involve portraits of people. He collaborates with photographers Kitty de Jong (Amsterdam) and Jane Dee (Glasgow) in the photography collective 'Three Cities Photography'. Statement After a break of 40+ years, I took up photography again some years ago. The feeling of wanting to catch up is strong – I have so many things I want to try, so many projects I would like to complete. That's why my photography tends to be ’all over the place’. I enjoy doing street photography, portraitures, architecture, abstract, including nature, photography. I am drawn to photographing ’the ordinary’, which has become a common theme in many of my projects. Therefore, the projects often tend to be documentary. What drives me to take photographs is that it makes me feel good and that I feel satisfied with what I achieve.
Izabella Sapuła
Izabella Sapuła
Poland
Polish photographer specializing in fine art photography. She is self-taught and engages in her passion for photography and art as a tool to explore human relationships but also relationships with herself or the surrounding nature. Her psychological education and the fact that she grew up among animals in a house on the edge of the forest are clearly visible in her photographs. The direction of her work is determined by a longing for understanding and deeper view of human and his unity with the natural world.
Erwin Blumenfeld
Erwin Blumenfeld
Germany/United States
1897 | † 1969
Born in Berlin in 1897 to Jewish parents, Erwin Blumenfeld began his career working as an apprentice dressmaker to Moses and Schlochauer in 1913. He opened his own company in Amsterdam in 1923, the 'Fox Leather Company', a leather goods store specialising in ladies handbags. After moving to new premises in 1932, Blumenfeld discovered a fully equipped dark room and began to photograph many of his -predominantly female- customers. The company went bankrupt in 1935, just as Blumenfeld's photographic career was beginning to take an upward turn. Following a move to Paris in 1936, Blumenfeld was commissioned to take the portraits of personalities including George Rouault and Henri Matisse and secured his first advertising work for Monsavon. Blumenfeld quickly captured the attention of photographer Cecil Beaton who helped him secure a contract with French Vogue. After World War II in 1941, Erwin Blumenfeld moved to New York where he was immediately put under contract by Harper's Bazaar and after three years, he began freelance work for American Vogue. Over the next fifteen years, Blumenfeld's work was featured on numerous Vogue covers and in a variety of publications including Seventeen, Glamour and House & Garden. During this period, he also worked a photographer for the Oval Room of the Dayton Department Store in Minneapolis and produced advertising campaign for cosmetics clients such as Helena Rubinstein, Elizabeth Arden and L'Oreal. In the late 50s, he also began to create motion pictures, hoping to use them commercially and began work on his biography and his book My One Hundred Best Photos which, despite being a renowned fashion photographer, only included four of his fashion images. Following Blumenfeld's death in 1969, numerous books on his work have been published, namely The Naked and the Veiled by his son, Yorick Blumenfeld, and his photographs have been exhibited at international galleries including the Pompidou Gallery in Paris, The Barbican in London and The Hague Museum of Photography in the Netherlands. In the 1960s, he worked on his autobiography which found no publisher because it was considered to be too ironic towards society, and was published only after his death.Source: Wikipedia Erwin Blumenfeld is considered to be one of the early pioneers of fashion photography alongside George Hoyningen-Huene, Cecil Beaton, and Horst P. Horst. It was not only his employment of experimental techniques in the darkroom, Dada and Surrealist influences, and groundbreaking street work, but Blumenfeld’s unique and masterful combination of elegance and eroticism that transformed fashion into high art and paved the way for Richard Avedon, Irving Penn, Herb Ritts, and other photographers who enjoyed such prominence and recognition in the history of art. In addition to holding the record for the most covers of Vogue, Blumenfeld’s works were abundantly reproduced within the pages of Cosmopolitan, Harper’s Bazaar, Life and Vogue during the 1930s, '40s and '50s. Many of the images from these shoots will be featured in this exhibition and have since become icons of the history of fashion photography. Some have never been seen before. But all of the prints showcase not only Blumenfeld’s innovation as a photographer of fashion but also his spectacular skill as a printmaker. In his retrospective examination of Blumenfeld’s work, William Ewing writes, “His highly original and visionary work was a seamless blend of the negative and positive: taking the picture in the studio and making it in the darkroom.” In the studio, Blumenfeld often employed mirrors, glass, and backgrounds reproduced from paintings, images of cathedrals, or mosaics of magazine covers. He often used veils, which could distort or elongate the figure, confident that a woman partially concealed was more erotically charged that one seen fully nude. He also believed the printing of the image was as every bit as important as the process of capturing it, and like Man Ray, he was tirelessly inventive in the darkroom, deploying a variety of optical and chemical tricks, including multiple exposures, solarization and bleaching.Source: Edwynn Houk Gallery
MD Tanveer Rohan
MD Tanveer Rohan
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Sara Markese
Sara Markese
United States
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Summers growing up in suburban Chicago felt that way, oppressively humid, stretching, and filled with unease as I wandered the micro world of my backyard dreading the end of the season. At night, to the contrary, everything seemed to come to life on my block. Then I was missing out, peering out my window while the sounds of neighborhood games rang from the street. I was inside looking out, like I was in another world. Since then, I’ve been in many other worlds, only to find myself back as I approach my fiftieth year as a wife and mother in the suburbs of Washington DC. Back in a suburban summer and back in that old feeling. Lost. It started as I followed my daughter, my lovely, brilliant, precociously independent daughter, Elodie, who I have been following for nine years, since she was able to walk and always way ahead of me. It was different this summer, though. Admittedly, something in me was unsettled already. I had always followed her and then joined, but now she spent her time in the deep end, doing things that just didn’t involve me and suddenly I was not following or joining. I was sitting alone. And there was that familiar disconnected feeling –sitting with time, with loneliness, with space, with thoughts – she will grow up, I will miss her – sitting with sadness, with self. Summer is long, and so there is July, like I just described, and there is August. I have tried to remedy my August malaise with an end of summer trip. My daughter and I always leave my husband at home to go on a road trip. I look forward to our trip as a gift from rushing through our days, time to spend freely exploring, roaming, adventuring, being as we wish, together. We have done this since she was very small, and she has always been beyond her years in her ability to roll with the long stretches and unknowns a road trip can bring even with the best planning. We usually know where we are going, but not this year, I didn’t know where to go and didn’t have it in me to plan. No direction, and now she is older, even farther ahead, leaving me to watch from further away. I found myself left with time - to sit and be still, to look at what was near, to gaze at my own hands, the poolside, the light reflecting off the table, the sand on my feet - and then she would return to show me what she created, often bringing me a gift to see or photograph. The gift of a memory shared. We were very often together too, in laughter, joy, closeness, and when she was still and we were together, that was a gift too, and those photos are rare but treasured. “Wayward Summer” is about loss and its depths, but also about turning “lost” into finding a way forward. As much as the feeling of too much space has always been disquieting, I also love to be lost. Wandering is and has always been my strength and my joy. From my childhood lost in the world of grass, bugs and dirt in the backyard, to driving blindly through the Chesapeake on an August trip with my 9-year-old daughter this summer, loss and “lost” are entwined in all my most deeply meaningful experiences. “Wayward Summer” is a project about all the moments that make a summer, the bright, the quiet and calm, the lonely and lost ones, and the turning of feeling lost into wandering. I found that unleashing purpose from the equation and accepting disconnection led me back to one of my greatest joys – untethered wandering. It allowed me to find beauty in the tiny details that stillness allows and a way to see moments that won’t last or stay still because they cannot and should not. The pictures in this series are all memory mementos – each contains elements of the mood evoked, sensory recollections and traces of the thoughts and feelings I was having as I watched my daughter play, learn, leave. Summers have a life of their own and can feel like a lifetime. In that, they can generate enormous unease, but also have room for so much growth. Children come back and they have changed, grown taller, sound different, want different, need less. Summers allow us a burst of freedom, a chance for joy, connection and change before we return to our lives overcome by time demands, structure, separation and parallel movement. They are a treasure veined with the knowing that they will end, but the memories glimpsed as they unfold when we are forced to let go are mementos of the magic that filled them. Awarded Photographer of the Week - Week 42
Christophe Jacrot
Christophe Jacrot
France
1960
In my opinion, there are two ways of capturing the world for a photographer; on the one hand grasping its horror, and on the other sublimating it. I have chosen the second. More specifically, I like the way rain, snow and “bad weather” awaken a feeling of romantic fiction within me, mainly in the big cities. (climatic excesses are another topic). I see these elements as a fabulous ground for photography, an under-used visual universe with a strong evocative power, and with a richness of subtle lights. This universe escapes most of us, since we are too occupied getting undercover. Man becomes a ghostly silhouette wandering and obeying the hazards of rain or of snow, into the eternity of the climate ... Source: christophejacrot.com
Mark Mann
Mark Mann
United States
1970
Mark Mann is a celebrity and advertising photographer. He was born in Glasgow, where he lived until he went to study in the prestigious photographic program at Manchester Polytechnic. Before long, the recent graduate was assisting innovative fashion photographers Nick Knight and Miles Aldridge, learning the ropes and building his own body of work. Three years later, Mark started shooting on his own, relocating to New York City. Mark’s editorial work has appeared in Esquire, Men’s Health, Vibe, Spin, Fortune, Billboard, Parade and Complex, among others. He has shot countless celebrities, including Robert Redford, Michael Douglas, Iggy Pop, Jack Black, the Black Eyed Peas, Jerry Seinfeld, Dave Chappelle, Rihanna, Queen Latifah, Simon Baker, Stevie Wonder, Bradley Cooper, Willie Nelson, Sean Connery, John Hamm and Jennifer Hudson. Mark has amassed a sizable advertising portfolio, as well. His clients run the gamut: Reebok, Adidas, Hennessy, Bombay Sapphire, Pepsi, Gillette, Vitamin Water, NHL, Zumba, Ford, Chrysler and Svedka to name a few. Mark has just completed a yearlong project for Esquire Magazine, The Life of Man. He shot 80 American men ages 1 through 80, to celebrate 80 years of Esquire Magazine. This project took Mark to the White House where he was honored to shoot the sitting president, as well as former President Clinton. He also shot numerous other notable people and celebrities all across the country.Source: www.markmannphoto.com Because so many of Mark Mann’s striking celebrity portraits are taken from just a few feet away, he’s often asked, “Why so close?” “I’m not exactly sure where that idea of getting so close to my subjects came from. The simple answer is that I don’t like to have to shout to talk to people so—over the years—I’ve moved closer and closer. If you’re more than a few feet from someone, the nuances of what you are saying can be lost. And I always try to have a conversation to help make a connection with everyone I am photographing.” He may start out four or five feet away from a subject but “bobs and weaves” or “creeps” (as he terms it) closer to three feet or so while chatting and shooting. “That means the camera can be just 24 inches from a person’s face, or smelling distance,” says Mann. He never uses a tripod because he’s always moving, changing his distance and angles. He also shoots close up because he enjoys shooting wide open, explaining that helps give a "dimension” to his images. “They have a shallow depth of field, but I like that they almost feel three-dimensional,” he says. “There’s another reason I like shooting close,” says Mann. “I just love faces. I love looking at them. I can inspect every detail, every angle of a face when I’m just a few feet from someone as I look through my lens. I could never get that close without the camera in front of me.”Source: PPA
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
© Fernando Morales Roca
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