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Neal Menschel
Neal Menschel

Neal Menschel

Country: United States

Neal Menschel has been a photographer for over 25 years. He has photographed five presidents and traveled the world covering third world politics and development, and environmental issues. He began his career as a photographer for the Anchorage Daily News in Anchorage, Alaska.  

As a freelance photographer, Neal’s clients have included The New York Times, Newsweek, MIT, Tufts, Wellesley College, People, Geo, Front Line, Yankee, as well as other publications and numerous corporate clients.

Neal also worked as an associate producer and sound recordist on a series of award-winning documentary films for WGBH-Boston, and WBZ-TV, Boston, additionally teaching photography/documentary photography at Boston University. Neal was the Director of Photography and Senior Photographer for the Christian Science Monitor. He has traveled extensively, both nationally and worldwide, specializing in third world politics and development, environmental issues, domestic politics, humanitarian, social, and cultural issues, always with a focus on people and matters of the "human heart."

Neal was the Director of Photography for the Salt Institute for Documentary Studies, a graduate and undergraduate training program in photography, radio, and writing, in Portland, Maine. Neal led their photography program for nine years before moving to the San Francisco Bay Area. Many of the students Neal has taught, mentored, and shared his passion for photography and visual storytelling are now successfully carrying on careers in photojournalism and fine art photography. Neal is currently working on a book about West Virginia culture.  He teaches in Stanford University's Continuing Studies Program while he continues his work as a photographer, journalist, teacher, and workshop instructor/leader.

Source: nealmenschel.photoshelter.com

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Simpson Kalisher
Simpson Kalisher
United States
1926
Simpson Kalisher is an influential documentary and street photographer from the United States. Kalisher, who was born on August 12, 1926, in Brooklyn, New York, developed an early interest in photography. In the 1950s, he began his career as a freelancer, capturing the vibrancy and energy of New York City. Kalisher's photographs frequently depicted everyday life, with an emphasis on the human condition and the diverse experiences of people he met on the streets. His photographs were distinguished by their intimacy and candidness, capturing fleeting moments and emotions with honesty and empathy. Kalisher joined Magnum Photos, a prestigious cooperative agency for photojournalists, in the 1960s, and his work quickly gained recognition and acclaim. He covered a wide range of topics, such as civil rights marches, political rallies, and America's changing social landscape. Kalisher's photographs reflected the era's turmoil and resilience, serving as a visual commentary on the pressing issues of the day. Kalisher excelled at portraiture in addition to his documentary work. He photographed famous people like Martin Luther King Jr., John F. Kennedy, and Marilyn Monroe, capturing their essence and providing a deeper understanding of their personalities. Kalisher's work was shown in numerous galleries and museums throughout his career, including the Museum of Modern Art in New York City. His photographs were published in a variety of magazines and books, establishing him as a master storyteller through the lens. Railroad Men: A Book of Photographs and Collected Stories, published in 1961 by Kalisher, contained 44 duotone plates of men at work on trains and in railway yards during a period of decline for that mode of transportation. He self-funded the project and used a Leica camera and tape recorder. The photographs were accompanied by 44 interviews that the photographer recorded. The series has been widely exhibited and is held in the collections of several major American museums. Kalisher published two more photographic books after Railroad Men, Propaganda and Other Photographs (1976), in which Ian Jeffrey describes the photographer as "a specialist observer of urban alienation and, like Diane Arbus, a brutal parodist of pictorial stereotypes" and The Alienated Photographer (2011), the contents of which were also displayed.
Manuello Paganelli
Manuello Paganelli
Dominican Republic/United States
1960
I was born in the Dominican Republic and growing up in the 1960s I watched my parents devote time to help others, exposing me to the inequality of wealth, education, and the lack of mind and body wellness prevalent on our small island. It was hard for me to understand why poor children would be on the streets instead of in a warmer, safer place. I saw school-age boys like me but barefoot and shining the fancy shoes of businessmen. Scruffy kids with open hands asking for pennies. Running, begging for anything to eat, fending for themselves, and surviving on their wits alone. None of my parents' words made it better, or helped me understand what led to my country's socio-economic crisis. With my parents' humanistic influence, I figured I would become an attorney like my father or a missionary doctor. In 1972, I arrived in the US for high school without speaking any English. By my last year of college in Tennessee, I lost all desire to become a doctor, My father stopped supporting me. I found work on the assembly lines and loading docks of the local McKee Baking Company. In 1982 I bought my first camera as a way to forget my doomed career. While browsing in a bookstore I learned about a man named Ansel Adams. A few glances at Adams' powerful black-and-white landscapes left me hypnotized. Within days, I was on the telephone with Ansel. It was an innocent call but that first conversation with Ansel Adams led to many more, until we established a warm mentoring relationship that lasted until he passed away in 1984. My break into professional photography began when I was hired as a staff photographer for The Chattanooga Times in 1982. While that photojournalism experience was invaluable, I soon left for the Washington, DC area, where I began a freelance editorial photography career and from there migrated into humanistic photography. In 1989, I began traveling to Cuba to find long-lost relatives. There I learned about the social issues of the island and the survival spirit of the Cuban people, becoming increasingly aware of the socio-political climate I continued to travel there. My documentary photos from my Cuban project culminated in an exhibition in 1995, where a Washington Post columnist wrote: "Paganelli's Cuban photographs are a brilliant window on a land and people too long hidden from North American eyes... Paganelli brings an artist's eyes and a native son's sensibility to his superb photographs." My current essay project, which started in 1994, explores Black Cowboys across the USA, examining cultural and regional influences within this well developed sub-culture. Statement I never planned on becoming a professional photographer. I always thought I'd be a doctor, but during my senior year in college I began to have doubts about a career in medicine. It was around that time that I bought a Canon camera. Despite years in the business, I still possess that same excitement for the craft that gripped me the first time I picked up a camera. And, too, I maintain a passion for sharing my subjects' stories through documentary photography. My influences are the things that my eyes capture from the moment I get up, see, sense and experience and everything else beyond that with the elements of sounds , shadows and light. But I've always admired the work of Walker Evans, Henry Cartier Bresson and most notably the works of W.Eugene Smith and Robert Frank. I also love the landscape of Ansel Adams and the beautiful magical touches of the portraits done by Irving Penn.
Lu Nan
Lu Nan
China
1962
Lu Nan is a contemporary photographer who was born in Beijing, China in 1962. After working for National Pictorial for 5 years, he decided to become an independent photographer. From 1989 to 1990, he shot a series of images of the living conditions of patients in Chinese mental hospitals. From 1992 to 1996, he shot a series of images about Catholicism in China. From 1996 to 2004, he shot a series of images of the daily life of Tibetan farmers. Lu Nan is known as "the most legendary photographer in China". He is also the only Chinese contemporary photographer chosen by Aperture magazine as a topic colon. Lu Nan is constantly invited to participate in numerous exhibitions; however, he is extremely selective about the exhibitions he is involved with. Lu also refused to have his portrait taken by others, so it’s very rare to see any photo documentations of him. For fifteen years, Lu has been leading a life that is almost like a monk, spending his time working and studying, as he believes that “good stuff comes out of reticence.” Since 1989, Lu Nan has spent 15 years completing his trilogy of photographic series: The Forgotten People, China's Catholicism and Four Seasons in Tibet. These images have allowed Nan to place himself in the international spotlight. But perhaps more importantly, he became one of the first people who exposed another side of Chinese society; people often considered outcasts. “I just respect them and care about them… They are the same as us,” said Lu as a reminder that all human beings are equal and deserve dignity. His black and white photographs depict people within their own environment by using a rather straight glance, which is yet associated with delicate contrasts and elegant compositions.Source: Wikipedia Correspondent for the prestigious international cooperative Magnum Photos since the 1990s, Lu Nan 呂楠 (born in 1962 in Beijing) is an independent photographer who has been documenting marginalized people in China. His pivotal series started in 1989 with The Forgotten People: The Condition of China’s Psychiatric Patients. Pursing his intentions to document Chinese people from the margins of society, his subsequent series captured members of the Catholic Faith (On The Road: The Catholic Faith in China, 1992-1996), peasants’ life in Tibet (Four Seasons: Everyday Life of Tibetan Peasants, 1996-2004), and prisoner’s conditions (Prisons of North Burma, 2006).Source: photographyofchina.com “In 15 years, not a day went by when I didn’t question my own work,” says Chinese photographer Lu Nan, in an interview included in his new book Trilogy. “That’s why I scrutinize what I was doing by means of reading. This mode of assessing action through thought and assessing thought through action helped me to complete these projects." “The trilogy is concerned with human beings. I hope that by looking into real life, I’ll find something fundamentally and enduringly human.” Lu Nan isn’t well known outside China but this book, his first in English, should change all that. It collects together three projects he shot over 15 years – The Forgotten People, a look at the lives of Chinese psychiatric patients, shot from 1989-1990; On the Road, a look at the lives of Catholics in China, shot from 1992-96; and Four Seasons, a look at the lives of rural Tibetans, shot from 1996-2004. These microcosms are apparently very different and yet, to Lu Nan, they’re intimately interrelated. Inspired by image-makers such as Josef Sudek and Sebastiao Salgado and extremely well-read, Lu Nan says the three projects represent the three states of life – The Forgotten People is about suffering and adversity, On the Road purification, and Four Seasons about a blessed, serene state.Source: British Journal of Photography
Richard Le Manz
Richard Le Manz
Spain
1971
For this engineer and self-taught photographer born in Spain in 1971, photography is equally essential both, to communicate the beauty and to reflect on the complex socio-environmental issues, which threaten our planet. He started in photography making landscape photography, but depicting nature is not enough. Pictures of great landscapes may not be the best way to move consciences and change our values and morals. His photography becomes what some journalist called "Philography", photography to philosophize, photography to make people think, to reflect. Photography used as a mean for expressing ideas, transmission of messages, and provoking reactions. Photography as a means to let out the images generated in his mind, imagination and creativity. For this purpose, the artist uses both the object and various photographic techniques like expression way, to delve into the plot of reflection, ideas and dreams. Photography to transmit a clear message, sometimes critical. His landscape photographs begin to turn to black and white and later they go unstructuring seeking to convey a clearer message. One of the first projects in which the search for new forms of expression begins is the "Unstructured Sunset" project that can be seen in this brief presentation. After receiving numerous national and international awards, he present in 2018 his first major project "Habitat, beyond photography", moving from local exhibitions to being invited to international festivals. In 2019 I present this project, together with the most recent "In Our Hands" at the Xposure International Photography festival in Sharjah (United Arab Emirates); different projects but both focuses on the future of our planet. The work "Habitat, beyond photography" explores the relationship between development and nature, between development and the environment and especially between the world of automotive and the environment. It focuses on the serious problem of the mobility habits of today's society, traffic and pollution. It uses internal elements of the explosion engine, (intake valves, exhaust valves, spark plugs, camshafts, injectors, timing chain, and so on) transforming and stamping these objects with a new meaning, creating visual metaphors where nothing is as it seems. In "In Our Hands" he uses multiple exposure in camera without digital manipulation to create images that show a stubborn reality, we are nature and his future is in our hands.
Giorgia Borneto
Giorgia Borneto
Italy
Giorgia Borneto is a young photographer based in Genoa, Italy. She started few years ago, always looking for the details, seeking the right composition and mostly shooting outdoors or in suggestive locations. She always had a strong passion about the fashion world, but it seems that shooting beautiful, well dressed models was not quite enough for her anymore. The way Giorgia takes pictures of women now, is completely different. Nobody knows why she decided to change the road she was running through. Maybe it’s her travel to New York City that opened a mysterious part of her mind, perhaps is just her inner female world that led her in front of a black backdrop of a studio. We are now in front of strong, expressive and passionate women. We don’t see anonymous wonderful faces anymore. We now perceive the power of a female glance in front of the lens. There is a life in those eyes, there is love and anger and sadness and desire! It’s like the watcher can even touch the skin of the model, it’s like he can hear her heartbeat. Source: www.reykjavikboulevard.com
Lisa McCord
Lisa McCord
United States
1957
Lisa McCord is a fine art and documentary photographer from the Arkansas Delta who lives and works in Los Angeles and Arkansas. Focusing on her experiences on her family's cotton farm, her creative practice explores concepts of storytelling, memory, and the passage of time. McCord received her BFA from San Francisco Art Institute and earned an MFA from California Institute of the Arts. She also attended New York University, Le Contrejour, Paris, and The Visual Studies Workshop, Rochester, NY. She taught photography at several high schools and universities in the LA area including Pepperdine University. She has exhibited her work in galleries and museums internationally, including SoHo Photo Gallery and Carrie Able Gallery in New York; Center for Fine Art Photography in Fort Collins; Bruce Lurie Gallery, Building Bridges Art Exchange, Classic Photographs Los Angeles, and the Annenberg Space for Photography Museum in Los Angeles; FotoFever in Paris, and the Museum of Nature of Cantabria. McCord's work has been shown in in solo exhibitions at Fabrik Projects, Gallery 825, the Memphis Cotton Museum, Slow Exposures, and Leica Gallery LA in 2023. Her work has been featured in numerous publications including Black & White Photography (UK edition), Float Magazine, and Feature Shoot. She was a Critical Mass Finalist in 2015, 2016, and 2021. McCord's work is in the permanent collections of the Arkansas Museum of Fine Arts and the Memphis Brooks Museum of Art. ROTAN SWITCH 1978 - Present I began documenting life on my grandparents' cotton farm in 1978 when I was twenty-one. After forty years, I have come to realize all my photographs taken here are explorations of home, an idea that remains firmly rooted in the Arkansas land and people. I've also come to realize that the place I call home is not perfect. Rotan Switch takes its name from the community's central landmark - the railroad switch where farmers loaded their cotton bales onto trains headed out of the Delta. Although it hasn't been used in years, it remains a potent symbol of the complex intersections of industry and agriculture, of race and injustice. I realize the photographs are complicated when seen in the context of the socioeconomic structures of the rural South. Although the subjects are family to me, as a white photographer and the granddaughter of a farm owner, my photographs of the Black community implicate my own role in reinforcing these power structures. Coupled with the images, my own memories, as well as reflections by the subjects and their families, tell the story of Rotan and the Arkansas Delta's culture through the lens of personal experience. This combination of image and storytelling seeks to paint a fuller picture of a place with a complicated history that cannot be left unacknowledged if the project hopes to create a genuine empathetic encounter between the viewer and the subjects.
Mathilde Pettersen
Mathilde Pettersen
Norway
1976
Mathilde Helene Pettersen, born 1976 in Norway. Photographer and visual artist, lives and work in Kristiansand, south of Norway. Holds a BA in Photography and film from Napier Edinburgh University, Scotland and a MA in Art from the University of Agder, Kristiansand, Norway. Pettersen is a member of Association of Norwegian Visual Artist and society of Fine Art Photographers in Norway. Between 2013 and 2015 she was selected for the Norwegian Journal of Photography #2, a program supporting eight independent photographers in Norway, working on long-term projects and published by Journal, Stockholm (2015). In this publication, she chose to show a selection from her project Searching for Cloudberries, which was featured in Time Magazine/Lightbox and SHOTS magazine and exhibited at the Festival Voies Off in Arles, France (2016) and at the Encuentros Abiertos Festival de La Luz , in Buenos Aires, Argentina (2016) and at the Henie Onstad Art center in Oslo, Norway (2019). Her work I need a kiss before they leave was exhibited at the Musée de l'Elysée in Lausanne, Switzerland (2016), Kristiansand Kunsthall, Norway (2017), the International Photofestival PhotoVisa in Krasnodar, Russia (2017) and is currently on show at the Sørlandets Museum of Art (Jun-Nov 2020) alongside photographers as Swedish Christer Strömholm and Anders Petersen and the Norwegian Tom Sandberg, Dag Alveng and Kåre Kivijärvi. Her first photobook I NEED A KISS BEFORE THEY LEAVE was launched at Paris Photo 2019 at the Grand Palais by the German Kehrer Verlag in Heidelberg. Mathilde Pettersen presents two projects: Searching for Cloudberries (2008-), analogue black and white photographs. My projects revolve around portraiture and self-portraiture, and in their themes touch upon motherhood and family as constellations. So does this project, presently spanning ten years now. It takes shape by depicting a sense of dysfunctionality of the infertile female body - a theme that is often taboo in our society - before it turns and grows in a new direction when discovered not, moving on to contemplate the development of the child and the changes of the body of its mother over time in connection with life cycles in nature. I need a kiss before they leave (2011-), digital colour photographs. I NEED A KISS BEFORE THEY LEAVE is an emotional family portrait, filled with immense joy, but also with a disturbing realization of a wonderfulness that cannot be stored. It reflects upon a human desire to freeze time, to forever savoring those moments which are destined to live on only as distant memories. Photography is of course the artistic technique to actually freeze time and to store a split second forever. In this book, Norwegian photographer Mathilde Helene Pettersen captures an entire parenthood, with all its bright and dark moments. I need a kiss before they leave reflects on becoming and being a mother, on building a family, on the immediate and unpredictable, on strengths and fragilities in life, and sometimes on the overshadowing fear of death and the irreversible. From the text in I NEED A KISS BEFORE THEY LEAVE by Anna-Kaisa Rastenberger: First things first: loving is not for the faint of heart. Loving, day af- ter day, requires the courage to handle the disappointment of quotidian love falling short of the ideal of love. It requires even more courage to extend love to societal structures in need of repair. (...) "This is my story." These are the words used by Mathilde Helene Pettersen at the beginning of her book I need a kiss before they leave. The series, consisting of photographs taken with a camera phone over a period of eight years, is a chronicle of childbirth, motherhood, and family life. Pettersen writes that this was a story she hesitated to tell. Pettersen has spoken about the challenge and dichotomy of com- bining motherhood with the work of a photographer. On the one hand, she leads an ordinary enough, down-to-earth life with her family; on the other, she has a life outside the home, working as a photographer. Even in the Nordic countries, this is no simple equa- tion to balance. Although the principle of gender equality in the workplace is firmly established, or at least acknowledged, it re- mains elusive in practice.
Germaine Krull
Germaine Krull
Germany
1897 | † 1985
Germaine Krull was a photographer, political activist, and hotel owner. Her nationality has been categorized as German, Polish, French, and Dutch, but she spent years in Brazil, Republic of the Congo, Thailand, and India. Described as "an especially outspoken example" of a group of early 20th-century female photographers who "could lead lives free from convention", she is best known for photographically-illustrated books such as her 1928 portfolio Métal. Germaine Luise Krull was born in Wilda, Poznan, then on the border between Germany and Poland in East Prussia, of an affluent German family. In her early years, the family moved around Europe frequently; she did not receive a formal education, but instead received homeschooling from her father, an accomplished engineer and a free thinker but a bit of a ne'er-do-well. Her father may have influenced her in at least two ways. First, he let her dress as a boy when she was young, which may have contributed to her ideas about women's roles later in her life. Second, his views on social justice "also seem to have predisposed her to involvement with radical politics." Between 1915 and 1917 or 1918 she attended the Lehr- und Versuchsanstalt für Photographie, a photography school in Munich, Germany, at which Frank Eugene's teaching of pictorialism in 1907-1913 had been influential. She opened a studio in Munich in approximately 1918, took portraits of Kurt Eisner and others, and befriended prominent people such as Rainer Maria Rilke, Friedrich Pollock, and Max Horkheimer. Krull was politically active between 1918 and 1921. In 1919 she switched from the Independent Socialist Party of Bavaria to the Communist Party of Germany, and was arrested and imprisoned for assisting a Bolshevik emissary's attempted escape to Austria. She was expelled from Bavaria in 1920 for her Communist activities, and traveled to Russia with her lover Samuel Levit. After Levit abandoned her in 1921, Krull was imprisoned as an "anti-Bolshevik" and expelled from Russia. She lived in Berlin between 1922 and 1925 where she resumed her photographic career. She and Kurt Hübschmann (later to be known as Kurt Hutton) worked together in a Berlin studio between 1922 and 1924. Among other photographs, Krull produced in Berlin were nudes that one reviewer has likened to "satires of lesbian pornography." Having met Dutch filmmaker and communist Joris Ivens in 1923, she moved to Amsterdam in 1925. After Krull returned to Paris in 1926, Ivens and Krull entered into a marriage of convenience between 1927 and 1943 so that Krull could hold a Dutch passport and could have a "veneer of married respectability without sacrificing her autonomy." In Paris between 1926 and 1928, Krull became friends with Sonia Delaunay, Robert Delaunay, Eli Lotar, André Malraux, Colette, Jean Cocteau, André Gide and others; her commercial work consisted of fashion photography, nudes, and portraits. During this period she published the portfolio Métal (1928) which concerned "the essentially masculine subject of the industrial landscape." Krull shot the portfolio's 64 black-and-white photographs in Paris, Marseille, and Holland during approximately the same period as Ivens was creating his film De Brug ("The Bridge") in Rotterdam, and the two artists may have influenced each other. The portfolio's subjects range from bridges, buildings (e.g., the Eiffel Tower), and ships to bicycle wheels; it can be read as either a celebration of machines or a criticism of them. Many of the photographs were taken from dramatic angles, and overall the work has been compared to that of Laszlo Moholy-Nagy and Alexander Rodchenko. In 1999–2004 the portfolio was selected as one of the most important photobooks in history. By 1928 Krull was considered one of the best photographers in Paris, along with André Kertész and Man Ray. Between 1928 and 1933, her photographic work consisted primarily of photojournalism, such as her photographs for Vu, a French magazine. also in the early 1930s, she also made a pioneering study of employment black spots in Britain for Weekly Illustrated (most of her ground-breaking reportage work from this period remains immured in press archives and she has never received the credit which is her due for this work). Her book Etudes de Nu ("Studies of Nudes") published in 1930 is still well-known today. Between 1930 and 1935 she contributed photographs for a number of travel and detective fiction books. From 1935–1940, Krull lived in Monte Carlo where she had a photographic studio. Among her subjects during this period were buildings (such as casinos and palaces), automobiles, celebrities, and common people. She may have been a member of the Black Star photojournalism agency which had been founded in 1935, but "no trace of her work appears in the press with that label." In World War II, she became disenchanted with the Vichy France government, and sought to join the Free French Forces in Africa. Due to her Dutch passport and her need to obtain proper visas, her journey to Africa included over a year (1941–1942) in Brazil where she photographed the city of Ouro Preto. Between 1942 and 1944 she was in Brazzaville in Republic of the Congo, after which she spent several months in Algiers and then returned to France. After World War II, she traveled to Southeast Asia as a war correspondent, but by 1946 had become a co-owner of the Oriental Hotel in Bangkok, Thailand, a role that she undertook until 1966. She published three books with photographs during this period and also collaborated with Malraux on a project concerning the sculpture and architecture of Southeast Asia. After retiring from the hotel business in 1966, she briefly lived near Paris, then moved to Northern India and converted to the Sakya school of Tibetan Buddhism. Her final major photographic project was the publication of a 1968 book Tibetans in India that included a portrait of the Dalai Lama. After a stroke, she moved to a nursing home in Wetzlar, Germany, where she died in 1985.Source: Wikipedia
Francesco Cremonese
Francesco Cremonese
Italy
1995
Amateur photographer born in 1995 and based in Treviso (Italy), mostly committed to street, documentary and architecture photography. The passion for photography was inherited from his father, also fond of it, while his formation is mostly based on the father's teachings along with selflearning and personal researches, but also on workshops, two under the guidance of the photo-reporter Giulio di Meo, along with seminars and webinars as well. His works were displayed in the "Capture the Moment" exhibition in Budapest, the "Isolation, Living Apart" exhibition in Rome then during the 3 rd CIP festival, and published in the F-STOP magazine and in the anthology book "Trieste, passato, presente, futuro".
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