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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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Adam Neuba
Adam Neuba
Germany
Natural scientist, photographer, artist. Adam's artistic style and photographic sensibility have emerged from his inquisitive and exploratory creative process, whereby the medium of light and its effect on the motif is always at the focus of his artistic work. Through hours of planning and manual work, with the greatest care and attention to detail, he creates macroscopic artworks of living creatures in unity with technical components, of motifs from inanimate nature and, for some time now, he has been interested in compositions of metals with their unusual interplay with the medium of light. Numerous of his pictures have been published in national and international magazines in recent years, presented at festivals and awarded photography prizes worldwide. When nature meets technics - A macroworld beyond everyday experience This seemingly insurmountable contrast between nature and human technology has occupied me as a photographer for several years. Especially the mutual influence of stainless steel and other materials on small creatures fascinates me. With my photography i try to present this ‘nature versus technology’ contrast to the beholder and dissolve it photographically at the same time, so that the ultimate result of every composition is an aesthetically harmonious unity. With every image the beholder steps into a visionary space, in which a short story about a living being from our engineered environment is told and where, in the end, the two worlds merge into a unique entity. During this process, images arise which possess an aesthetic and a manner of expression of a novel kind, and thereby enable the beholder to partake in a novel emotional experience. Awarded Photographer of the Week - Week 26
Sam Heydt
Sam Heydt
United States
1986
Sam Heydt (born April 20, 1986) is an American social practice and recycled media artist born/raised in New York City. She has lived/worked in Paris, Venice, Amsterdam, Athens, Buenos Aires, Sydney, Reykjavík, Udaipur and Vienna [current]. As a published author, producer and lifelong social activist and environmentalist, Heydt has undertaken a range of altruistic, non­-profit work and anchors her practice in advocacy. Through her unique manner of expression, she illustrates a world exploited beyond use and increasingly reduced to a bottom line. Esteemed as one of the pioneers of the recycled media movement, she works across different media- film, video, installation, photography, sculpture, sound and text and employs a range of materials, often reinventing and trespassing their associative use. Marrying images of destruction with portrayals of the American Dream, her work confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for. Heydt's work has been shown in galleries, museums, art fairs and film festivals worldwide. Statement The edge is closer than we think, but illusion won't free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate inequality. As the natural world is liquidated and substituted with an artificial one, public discourse is being defined by even narrower bandwidths Our time is marked by mass extinction, product fetishism, diminishing resources, and patented seeds. The skeletons of old factories serve as caveats for a world exploited beyond use, a world increasingly reduced to a bottom line. Dissidence is drowned out by the white noise of the media, which holds the social psyche captive in with the empty promises it proposes for the future it truncates. Working across different media- film, video, installation, photography, sculpture, sound and text, Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past, but built on it. Conflating time and place, her layered imagery collides, merges and disrupts logical relationships between occurrences. Through adding and subtracting meaning by combining images of destruction with portrayals of the virtues born from the American Dream, Heydt confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for.
Maggie Taylor
Maggie Taylor
United States
1961
Maggie Taylor received her BA degree in philosophy from Yale University in 1983 and her MFA degree in photography from the University of Florida in 1987. After more than ten years as a still life photographer, she began to use the computer to create her images in 1996. Her work is featured in Adobe Photoshop Master Class: Maggie Taylor’s Landscape of Dreams, published by Adobe Press in 2004; Solutions Beginning with A, Modernbook Editions, Palo Alto, 2007; and Alice’s Adventures in Wonderland, Modernbook Editions, Palo Alto, 2008. Taylor’s images have been exhibited in one-person exhibitions throughout the U.S and abroad and are in numerous public and private collections including The Art Museum, Princeton University; The Fogg Art Museum, Harvard University; Harn Museum of Art, University of Florida; Museum of Fine Arts, Houston, Texas; and The Museum of Photography, Seoul, Korea. In 1996 and 2001, she received State of Florida Individual Artist’s Fellowships. In 2004, she won the Santa Fe Center for Photography’s Project Competition. 2005 she received the Ultimate Eye Foundation Grant. She lives in Gaineville, Florida.From en.wikipedia.orgMaggie Taylor (born 1961 in Cleveland, Ohio) is an artist who works with digital images. She won the Santa Fe Center for Photography's Project Competition in 2004. Her work has been widely exhibited in the United States and Europe and is represented within the permanent collections of several galleries and museums. She is the third wife of American photographer, Jerry Uelsmann. She produces prints by scanning objects into a computer using a flatbed scanner, then layering and manipulating these images using Adobe Photoshop into a surrealistic montage.
Sol Hill
Sol Hill
United States
1971
Sol Hill was born in Albuquerque, NM in 1971, to artist parents who founded the first contemporary art gallery in Santa Fe. His early memories were of being with his parents in their respective studios and of being in their gallery in Santa Fe. As a child the mysterious objects and paintings that pervaded the gallery intrigued him. Contemporary art works were prevalent both in the gallery and at home. Looking at those artworks felt like observing some secret alchemical language that Hill wished to learn. Growing up, Hill lived all across the United States, and in Jamaica and Germany. He majored in International Affairs and German at Lewis & Clark College in Portland, OR and at Maximilian Ludwig Universität in Munich, Germany. He also studied printmaking in college and then became deeply involved with photography while in Germany. He later returned to Santa Fe and founded Zen Stone Furnishings with his wife, a paper artist from Brazil. Together they designed and manufactured hand crafted home furnishings from stone, twigs, copper and handmade paper. After an intense medical crisis, Hill decided to dedicate himself to fine art. He went on to study photography at the Brooks Institute in Santa Barbara, where he received an MFA in 2010. Hill travels regularly and often to Brazil to visit his wife’s family. Travel has powerfully affected his vision as an artist. Although Hill uses some of the latest digital photographic equipment and embraces digital photography, he finds that he is drawn to the kind of liberation found in embracing the mysterious and unfamiliar rather than that which is crisply defined and well known.About Token Feminine:The mannequin is a token feminine used to impart cultural conventions of the idealized female image In this body of work I examine mannequins in storefront windows as symbols of consumer culture. I see them as emblems upon which the desire and fantasy of sex and fashion are draped and from which complex valuations of body image are ingested. The mannequin is a token feminine presence used to impart cultural conventions of the idealized female image. I dissipate these literal mannequin pictures by interrupting the expected information and accepting the digital noise, which are undesirable artifacts produced by false exposure, inherent to the process of capturing digital images. This allows me to explore the nature of the boundary between the reverie of the token feminine and the reality of the commercial icon.About Urban Noise:I seek stillness within the modern day information overload through the act of unconventional street photography. Urban Noise combines an exploration of the aesthetic and conceptual value of digital noise in photography with a contemplative study of the contemporary urban environment. Digital noise is a reviled artifact inherent to digital imaging. I challenge the notion that this artifact is inherently worthless by using it to render photographs into contemporary visual tropes. It is my tool to address the digital nature of the contemporary world. Digital noise is false exposure produced by energies other than light, namely heat, electrical current and “cosmic noise.” Cosmic noise is the term for invisible wavelength energies comprised in part of man-made signals from our built and technological environment mixed with the electro magnetic energy produced by human bodies. The resulting noise from these interfering energies transforms my photographs. The contemporary urban environment is flooded with so much extraneous information that we necessarily turn most of it into background noise to survive. There is so much conflicting information competing for our attention that I am intrigued by how we sort out what is worthy of our attention, from meaningless background noise. I seek my own stillness within the overwhelming cacophony of modern day information overload through the act of unconventional street photography.
George Byrne
George Byrne
Australia
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George Byrne creates large-scale photographs that depict everyday surfaces and landscapes as painterly abstractions. Borrowing from the clean, vivid clarity of modernist painting, he also references the New Topographics photography movement via a subject matter firmly entrenched in the urban every day. Born in Sydney in 1976, Byrne graduated from Sydney College Of The Arts in 2001, travelled extensively, and then settled in Los Angeles in 2011 - where he now lives and works. George's work resides in numerous international collections and he is represented by galleries in the USA, Canada, Australia, Taiwan, Norway and has his first solo show opening in Mumbai, India in September 2020. More about Post Truth Exclusive Interview SYNTHETICA at Show Gallery
Victor Moriyama
Victor Moriyama
Brazil
1984
Victor Moriyama is a freelance Brazilian photographer based in São Paulo that covers the region of South America and the problems concerning the Amazon Rainforest for the international press, mainly for The New York Times. His work discloses an humanist kind of photography, committed to document the processes of violence that prevail in social and environmental relations in Brazil and the Amazonian region. Agrarian Conflicts, the deforestation and conservation of the Amazon Rainforest, the genocide of the indigenous populations, the acceleration of climate change and the violation human rights have been guiding themes of his career in the last few years. Victor also collaborates regularly with NGOs, such as Greenpeace, Instituto Socioambiental, iCRC and UNHCR. Concerned with the shortage of reported on the conflicts in the Amazon, Victor has created, in 2019, the project @historiasamazonicas a community of Latin American photographers committed to document the current processes that are taking place in the Amazon, with the objective of defining and changing the present. The idea is to expand the world's knowledge concerning the conflicts that surround the Amazon and to engage the global society into thinking and fighting the deforestation of the greatest rainforests in the world. Victor is also a member of the @everydayclimatechange, a group of photographers from the five continents engaged and committed to climate change. Mr. Moriyama is also a photography columnist for the Brazilian edition of the Spanish Newspaper El País. About Amazon Deforestation "'Nature will die in embers', told me Davi Yanomami, one of Brazil's greatest indigenous leaders, during the 70 days I spent doing field work in the Amazon Rainforest. The greatest rainforest in the world is dying. The year of 2019 was the worst in history for the Amazon Forest. The deforestation of the vegetation cover set a record and increased 29.5% in relation to 2018, adding up to a total loss of 9.762km² of forest. However, this process isn't new: the deforestation of the Amazon Rainforest has been going on for decades, with the connivance of the rulers of the South American countries, whose actions are utterly inefficient when it comes to trying to reverse this context of destruction. This situation became even more severe, after the elected right-wing government took office in 2019. Stimulated by official speech, deforestation agents set thousands of hectares on fire, with the certainty of impunity. As an immediate reaction, thousands of young people started protesting against the destruction of the rainforest, in dozens of cities worldwide, headed by Greta Thunberg. This series of images is the result of my immersive work in the heart of the Amazon Rainforest, where I have documented the advances of the deforestation in a special piece for The New York Times." -- Victor Moriyama
Barry Salzman
Barry Salzman
United States
1963
Barry Salzman is an award-winning contemporary artist who currently works in photography, video and mixed media and whose projects have been shown widely around the world. He lives and works between New York City and Cape Town, South Africa. His photographic work in particular, began with a fascination for the practice as a teenager, during a time when it served as a way for him to grapple with the racial segregation in apartheid South Africa. Today, his work continues to explore challenging themes around social, political and economic narratives, often coming down to the core concept of identity. Acutely relevant and brave in its willingness to confront, Salzman's photography garnered the 2018 International Photographer of the Year Award in the Deeper Perspective category at the International Photography Awards for his project, The Day I Became Another Genocide Victim, which endeavors to humaize victims of the Rwandan genocide. For the last six years, Salzman has worked on ongoing projects that attempt to challenge the universal fatigue around the genocide narrative. Mostly, he applies visual tools of abstraction to landscape images shot at precise locations around the world where acts of genocide were perpetrated as a means of reminding us that 'that place' can be 'any place'. In writing about his ongoing genocide landscape work Salzman says, "The landscape witnesses all. It sheds its leaves in cover-up and complicity. But through its rebirth, so it rejuvenates. It carries with it the traces of the past and promises of the future. It triumphs over trauma. It is inextricably intertwined with our darkest moments and brightest days." The following images were made in Ukraine, Poland and Rwanda at precise locations where acts of genocide were perpetrated. For additional information, please see: www.barrysalzman.net
William Heick
William Heick
United States
1916 | † 2012
William Heick (October 6, 1916 – September 13, 2012) was a San Francisco-based photographer and filmmaker. He is best known for his ethnographic photographs and documentary films of North American Indian cultures. W.R. Heick served as producer-director and chief cinematographer for the Anthropology Department of the University of California, Berkeley on their National Science Foundation supported American Indian Film Project. His photographs capture the life and culture of Native Americans from the Kwakiutl, Kashaya Pomo, Hupa, Navajo, Blackfoot and Sioux. He filmed a number of award winning films in this series along with the documentaries Pomo Shaman and Sucking Doctor, a Pomo doctoring ceremony considered by anthropologists to be one of the most complete and outstanding films of an aboriginal ceremony made to date. William Heick's career in photography began as a naval intelligence photographer during World War Two in the Pacific. After the war he studied photography at California School of Fine Arts (now the San Francisco Art Institute) under such notable teachers as Ansel Adams and Minor White. He became lifelong friends with Imogen Cunningham and Dorothea Lange and regards these two photographers as the primary influences on his photographic work. William Heick filmed two documentaries about Pacific Northwest Indian tribes, Blunden Harbour (1951) and Dances of the Kwakiutl (1951). W.R. Heick worked through most of the 1950s and 1960s as producer-director, assistant historian and cinematographer for the worldwide engineering firm of Bechtel Corporation. While with Bechtel he wrote and filmed documentaries of their major projects with special emphasis on ethnic and social consideration in remote areas of the Arctic, South America, Africa, Greenland, Europe, The Middle East, Australia, Indonesia and the islands of New Guinea and Bougainville. From 1956 to 1964 Heick was involved with C. Cameron Macauley in the American Indian Film Project, a project to document Native American cultures through film and sound recordings, working closely with Alfred Kroeber and Samuel Barrett. William Heick produced two documentaries for the Quakers. Beauty for Ashes documents the Quaker's project to rebuild 40 churches that had been burned by nightriders during Mississippi's racial strife in the turbulent 1960s. Voyage of the Phoenix documents the controversial voyage of the yacht Phoenix, which sailed through the American battle fleet during the Vietnam War to deliver medical supplies to North Vietnam when the bombing of that beleaguered country was at its peak. In the late 1960s and early 1970s W.R. Heick served as cinematographer on three feature films, all for the director/artist Fredric Hobbs: Troika (1969, co-directed by Gordon Mueller), Alabama's Ghost (1973), and The Godmonster of Indian Flat (1973). During the mid-1970s, working as an independent producer with Gordon Mueller, W.R. Heick produced the Indonesian Dance Series. This series, funded with grants from Caltex Pacific Indonesia and Pertamina, documents fourteen traditional dance performances from the islands of Java, Bali, Sumatra and Kalimantan. W.R. Heick's later films include The Other China, a four-part mini-series filmed on location in Taiwan in 1988 documenting the social and cultural fabric of Taiwan. His fine art photography has been exhibited at the San Francisco Museum of Modern Art, the California Palace of the Legion of Honor, the de Young Museum, the Seattle Museum of Art, the Henry Gallery (University of Washington), the Phoebe A. Hearst Museum of Anthropology, and the University Art Gallery (Cal State at Chico) among others. His photographs have been selected for the permanent collections of the Museum of Modern Art, New York, the Smithsonian Institution, the High Museum of Art, Atlanta, the Santa Barbara Museum of Art, and the Monterey Peninsula Museum of Art. In a published Art Scene review Monterey landscape artist and art critic Rick Deregon wrote: "The special qualities of W.R. Heick's images come from the simple relationship between the photographer and subject. With no agenda other than to capture the decisive inspirational moment and to illustrate the human parade Mr. Heick's work transcends straight journalism and aspires to an art of nobility and compassion."Source: Wikipedia William Heick was born October 6th, 1916. Spanning seven decades, Heick's career in photography and filmmaking has covered locations all over the world. Heick grew up in Kentucky and attended the University of Cincinnati. He married Jeanne Ridge in 1942, and served as a naval intelligence photographer in the Pacific during World War II. After the war, he continued his education at San Francisco State University. He also attended the California School of Fine Arts (now known as the San Francisco Art Institute), where he studied photography, painting, and sculpture under distinguished instructors such as Ansel Adams and Minor White. It was during this period that he met and made lifelong friends with photographers Imogen Cunningham and Dorothea Lange, both of whom he regards as primary influences on his photographic work. His fine art photography has been exhibited in institutions such as San Francisco Museum of Modern Art, DeYoung Museum, and Seattle Museum of Art, among many others. He has produced over 200 films and thousands of photographs. At the age of 94, when asked to sum up his prolific career, he simply stated, "it sure beats working!"Source: Peter Fetterman Gallery
Philip Jones Griffiths
Philip Jones Griffiths
Wales
1936 | † 2008
Born in Rhuddlan, Wales, Philip Jones Griffiths studied pharmacy in Liverpool and worked in London while photographing part-time for the Manchester Guardian. In 1961 he became a full-time freelancer for the London-based Observer. He covered the Algerian War in 1962, then moved to Central Africa. From there he moved to Asia, photographing in Vietnam from 1966 to 1971. His book on the war, Vietnam Inc., crystallized public opinion and gave form to Western misgivings about American involvement in Vietnam. One of the most detailed surveys of any conflict, Vietnam Inc. is also an in-depth document of Vietnamese culture under attack. An associate member of Magnum since 1966, Griffiths became a member in 1971. In 1973 he covered the Yom Kippur War and then worked in Cambodia between 1973 and 1975. In 1977 he covered Asia from his base in Thailand. In 1980 Griffiths moved to New York to assume the presidency of Magnum, a post he held for a record five years. Griffiths' assignments, often self-engineered, took him to more than 120 countries. He continued to work for major publications such as Life and Geo on stories such as Buddhism in Cambodia, droughts in India, poverty in Texas, the re-greening of Vietnam, and the legacy of the Gulf War in Kuwait. His continued revisiting of Vietnam, examining the legacy of the war, lead to his two further books ‘Agent Orange’ and ‘Vietnam at Peace’. Griffiths' work reflects on the unequal relationship between technology and humanity, summed up in his book Dark Odyssey. Human foolishness always attracted Griffiths' eye, but, faithful to the ethics of the Magnum founders, he believed in human dignity and in the capacity for improvement. Philip Jones Griffiths died at home in West London on 19th March 2008From en.wikipedia.orgJones Griffiths was born in Rhuddlan, to Joseph Griffiths, who supervised the local trucking service of the London, Midland and Scottish Railway, and Catherine Jones, Rhuddlan's district nurse, who ran a small maternity clinic at home. He studied pharmacy in Liverpool and worked in London as the night manager at the Piccadilly branch of Boots, while also working as a part-time photographer for the Manchester Guardian. His first photograph was of a friend, taken with the family Brownie in a rowboat off Holyhead. Jones Griffiths never married, saying it was a "bourgeois" notion, but that he had had "significant" relationships. Survived by Fanella Ferrato and Katherine Holden, his daughters from long-term relationships with Donna Ferrato and Heather Holden. He died from cancer on March 19, 2008. Journalist John Pilger wrote in tribute to Griffiths soon after his death: "I never met a foreigner who cared as wisely for the Vietnamese, or about ordinary people everywhere under the heel of great power, as Philip Jones Griffiths. He was the greatest photographer and one of the finest journalists of my lifetime, and a humanitarian to match…. His photographs of ordinary people, from his beloved Wales to Vietnam and the shadows of Cambodia, make you realise who the true heroes are. He was one of them." Griffiths started work as a full-time freelance photographer in 1961 for the Observer, travelling to Algeria in 1962. He arrived in Vietnam in 1966, working for the Magnum agency. Magnum found his images difficult to sell to American magazines, as they concentrated on the suffering of the Vietnamese people and reflected his view of the war as an episode in the continuing decolonisation of former European possessions. However, he was eventually able to get a scoop that the American outlets liked: photographs of Jackie Kennedy vacationing with a male friend in Cambodia. The proceeds from these photos enabled him to continue his coverage of Vietnam and to publish Vietnam Inc. in 1971. Vietnam Inc. had a major influence on American perceptions of the war, and became a classic of photojournalism. The book was the result of Griffiths' three years work in the country and it stands as one of the most detailed surveys of any conflict, including descriptions of the horrors of the war as well as a study of Vietnamese rural life and views from serving American soldiers. Probably one of its most quoted passages is of a US army source discussing napalm: ‘We sure are pleased with those backroom boys at Dow. The original product wasn’t so hot - if the gooks were quick they could scrape it off. So the boys started adding polystyrene - now it sticks like shit to a blanket. But if the gooks jumped under water it stopped burning, so they started adding Willie Peter (white phosphorus) so’s to make it burn better. And just one drop is enough, it’ll keep on burning right down to the bone so they die anyway from phosphorus poisoning.’ The South Vietnamese president, Nguyen Van Thieu, criticized Griffiths' work, remarking "Let me tell you there are many people I don't want back in my country, but I can assure you Mr. Griffiths name is at the top of the list." In 1973, Griffiths covered the Yom Kippur War. He then worked in Cambodia from 1973 to 1975. In 1980, he became the president of Magnum, a position he then held for five years. In 2001 Vietnam Inc. was reprinted with a foreword by Noam Chomsky. Subsequent books have included Dark Odyssey, a collection of his best pictures, and Agent Orange, dealing with the impact of the US defoliant Agent Orange on postwar generations in Vietnam. After becoming aware of his terminal condition, Jones Griffiths launched a foundation to preserve his archives. His daughters helm the foundation, which as of July 2008 lacked a permanent home. Source: www.magnumphotos.com
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