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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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More Great Photographers To Discover

Emily M Wilson
Emily M Wilson
United States
1951
''Travel is like a date with my soul; it reveals my inner self, as I absorb the outer world'' Emily M. Wilson Emily Marie Wilson is a Pacific Northwest native, living in Seattle, WA USA and an experienced world traveller with a special love of things culturally interesting to photograph. She absorbs and reflects on the places she visits, turning her camera to capture both people and details which are of unique cultural and ethnic importance. Emily has expanded her passion for both photography and travel over the years by leading small group cultural and photographic journeys to remarkable and edgy locations in the world. Emily, additionally, is an award-winning photographer with local, regional, national and international recognition. Emily Marie Wilson is further, greatly diversified in her own background experiences. She additionally has earned several university degrees in Political Science, Middle East Languages & Culture and Comparative Religions of the World. In 2007, Emily authored: From Boats to Boards Feet: The Wilson Family of the Pacific Coast, a comprehensive, handsomely illustrated 464-page book detailing the Wilson family (Swedish immigrants from Bohuslan who settled in Rainier Oregon, building a highly successful saw-mill business) and its worldwide business enterprises centered along the American Pacific Coast in the 1800s. Owning her own business, Traveller Worldwide Explorations, LTD, for over 30 years, she has a diverse range of experience working with world-wide travel operators. Statement Emily M. Wilson is a Seattle native, an award-winning photographer, and world traveler. She absorbs and reflects the places she visits, turning her camera to people and details unique to each culture. Emily is greatly diversified in her own travel expertise. Owning her own business, Traveller Worldwide Explorations, LTD, for over 30 years. She combines her passion for both photography and travel by leading small group cultural journeys to all parts of the world.
Ashley Suszczynski
Ashley Suszczynski
United States
1989
Ashley Suszczynski is an award-winning travel photographer based in Wilmington, Delaware, USA, focused on capturing ancient traditions in the modern day. She aims to tell the story of how lesser known cultures, relics, rites, and rituals have withstood time and evolved in our ever-changing world. Through visual storytelling, she hopes to share knowledge and understanding of these age-old customs in order to continue their preservation and social approval. About Ancient Tradition in the Modern Day "This project is an ongoing discovery of the ancient pagan roots masked throughout the villages of Basque Country and Northern Spain. This study and production of visual anthropology has taken me across the foothills of the Pyrenees, unearthing the various cultural traditions and winter rites of the region. Each event was unique in its characters and customs, yet shared profound similarities in symbolism. Through this imagery we discover age-old traditions alive and well in the 21st Century."
Tom Chambers
Tom Chambers
United States
1955
Photographer Tom Chambers was raised in the Amish farm country of Lancaster, Pennsylvania. Tom completed a B.F.A. in 1985 from The Ringling School of Art, Sarasota, Florida majoring in graphic design with an emphasis in photography. Since 1998 Tom has exhibited photomontage images from ten photographic series both nationally and internationally in twenty three solo exhibitions and over seventy group exhibitions and art fairs. Tom’s work has been published in multiple publications and books and has received fellowships from the Virginia Museum of Fine Arts and the Virginia Commission for the Arts. Statement Through photomontage I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of childhood or the delicate transition experienced by a child passing into adolescence and then adulthood. Others express the tension in the uncertain coexistence between man and his environment, a delicate balance too often ignored and damaged. Each photomontage is carefully constructed, using both images that have been planned and those that unexpectedly enhance the story. With digital photography I desire to move beyond documentation of the present, and rather seek to fuse reality and fantasy in musing about possibilities of the future.
Jizhou Tang
Jizhou Tang
China
2001
Jizhou (Colin) Tang is a photographer from Shenzhen, China, currently studying at William & Mary in Virginia. While majoring in Computer Science and minoring in Arts & Art History, Jizhou's work delves into personal growth and the experiences of life as a young Chinese immigrant in the United States. His photography spans landscapes and portraits, capturing both the vastness of nature and the intricacies of human expression. In his final year, under the mentorship of Professor Eliot Dudik, Jizhou is deepening his expertise in Darkroom techniques and film photography.
Gilles Nicolet
Gilles Nicolet
France
1960
I am a self-taught photographer who spent 35 years living and working in Africa, with long stays in Somalia, West Africa and Tanzania. I started out as an agricultural engineer but soon switched to photography in order to follow an old passion. I have since shot numerous stories for all sorts of magazines, including the Sunday Times Magazine, National Geographic Magazine, Geo, the Smithsonian and Paris-Match. I have a special interest in anthropology and ethnography, something that - I hope - has helped me capture the essence of my subjects. In the past most of my stories where about rare traditions that somehow linked man and wildlife, but Africa has changed a lot in the last few decades and unfortunately most of these traditions have now disappeared. My recent work has therefore been more personal and contemplative and less focused on narrative picture stories meant for magazines. In fact, today my interest lies in the convergence between art and documentary photography. I have also moved away from color photography and now only shoot in black and white. My work has received several major awards, including a World Press Photo Award and a Fuji Award. My latest project on the Swahili Coast also obtained the following recognitions: 2017 HIPA Hamdan International Photography Awards - 2nd Prize, Portfolio Category 2017 Elliott Erwitt Havana Fellowship - Nominee 2017 Seventh Annual Exposure Photography Awards - Winner 2017 IPA International Photography Awards - 2nd Prize, People/Culture Category 2017 Meitar Award - Nominee 2017 Monochrome Photography Awards - Photojournalism/Professional - Two Honorable Mentions 2017 Monochrome Photography Awards - People/Professional - Honorable Mention 2018 CAP Contemporary African Photography Prize - Finalist 2018 SIPA Contest - Honorable Mention 2019 SOPHOT Award - Winner This work on the Swahili Coast is featured in "Swahili", a book released by Contrejour Publishers in May 2019 (available on amazon.fr and amazon.co.uk). Six degrees south The Zanzibar archipelago, an highly evocative name even for those who are quite unable to locate it on a map, lies six degrees south of the Equator. It is also the exact geographical center of the Swahili Coast, a unique physical, historical and cultural entity running from Southern Somalia to Mozambique, which first grew in the 10th century through trade with the Arab world, India and China. Gold, coconut, ebony, mangrove wood, sisal, myrrh and the infamous slave trade helped make the wealth of this region, slowly shaping it and giving it its unique present character. For a thousand years now, wooden dhows have sailed these lonely shores, with their characteristic white cotton sails, using the monsoon winds to help traders move goods between Africa and Arabia. And for a thousand years too, fishermen have ploughed these rich seas for their bounty of fish, contributing with the traders to the emergence of rich city-ports like Stone Town or Mombasa. But all of this is changing now. A combination of overfishing by both local and foreign ships, population increase, changes in weather patterns as well as the recent discovery of huge gas fields in the region, is threatening this fragile equilibrium. The fishing communities that occupy these shores are particularly at risk, and it could be that we are now witnessing the last of fishing and sailing traditions that had remained largely unchanged since Ibn Battuta, the famous 12th Century Arab explorer, first described them in his travel memoirs. With this recent work I have tried to testify to the unique beauty and timelessness of the Swahili Coast, and to record it for generations to come. It is a personal, melancholic, sometimes dreamy vision of a place and a culture that are very dear to my heart but which, I now realise, may soon disappear.
Benjamin Barakat
Benjamin Barakat
Lebanon/United Kingdom
1987
Benjamin Barakat is a Lebanese/English astrophotographer born in England in 1987. He hosts seminars, workshops & photography expeditions internationally around the world teaching others about the night sky and how to capture it. He is based out of Switzerland where he is also a researcher at the highest observatory in Europe the Sphinx Observatory on top of Jungfraujoch at 3571m above sea level. He began photography in 2018 and since then has won many awards and competitions around the world. In 2021 & 2022 he was titled Milky Way Photographer of the year! His work has been featured by National Geographic, CNN, BBC, Forbes, Guardian, Vice and many more. Benjamin's main focus has been in the Middle East, venturing to places others dare not to go. He wants to raise awareness and share the beauty of the middle eastern landscapes and night skies.
Laura Berson
Laura Berson
France
1987
Laura Gwenaëlle Berson was born in Paris in 1987. She studies Applied Arts, then comedy,script-wrinting and cinema. It is a few years later that she is moving towards a more intuitive photographic, plastic and writing work, enabling her to express everything she doesn't know just as much as the others, with the aim of finding the essence of something. Her conceptualized artistic practice allows her to play on forms, bodies whatever they are, by diving into the heart of the infinitely large and the infinitely small, to try to connect the sensitive but not palpable part that binds the two . Her work oscillates between everything and nothing, here and there, where she moves, like an atom (or electron it depends) free, among others. It is through her raw and spontaneous hypersensitivity that she directs her work towards an intimate questioning, playing on the different strata of reality that accompany it to identify a multi-variable essence. She exhibited solo in 2015 at the Maison de la Mixité in Paris and was present at Fotofever Emerging Talent in November 2016. She got an honorable mention for the Chromatics Photography awards in the landscape section. In 2018, she appeared publicly in a Science Shakers - Mixology session - around the imaging of science, organized by the Institute of Complex Systems in partnership with the CNRS, and won the Moscow Foto awards silver price for her serie Some Seeds. In her series The Intolerante, she tries to highlight the effect of food intolerance on the body, its destructuring of the body see its modification, via its own body damaged and tired by daily pain. Through the Myth of the Endometrium, she traces the course of the disease of endometriosis from which it is reached, passing painful menstruation and infertility to the possibilities of operations in order to be able to transmit life. In her series Silentium, she tries to transcribe relationships to others, difficult, tempestuous, whose links fade or weave over time, in a carnal and organic way.
Brigitte Carnochan
Brigitte Carnochan
United States
1941
Brigitte Carnochan's photographs are represented nationally and collected globally by museums, corporate and private collectors. She has had solo exhibitions in Latvia, Italy, Chile, and Hong Kong as well as in New York, Houston, Boston, Palo Alto, Los Angeles, Santa Fe, Ketchum, Woodstock, Albuquerque, Carmel and San Francisco. In addition to the publication of three monographs (Bella Figura 2006, Shining Path 2006, Floating World 2012), The German publisher, Edition Galerie Vevais, launched a monograph of her images in 2014 at Paris Photo. For many years she taught workshops and classes through the Extension Program at UC Santa Cruz and Stanford's Continuing Studies Program. She is on the Advisory Councils of Center, in Santa Fe and The Center for Photographic Art in Carmel. Statement: Despite the debates over "honesty" and "truth" in photography, it is an intrinsically subjective art and form of communication. The photographer has chosen, from a huge range of images, certain ones - or pieces - from a certain perspective, with the light at a certain angle and at a unique moment in time. And the "story" in the photograph begins with the photographer's decision of when to click the shutter and isn't completed until each viewer interprets that image in his or her own way. The qualities that have fascinated me and led me to make a particular photograph are usually quite intuitive. I generally don't have a completed concept in my mind when I begin--I move things around, change angles, lighting--until everything seems right. To further complicate issues of "truth," I often add color to a black and white image in order to bring out, most convincingly, the impression it has made on me--and I have no concern about whether the colors are the "real" colors. In documentary photography the same subjective issues apply--but realizing and recording the "right" moment requires quicker reflexes and a different kind of intuition. Sensing a moment coming by keenly observing the scene--and always being ready for that moment--is the excitement in that kind of photography. All of my images begin as straight gelatin silver prints, but in my nudes and floral still lifes, I am often drawn to hand coloring on several counts. First in literature and now in photography, I have been interested in the power of the imagination--how it colors everyday life - creates, in fact, private views of experience, whether revealed in words or in images. Even though most people see the world in color, they do not see everything in the same exact colors. From an optical point of view, the colors we see depend on where we stand in relation to the object, where the sun is on the horizon, what color the walls are, or the tint of our glasses (or contact lenses), and so on. From a psychological point of view--everything depends on whether we are worried, elated, anxious, in love, lonely, distracted, or fully alert. For this reason, I often hand color my work, because the process allows me to interpret the essence of my subject according to my own imagination. Whether it is nudes and flowers or the black and white images in my series from Cuba, Africa, or Mexico, imagination colors--literally and figuratively--not only what I see initially, but what the viewer sees, ultimately. And seeing, of course, is everything in photography: seeing--and light and shadow. Beginning in 2007, I am continuing to paint gelatin silver images, but I am also scanning the first copy in each new painted edition (now limited to 25) and creating small limited editions of archival pigment prints* in three sizes. The level of current technology makes me confident that these digitally printed images will not only render the original painted photograph faithfully, but will, like the original, last over time. Discover Brigitte Carnochan's Interview
Zhou HanShun
Zhou HanShun
Singapore
1975
Born 1975, and raised in Singapore, Zhou HanShun is a Photographic Artist, Printmaker and Art Director.After graduating from Nanyang Academy of Fine Arts Singapore and RMIT University, he went on to make a living as an art director, and continues to pursue his passion as a visual storyteller and photographer.He uses photography as a way to explore, investigate and document the culture and people in the cities he lived in.HanShun has exhibited at the Tumbas Cultural Center in Thessaloniki, Greece for Photoeidolo (2017), the Molekyl Gallery in Sweden, for the Malmo Fotobiennal (2017), the Gallery under Theater in Bratislava, Slovakia for The Month of Photography Bratislava(2017), the Czech China Contemporary Museum in Beijing for the SongZhuang International Photo Biennale(2017), the PhotoMetria "Parallel Voices" exhibition in Greece (2016), the Addis FotoFest in Ethiopia (2016), among others.HanShun was awarded a Special Mention at the Balkan Photo Festival (2016), Shortlisted for the Hariban Award (2017) and was a finalist of Photolucida Critical Mass (2016), among others.About Frenetic City To say life moves fast in a city is an understatement. People go through life in an uncompromising, chaotic pace, overcoming and absorbing anything in their path. Time in the city seem to flow quicker, memories in the city tend to fade away faster. Nothing seems to stand still in a city. I use photography as a way to explore, investigate and document the culture, society and people in the cities that I have lived in. Using Hong Kong as a starting point, this project aims to be a documentation of our increasingly overpopulated world. When I first landed, I was immediately confronted by a society that is in fierce competition for physical and mental space. I decided to capture and re-create the tension and chaos that I experienced in photographic form, using multiple exposures on B&W negatives. The creation of each photograph requires me to be fixed at a specific location from between 5 to 7 hours per session. Through the viewfinder of an old Hasselblad, I created each photograph by overlapping selected individuals or groups of people within the 6 x 6 frame. The resulting photograph is not of a singular moment in time, but a multitude of moments in time captured in a single frame.
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