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Raymond Depardon
Raymond Depardon

Raymond Depardon

Country: France
Birth: 1942

Raymond Depardon, born in France in 1942, began taking photographs on his family farm in Garet at the age of 12. Apprenticed to a photographer-optician in Villefranche-sur-Saône, he left for Paris in 1958. He joined the Dalmas agency in Paris in 1960 as a reporter, and in 1966 he co-founded the Gamma agency, reporting from all over the world.

From 1974 to 1977, as a photographer and film-maker, he covered the kidnap of a French ethnologist, François Claustre, in northern Chad. Alongside his photographic career, he began to make documentary films: 1974, Une Partie de Campagne and San Clemente. In 1978 Depardon joined Magnum and continued his reportage work until the publication of Notes in 1979 and Correspondance New Yorkaise in 1981. In that same year, Reporters came out and stayed on the programme of a cinema in the Latin Quarter for seven months.

In 1984 he took part in the DATAR project on the French countryside. While still pursuing his film-making career, he received the Grand Prix National de la Photographie in 1991, but his films also won recognition: in 1995 his film Délits Flagrants, on the French justice system, received a César Award for best documentary, and in 1998 he undertook the first in a series of three films devoted to the French rural world. The Maison Européenne de la Photographie in Paris mounted an important exhibition of his work in 2000. The sequel to his work on French justice was shown as part of the official selection at the Cannes Film Festival in 2004.

As part of an initiative by the Fondation Cartier for contemporary art, Depardon made an installation of films on twelve large cities, shown in Paris, Tokyo and Berlin between 2004 and 2007. In 2006 he was invited to be artistic director of the Rencontres Internationales d'Arles. He is working on a photographic project on French territory which is due to be completed in 2010. He has made eighteen feature-length films and published forty-seven books.

Source: Magnum Photos


Raymond Depardon (born 6 July 1942 in Villefranche-sur-Saône, France) is a French photographer, photojournalist and documentary filmmaker. Depardon is for the most part a self-taught photographer, as he began taking pictures on his family's farm when he was 12. He apprenticed with a photographer-optician in Villefranche-sur-Saône before he moved to Paris in 1958. He began his career as a photojournalist in the early 1960s. He travelled to conflict zones including Algeria, Vietnam, Biafra and Chad. In 1966, Depardon co-founded the photojournalism agency Gamma, and he became its director in 1974. In 1973 he became Gamma’s director. From 1975 to 1977 Depardon traveled in Chad and received a Pulitzer Prize in 1977. The next year he left Gamma to become a Magnum associate, then a full member in 1979. In the 1990s, Depardon went back to his parents’ farm to photograph rural landscapes in color, and then in 1996 published a black-and-white road journal, In Africa. In May 2012, he took the official portrait of French President François Hollande.

Source: Wikipedia

 

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Helga Paris
Germany
1938
Helga Steffens, daughter of Gertrud Steffens and typesetter Wilhelm Steffens, was born just over a year before the outbreak of the Second World War in Gollnow, a small town then in the north of Germany. In May 1945 she celebrated her seventh birthday, while the war ended in defeat for Germany. Her father and two brothers were still away, but in the meantime frontier changes mandated by the victorious powers and large scale ethnic cleansing forced Helga's mother to flee with her two daughters. They ended up in Zossen, a small town a little to the south of Berlin. There she was raised by a community of mostly women, many of whom worked. She is introduced to photography by her aunts who take many photographs. In Zossen she went to school and successfully passed her School leaving exams in 1956. After this, till 1960, she studied fashion design at the School of Engineering for the Clothing Industry ("Berlin Ingenieurschule für Bekleidungsindustrie") in Berlin and undertook, still in Berlin, an internship at VEB Treffmodelle. After this she worked as a fashion lecturer and as a commercial artist. In 1960 she starts to take photographs with a 6x6 Flexaret camera. It was during this time that she met the painter Ronald Paris. They were married between 1961 and 1974. Through her husband she was now quickly able to establish contacts in the East German artistic scene of the time. By now she had also acquired a passion for photography. Like many of the German Democratic Republic's leading photographers, Helga Paris is often described as self-taught. She herself believes that much of her photographic passion and skill was acquired from two aunts who were themselves, enthusiastic photographers, constantly taking pictures through the 1940s, 50s, and 60s, which now Paris herself keeps carefully stored in a collection of show boxes adapted for the purpose. Paris began taking photographs seriously around 1967. She was influenced by the work of Edvard Munch, Max Beckmann, Francis Bacon, and Werner Held. Between 1967 and 1968 she worked in the photo laboratory of Walli Baucik. Her first freelance job, in 1969, was to photograph slaughtering at a home in Thüringen; in 1970 she shot fashion photographs for the youth magazine neues leben. In 1972 she joined the National Association of Visual Artists, which was virtually a prerequisite for success in what was now her chosen career. Her professional work is wide-ranging. In 1975 she photographed scenes from productions by Benno Besson at the Berlin Volksbühne ("People's Theatre"). She presented her first personal exhibition in 1978, in Dresden at the Fine Arts Academy. By the 1980s her work was concentrated increasingly on people and streetscapes, initially in Berlin where many of her subjects were neighbours and friends. She encountered greater difficulty when undertaking an equivalent project in Halle where the people she photographed were strangers and reacted with hostility. She then took time to talk to people and ask before photographing them. Under those circumstances, citizens of Halle agreed to be photographed, though there was still reluctance to be photographed with Halle streets as background at a time when a major and long-running redevelopment project scheme involving extensive destruction of old houses was leaving the centre of the city looking badly damaged. Her 1986 exhibition Buildings and Faces: Halle 1983-1985, planned for the city's Marktschlößchen Gallery was cancelled a few days before the scheduled opening date because her pictures gave publicity to the city's misguided building policy. By the time it was cancelled a catalogue and exhibition labels for the photographs had already been printed. Her career as a free-lance photographer survived the changes of 1989/90 which led to the end of the German Democratic Republic, formally in October 1990 with German reunification, and for some commentators and others her photographs from the East German period have gained a wider interest as the period they depict has receded into history. Since 1996 Helga Paris has been a member of the Berlin Academy of Arts. In 2003 her twelve-part exhibition Self images 1981-1988 in the context of the Art in the German Democratic Republic exhibition drew much interest.Source: Wikipedia Buildings and Faces “I’ll take Halle” was Helga Paris’s spontaneous reaction when, at a meeting with colleagues and artists in East Berlin in the early 1980s, fellow photographer Arno Fischer came up with the idea of photographing East Germany systematically as photographers had done in the 1930s and 1940s for the Farm Security Administration on behalf of the US government. Helga Paris rose to the challenge and began to document Halle on her own initiative. The self-taught photographer had previously carried out several photo stories on themes relating to urban and neighborhood life as part of a personal project. She drove from East Berlin to Halle many times between 1983 and 1985. As her daughter lived there at the time, she had developed an affinity to the town. Helga Paris was fascinated by the endangered former beauty of the buildings and considered it her duty to preserve it in pictures before it disappeared completely. She decided to photograph Halle as if it were a “foreign town in a foreign country”. In doing so, she looked at it through the eyes of an explorer, who is inspired and galvanized by a new environment. She started off taking snapshots of urban life, focusing on streets with houses and passers-by. However, the local people, who felt exposed in their “everyday misery”, did not always react favorably. This prompted her to reconsider her approach and eventually to divide the project into portraits of buildings and portraits of people. Helga Paris consciously limited the moment between making contact with her subjects and pressing the shutter to ensure that their gazes were as open as possible. As a result, they seem to be poised in the very second in which they briefly pause for the photographer, but have not yet engaged mentally with the photographic situation. At the time, Halle was primarily putting money into building modern apartments, and the old town center offered a desolate picture with crumbling facades, including those of listed buildings, half-untiled roofs, and ramshackle roads and squares. All this is revealed in Helga Paris’s photographs in high-contrast black-and-white, although it was never her intention to denounce the state of things. However, the SED party leadership found that the picture of the town conveyed in Helga Paris’s images was too negative. As a result, she was barred from opening her exhibition Buildings and Faces at the last minute. Not until 1990, after German reunification, was it allowed to be shown in Halle.Source: Deutsche Börse Photography Foundation
Marsel van Oosten
The Netherland
1967
Dutch-born Marsel van Oosten began his career in advertising. Photography started as a means of escaping fast-paced advertising life, but it was during a trip to Tanzania and close encounters with the animals of the Serengeti, where Marsel developed a passion for wildlife photography. Five years later, Marsel left advertising to become a full-time photographer and hasn’t looked back. Marsel’s images, which feature in galleries and museums across the globe, are famed for their composition, lighting, color and perspective. In his work, he tries to keep his images clean and uncluttered, enabling the viewer to focus on the image’s inherent graphic qualities. As a result, he has been decorated with many prestigious awards, including winning the overall titles for: Wildlife Photographer of the Year (Natural History Museum), Travel Photographer of the Year (TPOTY), and International Nature Photographer of the Year (2x in the International Photography Awards).Source: Nikon UK After graduating from the Academy of Arts with a BA in Art Direction and Graphic Design, Dutch-born Marsel van Oosten started a career in advertising. As an Art Director at various renowned agencies, he won numerous awards for his work, amongst which are one silver and two gold Lions at the prestigious International Advertising Festival in Cannes. The acclaimed TV commercial he made for a Dutch nature conservation organization is representative of both his creative and emotional approach to communication, as well as for his love for the natural world and his concern for the environment. Taking photographs began as a way for Marsel to escape from life in the fast lane. After a trip to Tanzania, however, things started getting more serious. Close encounters with the animals of the Serengeti fueled his passion for wildlife photography, which soon became his specialty. Five years later, Van Oosten took the plunge and swapped his established advertising career for the precarious life of a nature photographer, a move that demands unyielding devotion and commitment. His images are featured in galleries and museums, are used worldwide in advertising and design, and he is a regular contributor to National Geographic. When Marsel is not traveling, he lives in South Africa, with producer and videographer Daniella Sibbing. Together they run specialized nature photography tours for all experience levels to exciting destinations worldwide.Source: Squiver
Christopher Felver
United States
1946
Christopher Felver (born October 1946) is a photographer and filmmaker who has published several books of photos of public figures, especially those in the arts, most notably those associated with beat literature. He has made numerous films (as director, cinematographer, or producer), including a documentary on Lawrence Ferlinghetti, Ferlinghetti: A Rebirth of Wonder, released in 2013. Christopher Felver has photographed numerous writers, intellectuals and filmmakers such as Charles Bukowski, William Burroughs, Noam Chomsky, Gregory Corso, Clint Eastwood, Lawrence Ferlinghetti, Allen Ginsberg, Dennis Hopper, Oliver Stone, Elizabeth Taylor, Hunter S. Thompson and Kurt Vonnegut. His photography has been exhibited internationally, with solo photographic exhibitions at the Arco d'Alibert, Rome (1987); the Art Institute for the Permian Basin, Odessa, Texas (1987); Torino Fotografia Biennale Internazionale, Turin, Italy (1989); Centre Georges Pompidou, Paris (1994); Roosevelt Study Center, Middelburg, Netherlands (1998); Fahey/Klein Gallery, Los Angeles (2002); the Maine Photographic Workshop (2002); Robert Berman Gallery, Los Angeles (2007); the San Francisco Public Library (2018)[3] and other galleries and museums. His works have also appeared in major group exhibitions, including The Beats: Legacy & Celebration, New York University (1994) and Beatific Soul: Jack Kerouac On The Road, New York Public Library (2007). A collection of his photographs is held by the University of Delaware. Source: Wikipedia Christopher Felver is a cultural documentarian. His distinctive visual signature is a lasting contribution to the legacy of our national cultural community. Felver’s films & photographs reads like a roster of American mid-century avant-garde. Aside from portraits, Christopher Felver has also produced another body of work entitled: Ordered World. About this body of work, curator, James Crump writes, “Mr. Felver celebrates the elemental essences manmade and natural objects that tend to elude observation. Working in a manner not unlike Karl Blossfeldt, Albert Renger-Patzsch and the New Objectivity artists of 1920s and ’30s Germany, Felver asserts his own contemporary vision here. His pictures are informed by Minimalism and the keen, refined observation of a poet unwilling to discard the mundane or topical content that surrounds us but, nevertheless, is overlooked in the quickened pace of our technologically frenzied age. The series, while concerned with monumentalizing and focusing our attention on the ordered and structured surfaces of objects, resists any historical referencing to the hardened gaze of the twentieth century. It asks the viewer to ruminate on the overlooked beauty which surrounds us, the wonderment that unfolds, with careful and refined examination.” In 1994 Felver attended a Connecticut gathering of Native American dancers in ceremonial dress. These 20 photographs capture a traditional gathering of Northeastern tribes in Felver’s direct portrait style. As visiting artist in 1988 & 1989 at the American Academy in Rome, Christopher Felver made over 250 portraits of European artists across the continent. Felver’s 1350 portraits represent American and European cultural icons. In 1984 Christopher Felver traveled as a journalist to Japan, Hong Kong and Beijing documenting the customs and social conditions. Writers Lawrence Ferlingetti, Robert Creeley, David Amram, Amiri Baraka, George Plimpton, David Shapiro, Luc Sante, Lee Ranaldo, William Parker, Douglas Brinkley, Gary Snyder, Lance Henson, Linda Hogan and Simon Ortiz have written introductions for Christopher Felver’s books. Source: chrisfelver.com "With his gravelly voice, Felver would have made a great gumshoe in a mystery serial during the Golden Age of American radio, which ended around 75 years ago. Luckily for us, he did not miss his calling, which is to take portraits of the people who make up the cultural backbone of America — its artists, writers, composers, and musicians — people in the public eye, even if that audience is tiny." "Felver didn’t just take a photograph, as each portrait is accompanied by a short poem or line of poetry written by the subject in his or her own hand. He finds another way to be a witness." "I cannot think of another person who has given us such intimate portraits of Sherman Alexie, Amiri Baraka, Louise Erdrich, Lawrence Ferlinghetti, Allen Ginsberg, Joy Harjo, Eartha Kitt, Jasper Johns, Toni Morrison, Patti Smith, and Anne Waldman. He has made photographic portraits of Native American writers, and of composers and musicians from John Cage and Doc Watson to Mavis Staples and Ozzy Osbourne. He spent a week in Nicaragua in early part of 1984 with Lawrence Ferlinghetti, five years after the 1979 July revolution there. The photographs in Felver’s book, The Late Great Allen Ginsberg (2002), were taken between 1980 and 1997, in which various other people make appearances: Philip Glass, Ray Manzarek, Ed Sanders, Norman Mailer, Robert Frank, and Gary Snyder." "Each of these projects reveals another side of Felver’s capacity to engage with others and the world, as well as to stand aside and let his subjects speak. I cannot think of anyone who has been as devoted as Felver has been to his subjects. Perhaps it is time we find a way to return that devotion." -- John Yau Source: Hyperallergic
Mary  Kay Kirsner
United States
1956
My interest in photography began as a teenager in Madison, Wisconsin, when my parents gave me a camera. I had always been interested in graphics, especially the black-and-white photographs I looked forward to seeing in the upcoming edition of Life Magazine. Both my father and grandfather were photo enthusiasts and influenced my early passion. During my teen years, I used my camera to make my home environment feel more novel by photographing everyday objects in the garage and basement in unique ways. But as a young adult, I realized that the most compelling photographs were those of people. As a young, shy, but adventurous woman, I felt both terrified and excited about the challenges of pursuing candid, people-focused photography. My camera had been a companion for decades, but until 2019, my journey was solo and full of expected disappointments. Everything changed that year when I attended my first workshop and joined the incredible community of street photographers worldwide. Since that time, I have studied the work of the masters and have also been fortunate to work directly with many of the most talented street photographers alive today, transitioning my prior years of intermittent photography into a full-time vocation. Whereas I am most excited about photographing on the streets of global cities, I have also spent three years following rodeos (the only public events to endure throughout COVID) and many more years photographing the Iowa State Fair. A number of my photographs have been part of exhibits at local galleries, including the Des Moines Art Center, and have also been recognized as finalists in numerous international street photography festivals. In 2025, I produced a zine titled Backstage with the Royal Hanneford Circus as a gift to the Hanneford family for allowing me to invade their personal space for three days. I am currently working on a zine about rodeo life in Iowa, and one on beach life in Siesta Key, Florida, where I have also photographed for years. All About Photo Competitions AAP Magazine 56 Shadows
Gregory Spaid
United States
1946
Gregory Spaid (born, 1946) is an American artist who works in many modes and styles of photography, which are linked by a common thread of illuminating the commonplace. Whether it is the daily movement of pedestrians on the streets of New York City or the leaves that fall in his yard in rural Ohio, it is photography’s potential to transform our common experiences to reveal meaning and beauty that is the hallmark of his work. Spaid’s recent work includes a photography project that explores the importance trees play in our lives and for the health of the planet titled Reading Trees. His work on trees includes Cliché Verre photographs that incorporate actual leaves and other materials on negatives he makes by hand. For this project he traveled throughout the United States and has been awarded artist residencies at the Brush Creek Foundation in Wyoming, Mesa Verde National Park in Colorado, Congaree National Park in South Carolina and the Sonoran Arts Residency in Ajo, Arizona. During the Covid-19 pandemic, he focused on the natural world much closer to home, within footsteps of where he lives, to produce a series of videos to share with friends, titled The Machine in the Garden, that take a close look at nature for the beauty and inspiration still to be found there. Since 2009, Spaid has photographed the dance-like movement of people on the street of New York City for a series of abstract images titled Pedestrians. His photography on the changing landscape of rural America was included in a major group exhibition at The J. Paul Getty Museum in Los Angeles titled Where We Live. As well as the Getty Museum, his work is in other major collections including the Museum of Modern Art, the International Museum of Photography at the George Eastman House, and the Smithsonian American Art Museum. He received a Fulbright Research Fellowship to Italy and is the recipient of eight grants from the Ohio Art Council. Spaid has published two monographs: Grace: Photograph of Rural America and On Nantucket. In 2010, the Getty Museum published his work in an historical survey titled The Tree in Photography. Spaid taught studio art at Kenyon College where he served for nine years in academic administration including six years as the college’s provost. About Leaf Cutting Series "Leaves occur in such abundance where I live in rural Ohio as to seem worthless, and yet each one is astoundingly complex and beautiful both in its form and function. I think of the leaves in this series as visual representations of wildness, while the alterations I make to them -- the cutting -- is a form of rational human intervention. These images from my leaf cutting series are camera-less photographs made from negatives I make by hand -- a process known by the French term Cliché Verre. Cliché Verre is one of the earliest uses of light-sensitive, photographic materials. In the mid-19th century, it was used by a few French landscape painters, including Corot, Delacroix, Millet and Rousseau, to reproduce drawings they made on glass plates. My process is a hybrid one and an experimental contemporary version of that early process. After making a negative by hand, I scan it, process it digitally, and then print it as an archival ink jet print. Because there is no right or wrong way to make Cliché Verre images, I invent my technique as I work and let chance and discovery shape my approach. The subject of this work is leaves that I collect, make translucent, cut in unique shapes, and then combine with other materials (including maple syrup, blueberry juice, glue, India ink) to make hand-made 'negatives.'” -- Gregory Spaid
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