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Cole Weston
Cole Weston
Cole Weston

Cole Weston

Country: United States
Birth: 1919

Cole Weston, born on January 30, 1919 in Los Angeles, was the fourth and youngest son of famed 20th Century photographer, Edward Henry Weston. Cole received his first camera, a 4 by 5 Autograflex, from his brother Brett in 1935. Cole graduated with a degree in theater arts from the Cornish School in Seattle in 1937 and then served in the Navy during World War II as a welder and photographer. After his discharge from the Navy in 1945 Cole worked for Life Magazine. In 1946 he moved to Carmel to assist his father Edward. During this time Eastman Kodak started sending their new color film, Kodachrome, for Edward to try out. Cole took this opportunity to experiment with this new medium and eventually became one of the world’s great masters of fine art color photography.

In 1957 Cole began shooting his first color photographs of the magnificent Big Sur coast, Monterey Peninsula and central California. At this time he carried on his own portrait business while assisting his ailing father, who passed away in 1958. Edward had authorized Cole to print from Edward’s negatives after his death, so Cole continued printing Edward’s work while pursuing his own fine art photography.

In 1975 Cole began lecturing and conducting workshops on his father’s photography as well as his own. With his work in the theater arts Cole was a natural when it came to teaching and lecturing and his many students still comment on what a great workshop he gave. He traveled throughout the United States, England, Europe, Russia, Mexico, New Zealand and the South Pacific photographing and inspiring others with his characteristic enthusiasm and charm.

In 1988 after three decades devoted to printing his father’s work, Cole at last set aside his responsibility to Edward’s legacy and refocused on his own photography. Cole had his first solo exhibition in San Francisco in 1971. Since then, his work has been featured in more than sixty exhibitions worldwide and has been collected by museums throughout the United States and Europe. His work has been featured in numerous gallery shows and publications with three monographs and numerous articles having been published on his exquisite photography. Michael Hoffman from Aperture Publications once quoted, “In the history of photography there are but a few masters of color photography, Cole Weston is assuredly one of these masters of the medium whose dramatic powerful images are a source of great joy and pleasure”. Cole passed away from natural causes on April 20th, 2003.

Like Cole, who once carried on the legacy of his father’s photography, his children have decided, as a tribute to their father, to carry on printing and offer Trust prints of Cole’s fine color photographs. Cole Weston was a dedicated artist and master of fine photography. Hopefully the availability of modern prints will make it possible for photographic enthusiasts everywhere to continue to enjoy his life’s work.
 

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More Great Photographers To Discover

Gerda Taro
Germany
1910 | † 1937
Gerda Taro, a pioneering figure in the world of photojournalism, illuminated the harrowing realities of conflict through her lens. Born Gerta Pohorylle on August 1, 1910, in Stuttgart, Germany, she would later adopt the pseudonym "Gerda Taro" as she ventured into the tumultuous landscape of war-torn Europe during the 1930s. Taro's journey into photography began as she fled Nazi persecution, seeking refuge in Paris. It was there that she crossed paths with fellow photographer Robert Capa, sparking a creative and romantic partnership that would shape both their lives and redefine the boundaries of photojournalism. Together, Taro and Capa embarked on a mission to document the Spanish Civil War, a conflict that would serve as a crucible for their artistic and ideological convictions. Working under the banner of "Robert Capa and Gerda Taro," they captured the raw intensity of battle, immortalizing the struggles of Republican forces against the backdrop of Franco's fascist regime. Despite the dangers inherent in their profession, Taro fearlessly ventured into the heart of the conflict, often disregarding personal safety in pursuit of the perfect shot. Her images exuded a sense of urgency and immediacy, offering a stark reminder of the human cost of war and the resilience of the human spirit in the face of adversity. Tragically, Taro's life was cut short at the tender age of 26 when she was struck by a tank during the Battle of Brunete in July 1937. Her untimely death sent shockwaves through the world of photojournalism, serving as a sobering reminder of the risks faced by those who bear witness to history's most tumultuous moments. Though her life was brief, Gerda Taro's impact on the world of photography endures as a testament to her courage, compassion, and unwavering commitment to truth-telling. Her images continue to serve as a powerful reminder of the human toll of conflict, inspiring future generations of photographers to wield their cameras as instruments of social change and justice. As we reflect on the legacy of Gerda Taro, we are reminded of the profound significance of bearing witness to history's darkest chapters and the enduring power of images to shape our understanding of the world and ignite the flames of empathy, compassion, and solidarity across borders and generations.
Ayumi Tanaka
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
Julius Shulman
United States
1910 | † 2009
Julius Shulman was an American architectural photographer best known for his photograph Case Study House #22, Los Angeles, 1960. Pierre Koenig, Architect. The house is also known as the Stahl House. Shulman's photography spread the aesthetic of California's Mid-century modern architecture around the world. Through his many books, exhibits, and personal appearances his work ushered in a new appreciation for the movement beginning in the 1990s. His vast library of images currently resides at the Getty Center in Los Angeles. His contemporaries include Ezra Stoller and Hedrich Blessing photographers. In 1947, Julius Shulman asked architect Raphael Soriano to build a mid-century steel home and studio in the Hollywood Hills. Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to wider attention by Shulman's photography. The clarity of his work added to the idea that architectural photography be considered as an independent art form in which perception and understanding for the buildings and their place in the landscape informs the photograph. Many of the buildings photographed by Shulman have since been demolished or re-purposed, lending to the popularity of his images. I’m not modest about myself. I know for a fact that I am good. But good in the sense that I can put things together. I expound vociferously to students of architecture and photography, the significance of design. A photograph is a design in which you assemble thoughts in your mind. -- Julius Shulman Julius Shulman was born in Brooklyn to Russian-Jewish parents on October 10, 1910, and grew up on a small farm in Connecticut before moving to Los Angeles while still a boy. He briefly attended the University of California, Los Angeles and the University of California, Berkeley, and earned pocket money by selling his photographs to fellow students. In 1936 he returned to Los Angeles, where he was enlisted by a friend, working as a draftsman for Richard Neutra, to take photographs of a new, Neutra-designed Kun Residence in Hollywood with his amateur Kodak Vest Pocket camera. When Neutra saw the pictures, he asked to meet the photographer and proceeded to give him his first assignments which assisted Shulman in launching his career in architectural photography. Shulman opened a studio in Los Angeles in 1950, by that time drawing much of his work from magazines based in New York. He remained in business full-time until the late 1980s. In 2000, Shulman gave up retirement to begin working with business partner Juergen Nogai. The Getty Research Institute held a 2005–2006 exhibition of Shulman's prints entitled Julius Shulman, Modernity and the Metropolis. The exhibition included sections entitled Framing the California Lifestyle, Promoting the Power of Modern Architecture, The Tools of an Innovator and The Development of a Metropolis. The exhibition traveled to the National Building Museum and to the Art Institute of Chicago. In 1987, the Shulman House was designated a Cultural Heritage Monument by the city of Los Angeles. Shulman himself had a Golden Palm Star on the Palm Springs Walk of Stars dedicated to him in 2006. He died at his home in Los Angeles, California on July 15, 2009; he was 98 years old. He was buried at Hillside Memorial Park Cemetery in Culver City, California.Source: Wikipedia I sell architecture better and more directly and more vividly than the architect does... The average architect is stupid. He doesn’t know how to sell. He’s not a merchandiser. He doesn’t know how to express his own image. He doesn’t know how to create a design of his image... And I do it. I’ve done it all my career over half a century, and it gets better. -- Julius Shulman
Urszula Tarasiewicz
Urszula Tarasiewicz, Photographer, organizer of events and photo exhibitions. Studied at the National Film School in Łódź, Poland. I produce pictures with a medium format Hasselblad, which for me retains a particular sort of magic. The quality, the way light works on film, always elevates my interest when I decide to shoot a particular subject. The 'truth in photography' is a continuous debate. But that idea has always fascinated me. I observe the space around me, searching for a contrast between people and their environments. At times I allow the subject to play different roles or use simple props to alter the mood in the picture. There are many stories you can choose from when you observe the picture. I like the viewer to question its authenticity. For me, it's the interpretation that creates the magic. - Urszula Tarasiewicz Her photographs are the effect of acute observation of her surroundings and the ability to notice intriguing details and phenomena which are sometimes absurd and marginal, sometimes sentimental reminiscences of the People's Republic of Poland and the birth of the capitalism in Poland. Marcin Krasny The artist's eye focuses on the margins of reality, the kitsch and grotesque public space. Simple, plain and ascetic compositions, or quite the opposite - full of details, colorful - frames of Urszula Tarasiewicz's works depict the world as a place which is not as much absurd as it is pleasant and charming- Anna Czaban - Art Historian Urszula Tarasiewicz /b. 1975/ studied Photography at the Leon Schiller National Higher School of Film, Television and Theatre in Łódź, Poland. The works from the series New Urban Legends which are on display at the andel's Hotel in Łódź /curator Lucyna Sosnowska/ have won the portrait category at the 2010 Curator's Contest of the Photo District News Magazine, the 2012 New Talent Award of the German edition of the FotoMagazine, as well as the contest of the Norwegian photography magazine Fotografii for a place at the 17#Debutantutstilling 2012 exhibition in Oslo. The New Urban Legends series has been exhibited in, among others, the Milk Gallery NYC (2010). Other photo series by Urszula Tarasiewicz have been shown internationally: in the US at the Critical Mass exhibition (2012), the series The Future Is So Bright created in Norway during the Artist in Residence program at the Halsnøy monastery was presented at a group exhibition in Norway in 2013 and in Warsaw in 2015 at the Ja to Ktoś Inny show /curator Klima Boheńska/, at the Krinzinger Galerie in Vienna during the group exhibition Call Me on Sunday (2014, curator Ursula Maria Probst), at the Jam Factory gallery in Oxford (2014), in Stuttgart at the Face to Face show (2014), at the Bunkier Sztuki gallery in Kraków during the show Kasa z Widokiem /curator Lidia Krawczyk. Ogrodowa/Garden Street Garden Street, A project documenting flats after evictions on Garden Street. 150 families left the building. It was the first residential complex for workers in 1880 in the new industrial city of Lodz. Izrael Poznański wealthy entrepreneur (1833-1900) is regarded as being one of the icons of Łódź. His monumental factory just across Ogrodowa street along with the labourers' tenement houses, is a true city within a city. In its best years, nearly 7000 people in total worked and lived here. The moment Poznański's empire fell after World War II was the beginning of the estate's and all of its inhabitants' long agony. Its fate was concluded with the decommissioning of the Poltex company in 1991. Famuły became a no man's land, its residents left to their own devices. The project 100 Tenement houses in Łódź, thanks to which a major renovation of the Poznański's factory housing estate started in 2014 was preceded by a long process of relocating all the residents. It was during this time I began to document the empty flats. The famuły rooms stun with their ruthlessness, their coldness, with the visibly absent inhabitants. The artist guides us around the world which is already gone, lost. Looking at Tarasiewicz's photos, we're confronted with desolate rooms, dilapidated walls out of which someone ripped off electrical wiring and where time imprinted the ghosts of furniture and lost artworks.
Sumit Gupta
India
1983
While a software engineer by profession, Sumit has been capturing and sharing the stories of cities and cultures since 2013. He finds the experience of walking around the city streets with a camera almost therapeutic and meditative. Inspired by the human condition, Sumit has photographed mostly in India and Europe. Sumit's photographs are inspired by a personal desire to find meaning in the world around us and attempt to draw attention to the poetic and inspirational nature of human life all around us. All about the project 'The River' The Kumbh Mela is the largest religious gathering of humans on our planet. Over the two month period that this festival happens, once every 12 years in 4 Indian cities, millions of people come from all over the country (and outside of it) to take an auspicious bath in the holy waters of the river Ganga. I'm interested in portraying how the contemporary experience of the Kumbh Mela is influenced by aspects such as globalization, consumption and current trends of social behavior. People from all over India come to this event as a pilgrimage to wash away their sins, but they're also cohabiting with people that see this as a cultural attraction, as a possibility to experience a foreign culture and filter it through social media. What's the impact of hyper-communication and advertising in the collective atmosphere of this spiritual gathering? The project tries to reflect on those ideas by working through the psychological climate of the different people that are present in the event. The images evidence the paradoxical and complex nature of a spiritual event that feeds on tradition when young people seem to drift away from old collective habits. The river, the sacred area where people transcend their humanity, is the perfect metaphor for the current situation; affected by mass production and consumerism, the polluted river is still worshipped as a place for cleansing; time will tell if the memory that holds this identity will keep flowing through the divine water, or if it will drown to the mirage of pleasures that float in the immediacy of today's world.
Justine Kurland
United States
1969
Justine Kurland was born in Warsaw, New York. She earned her B.F.A. from the School of Visual Arts in 1996. She went on to Yale University and graduated with an M.F.A. in 1998. Kurland first gained public notice with her work in the group show Another Girl, Another Planet (1999), at New York's Van Doren Waxter gallery. The show included her large c-print staged tableau pictures of neo-romantic landscapes inhabited by young adolescent girls, half-sprites, half juvenile delinquents. This was her first exhibition of a photographic interest that lasted from 1997, when she began taking pictures of her mentor Laurie Simmons's babysitter and her friends, to 2002. Altogether, Kurland published 69 pictures of girls in a series called Girl Pictures. The staged photos take place in urban and wilderness settings, with girls depicted as though to imply they are runaways, hopeful and independent. As landscapes, she chose the "secret places" of late childhood; wasteland on the edges of suburbia, "owned" only by a feral nature and unsupervised children. Her book Spirit West (2000) featured similar work on a more ambitious scale. In early 2001 Kurland spent several months in New Zealand, where she created similar work with schoolgirls there. In her show Community, Skyblue (2002), Kurland turned to document the utopian communes of Virginia and California, highlighting the unworldly aspirations of the communards by having them appear naked in her pictures and showing them as only distant figures in their landscape. In 2003 she had European solo shows Golden Dawn (London) and Welcome Home (Vienna), based around these series of commune images. Old Joy (2004) turns to men. She shows visionaries trekking naked into the wilderness, where they undergo spiritual experiences. In her 2004 show Songs of Experience, she explored medieval and Biblical imagery. In 2005 she had a solo show in Japan. After having a son, Kurland began to photograph pregnant women and new mothers (Mama Baby, 2004-2007). Her son's interest in trains would lead her to photograph hobos and trains from 2007 to 2011 (This Train Is Bound for Glory); as he grew up, she became interested in American masculinity, and created photographs of cars and mechanics (Sincere Auto Care, 2014-2015). Kurland's work appears on the cover and liner notes of French electronic/shoegaze group M83's 2004 album Dead Cities, Red Seas & Lost Ghosts, as well as the covers of the EP releases for the album. In an article in ArtForum (April 2000) she talked of her inspirations: "I'm always thinking about painting: nineteenth-century English picturesque landscapes and the utopian ideal, genre paintings, and also Julia Margaret Cameron's photographs. I started going to museums at an early age, but my imagery is equally influenced by illustrations from the fairy tales I read as a child." Selections from her work Highway Kind were published in the book The Open Road: Photography & the American Road Trip by David Campany.
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