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Eli Reed
Eli Reed

Eli Reed

Country: United States
Birth: 1946

Eli Reed, born Ellis Reed, is a photojournalist and photographer from the United States. Reed was Magnum Photos agency's first full-time black photographer and the author of several publications, including Black In America. Several pictures from that project have won awards in juried exhibits and exhibitions.

Eli Reed was a Nieman Fellow at Harvard University from 1982 to 1983 and is now a clinical professor of photojournalism at The University of Texas at Austin. In 1982, he was a runner-up for the Pulitzer Prize in Feature Photography. Reed has received the World Press Award and the Overseas Press Club Award, as well as being a Sony Global Imaging Ambassador. He received a Lucie Foundation Award for Documentary Photography in 2011. Reed's photography was featured at the prestigious Visa pour l'image Festival Du Photoreportage in Perpignan, France, in 2015.

Reed was asked to talk at the Schomburg Center for Research in Black Culture in October 2015 as part of their Visually Speaking series. He was a keynote speaker at National Geographic Magazine′s Photography Seminar in Washington, D.C. in January 2016.

Stop talking theory... and do not over-think the image. Lose the ego and let the photograph find you. Observe the life moving like a river around you and realise that the images you make may become part of the collective history of the time that you are living in.

-- Eli Reed


Eli Reed grew up in Perth Amboy, New Jersey. At the age of ten, he took his first snapshot, of his mother near the Christmas tree. Self-taught in photography, he credits his direction to mentor Donald Greenhaus rather than formal education. He graduated in 1969 from the Newark School of Fine and Industrial Arts, where he studied illustration.

Reed began working as a freelance photographer in 1970. His work from the Lebanon war (which he covered between 1983 and 1987), the 1986 Haiti coup against Baby Doc Duvalier, and the 1989 US military intervention in Panama attracted the attention of Magnum in 1982. Reed joined the agency as a full member in 1988.

In the same year Reed photographed the effects of poverty on America's children for a film documentary called Poorest in the Land of Plenty, narrated by Maya Angelou. He went on to work as a stills and specials photographer for major motion pictures. His video documentary Getting Out was shown at the New York Film Festival in 1993 and honored by the 1996 Black Film-makers Hall of Fame International Film and Video Competition in the documentary category.

Reed's special reports include a long-term study on Beirut (1983-87), which became his first, highly acclaimed book Beirut, City of Regrets, the ousting of Baby Doc Duvalier in Haiti (1986), US military action in Panama (1989), the Walled City in Hong Kong and, perhaps most notably, his documentation of African-American experience over more than twenty years. Spanning the 1970s through the end of the 1990s, his book Black in America includes images from the Crown Heights riots and the Million Man March.

The main thing for me is that I'm happy that I've been able to work as a professional photographer. What is at the core of my work is, in essence, a mediation on being a human being.

-- Eli Reed


Reed began photographing movies and performers in 1992 and is a member of the Society of Motion Picture Still Photographers (SMPSP). Reed mostly shoots with the Olympus E-3, E-30, and EP-1 cameras.

Eli Reed has taught at the Maine Photographic Workshop, the Wilson Hicks Symposium at Miami University in Florida, the Southeastern Museum of Photography in Daytona Beach, Florida, the Smithsonian Institution in Washington, D. C., San Francisco State University, Harvard University, the Boston Institute of Art, the Academy of Fine Art in San Francisco, the University of Texas at Austin, Columbia University, Empire State College in New York, New York University, and the International Center of Photography.
 

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More Great Photographers To Discover

Umberto Romagnoli
Umberto Romagnoli was born in Rome in 1970; in 1994 he attended the European Institute of Design, where he followed photography courses for two years. In 1996 he received a special mention from the jury of the Europe: Crossing Borders competition organized by the European Cultural Foundation in Amsterdam for a work inspired by 100 years of Cinema. Since 2002 he has worked as a photographer, assistant and printer in the studio of Claudio Abate, the "art photographer", eyewitness of the artistic ferment and avant-garde from the 1960s onwards, where he deals with the organization and management of the archive photography and studio. Always interested in the cinematographic medium, often a source of inspiration for his work, in 2008 he made the short film War Box and in 2010 Spiriti del Lago. In the following years he founded the Mister Freedom-Brigata Cinematica, an association that supports and promotes visual culture and cinematographic in all its forms. Parallel to his photographic activity, he organizes and takes care of film clubs, film festivals and themed events such as: Posto Unico, Pape Satàn, Sdrive-In, Arena-Dentro La Storia and Street Cinema. Statement: I think that through a broad vision of photography I try to explore both the intimate and the analytical, creating a dialogue between the human essence and the visual representation, with this approach I try to combine originality and critical reflection. As for the interior and ancestral universe, I have always focused on subjects that reflect intimacy and human nature, from female nudes, to the elements to portraits used in a symbolic or metaphorical way, to still lifes of various inanimate objects that can hide deeper meanings. As for the analysis of the image and the fictional universe, I have worked on the understanding and analysis of the photographic and cinematographic image, examining how the visual image communicates, influencing the viewer, its authenticity and truth, asking myself questions about the nature of the image: how authentic is it? how manipulated is it? This can lead to reflections on perception and reality, passing through works of pure fiction, creating images that tell imaginary stories.
 Nadar
France
1820 | † 1910
Nadar was the pseudonym of Gaspard-Félix Tournachon. Nadar was born in April 1820 in Paris (though some sources state Lyon). He was a caricaturist for Le Charivari in 1848. In 1849 he created the Revue comique and the Petit journal pour rire. He took his first photographs in 1853 and in 1858 became the first person to take aerial photographs. He also pioneered the use of artificial lighting in photography, working in the catacombs of Paris. Around 1863, Nadar built a huge (6000 m³) balloon named Le Géant ("The Giant"), thereby inspiring Jules Verne's Five Weeks in a Balloon. Although the "Géant" project was initially unsuccessful Nadar was still convinced that the future belonged to heavier-than-air machines. Later, "The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines" was established, with Nadar as president and Verne as secretary. Nadar was also the inspiration for the character of Michael Ardan in Verne's From the Earth to the Moon. On his visit to Brussels with the Géant, on 26 September 1864, Nadar erected mobile barriers to keep the crowd at a safe distance. Up to this day, crowd control barriers are known in Belgium as Nadar barriers. In April 1874, he lent his photo studio to a group of painters, thus making the first exhibition of the Impressionists possible. He photographed Victor Hugo on his death-bed in 1885. He is credited with having published (in 1886) the first photo-interview (of famous chemist Michel Eugène Chevreul, then a centenarian), and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was in Marseilles (France). Nadar died in 1910, aged 89. He was buried in Père Lachaise Cemetery in Paris. Source: Wikipedia
Lucien Clergue
France
1934 | † 2014
Lucien Clergue was born in Arles. From the age of 7, he learned to play the violin. Several years later, his teacher revealed to him that he had nothing more to teach him. From a family of shopkeepers, he could not pursue further studies in a conservatory. In 1949, he learned the rudiments of photography. Four years later, at a corrida in Arles, he showed his photographs to Pablo Picasso who, though subdued, demanded to see others. Within a year and a half, young Clergue worked with the goal of sending photos to Picasso. During this period, he worked on a series of photographs of traveling entertainers, acrobats and harlequins, the Saltimbanques. He also worked on a series whose subject was carrion. On 4 November 1955, Lucien Clergue visited Picasso in Cannes. Their friendship lasted near 30 years until the death of the Master. The book, Picasso my Friend retraces the important moments of their relation. Clergue has taken many photographs of the gypsies of southern France, and he was instrumental in propelling the guitarist Manitas de Plata to fame. In 1968 he founded, along with his friend Michel Tournier the Rencontres d’Arles photography festival which is held in Arles in July. His works was presented during the festival from 1971–1973, 1975, 1979, 1982–1986, 1989, 1991, 1993, 1994, 2000, 2003, 2007. Clergue has illustrated books, among these a book by writer Yves Navarre. Clergue’s photographs are in the collections of numerous well-known museums and private collectors. His photographs have been exhibited in over 100 solo exhibitions worldwide, with noted exhibitions such as 1961, Museum of Modern Art New York, the last exhibition organized by Edward Steichen with Lucien Clergue, Bill Brandt and Yasuhiro Ishimoto. Museums with extensive inventory of photographs by Lucien Clergue include The Fogg Museum at Harvard University and the Museum of Fine Arts, Boston. His photographs of Jean Cocteau are on permanent display at the Jean Cocteau Museum in Menton, France. In the US, the exhibition of photographs of Jean Cocteau was premiered by Westwood Gallery, New York City. In 2007, the city of Arles honored Lucien Clergue and dedicated a retrospective collection of 360 his photographs dating from 1953 to 2007. He also received the 2007 Lucie Award. He is named knight of the Légion d'honneur in 2003 and elected member of the Academy of Fine Arts of the Institute of France on 31 May 2006, on the creation of a new section dedicated to photography. Clergue is the first photographer to enter the Academy to a seat devoted to photography.Source: Wikipedia (…) Until I saw Picasso…I lived in the most perfect solitude and did my work without thinking of anything beyond that. After seeing Picasso and being received by him in Cannes when he repeated: “I’ve never seen anything like it, I’ve never seen anything like it”, I thought, or rather I let myself be convinced that despite my 21 years the time had perhaps come to begin showing my work. -- Correspondence Jean Cocteau, Lucien Clergue Lucien Clergue frequented Pablo Picasso for twenty years, being received on numerous occasions at his villa the California, in Cannes and at Notre-Dame-de-Vie in Mougins where he made his last portrait of the artist in 1971, two years before his death. Picasso, enthusiastic about Clergue’s images of dead animals and the circus children, considered him to be a greater photographer than Henri Cartier Bresson, and complimented him by saying: Clergue’s photographs are the good Lord’s sketchbooks! Or again was quoted in one of Cocteau’s lettres to Clergue, dated 1956: Picasso told me… his complete admiration for your series Stomachs. “You could, he said, sign Renoir”. Thanks to Picasso, the young photographer was able to meet not only Jean Cocteau, but also the historian and art collector Douglas Cooper, who opened up his extraordinary collection of books and artworks to the young man, avid for visual stimulation. Picasso’s generosity to Clergue and his admiration for the work of the budding photographer resulted in many collaborations, notably Picasso’s illustration for the cover of Corps mémorable in 1957, where Clergue’s images accompanied Paul Eluard’s poems; or again, the poster for Clergue’s first exhibition in Cologne in 1958 and then the cover for the book Poesie der Photographie in 1960.Source: lucien-clergue.com
Georgi Zelma
Russia
1906 | † 1984
Georgi Zelma (1906-1984) is best known for his photographs of Central Asia in the 1920s, of major industrial projects in the early days of the Soviet Union, and of World War II (especially the Battle of Stalingrad). Zelma was a major contributor to the Constructivist photography movement through the 1920s and 30s, working alongside such masters as Aleksandr Rodchenko, El Lissitzky and Boris Ignatovich.Source: Nailya Alexander Gallery Georgi Zelma was born in Tashkent in 1906. The family moved to Moscow in 1921 and Zelma eventually found work at the Proletkino film studios. Later he joined the Russfoto Agency and from 1924 to 1927 was their correspondent in Uzbekistan, Afghanistan, Iran and Central Asia. A large number of his photographs appeared in Pravda. Zelma served in the Red Army (1927-29) before working briefly in Tashkent. In 1930 Zelma joined Souizfoto Agency and his assignments included taking photographs of collective farms and military exercises. His pictures often appeared in the propaganda magazine, USSR in Construction. During the Second World War Zelma worked for Izvestia and took photographs in Moldova, Odessa and the Ukraine. He also covered the battle of Stalingrad. Source: Spartacus Educational Born in Tashkent, Uzbekistan, in 1906, Georgii Anatolevich Zelma moved to Moscow with his family in 1921, where he began taking pictures with an old 9 x 12 Kodak camera. His first experiences as a photographer took place at the Proletkino film studios and during theater repetitions for the magazine Teatr. He soon joined the Russfoto agency. From 1924 to 1927, he returned to his homeland as a correspondent for Uzbekistan, Afghanistan, Iran and Central Asia in order to document Islamic culture being reformed by Soviet socialist reconstruction. This work was published in Pravda Vostoka. In 1927, Zelma was enlisted in the ranks of the Red Army, serving in Moscow. After the demobilization in 1929, he returned to Tashkent and worked briefly for the Uzbek cinema chronicles. In Moscow, he entered the team of Soiuzfoto and received a Leica. Through the 1930s, he was sent on assignment to the mines and factories in the Donbass region, to Collective Farms in Tula province and to the Soviet Military maneuvers in the Black Sea region. He worked with Roman Karmen on the stories The USSR from the Air and Ten Years of the Soviet Socialist Republic of Iakutia, which were published in the propaganda magazine “USSR in Construction”. For this magazine he also collaborated with Max Alpert and Aleksandr Rodchenko. During World War II, he was a correspondent for Isvestiia stationed at the front-line campaigns in Moldova, Odessa, and Ukraine. His most memorable photographs are of the Battle of Stalingrad, where he spent the severe winter of 1942-43. After the war, Zelma worked for the magazine Ogonek and from 1962 for the Novosti press agency. He died in 1984. Source: Lumiere Gallery
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