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Chuck Fishman
Chuck Fishman
Chuck Fishman

Chuck Fishman

Country: United States
Birth: 1953

In his 40-year career, freelance photographer Chuck Fishman has focused on social and political issues with a strong humanistic concern.

His work has been extensively published, exhibited, and collected worldwide, and has earned him the prestigious World Press Photo Foundation Medal four times.

His photographs have appeared on the covers of Time, Life, Fortune, Newsweek, The London Sunday Times, The Economist and numerous others, and have been selected for publication in the American Photography and Communication Arts juried annuals. Chuck's work is included in the collections of the Smithsonian National Portrait Gallery, Center for Creative Photography, the United Nations, as well as private and corporate collections.

Chuck's first monograph, Polish Jews: The Final Chapter, was published in 1977 in the United States. He has worked on book projects for publishers worldwide, from France to Singapore to Papua New Guinea.

Exhibitions of his work include one-man shows in the United States and Europe, and in influential group exhibitions globally, including the International Center of Photography and the Pingyao International Photography Festival, among many others.
v Chuck was named the "Project Ambassador" in photography for POLIN: The Museum of the History of Polish Jews in Warsaw.

He lives in New York with his wife Susan.

"My work is a personal approach to reportage photography. I strive to find the human in humanity, showing our wonderful gestures, secrets, flaws and desires."

Website

www.chuckfishman.com

 

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More Great Photographers To Discover

Marcin Ryczek
Marcin Ryczek
Poland
1982
Marcin Ryczek was born 1982 in Lublin (Poland). He lives and works in Cracow. His photography refers mainly to symbols and geometry. "Minimum form, maximum content" is the essential principle that characterizes his photos. His photographs have been presented at exhibitions in USA, Denmark, Holland, Italy, Austria, South Korea, England, Romania, France, Poland, Germany, Japan, China, India … His photos have been published in the press and other media around the world, among others: The Guardian, Der Spiegel, Yedioth Ahronoth, La Repubblica, Politiken, Athens Voice, The Daily Telegraph, National Geographic... Awards: - Grand Prix de Découverte 2013 - Grand Press Photo 2013 - LensCulture Exposure Awards 2014 - IPA – The International Photography Awards 2014 - Chelsea International Fine Art Competition 2014 - ND Awards 2014 - The Miami Street Photography Festival 2015 - New York Photo Festival 2015 - StreetFoto San Francisco Festival 2016 - XV edizione del Premio Internazionale “Giuseppe Sciacca” 2016 - Siena International Photography Awards 2016 - Finalist All About Photo Awards 2017 One of the most influential American website The Huffington Post has recognized his photo as one of the 5 best photos in the world in 2013. This photo "A man feeding swans in the snow" was admitted to the prestigious collection of the Bibliotheque Nationale de France and the Silesian Museum in Poland.
Zay Yar Lin
Zay Yar Lin
Myanmar
1984
I was born in Taungdwingyi, Myanmar, a country where a lot of beautiful places are existed. I've been into photography since 2014. I'm a seafarer working as a Captain of the ship and I spent most of my time in traveling during my vacation time. My passion is to document people, landscapes, culture and relation between them. I mainly focus on daily life, portraits and culture; images that tell stories of people and sense of the places. I always seek the moment and light in capturing travel images and try to use my photographic instinct to turn ordinary to extraordinary. As a photographer, my objective is to witness the moment and record the human stories. I believe photography can capture powerful story telling images and inspire us to make a positive change in our world. I'm a lifetime member of Myanmar Photographic Society and I have won two times Best Photographer of the Year in Myanmar. I've won numerous National and International Awards including major awards from Nikon and Sony throughout years. My photos have been published in National Geographic Magazine, Digital Camera Magazine and other international photography books and magazines. I have showcased my works at many exhibitions across the world. I'm leading photo tours in Myanmar and abroad too.
Maynard Switzer
Maynard Switzer
Canada
Maynard Switzer was born in Los Angeles and is a professional freelance travel and documentary photographer. He is a graduate of the Art Center College of Design in Pasadena and a former assistant to legendary photographer Richard Avedon. He has taught at the International Center of Photography in New York City and has written many magazine articles about travel photography. His love of foreign cultures and their fascinating customs has been the main catalyst for Maynard’s photography around the globe. Maynard has had his photography published in National Geographic Traveler Magazine, Geo Magazine, Afar Magazine and the prestigious Fine Art Spanish Magazine Art Fotografico. Statement There are approximately 195 independent countries in the world and an estimated 6,800 different languages spoken, and often times there is a breakdown in communication. Some caused by language barriers, other times lost or inadequate translation and sometimes a woeful attempt at hand signals. However, images are universally understood. The cliché "a picture is worth a thousand words" certainly rings true. Pictures speak a thousand words to a thousand different people in a thousand different ways. This global understanding has been the main reason that I have been documenting various cultures around the world. Over the past 20+ years I have concentrated on photographing people and their various ways of life that seem to have been left behind by the world's rush to modernize. Certain aspects of these various cultures seem to be in a time warp, many within their own country. The photographs presented here are part of a long-term project photographing some of these people that live and work in challenging environments that time seems to have forgotten and whose way of life may never be seen again.
Steve Toole
Steve Toole
United States
1957
"I have enjoyed photography and art since I was young. I was fortunate to have traveled with my family throughout the United States as I was growing up. Taking pictures during those trips was an exciting and rewarding experience. Being semi-retired from teaching, I now have more time to rekindle my artistic pursuits. Much of my work depicts life outdoors, because that is where I spend a significant amount of my time. Capturing moments through photography, whether magnificent or understated, is more fulfilling now than ever. My wife Kim and I live in Ashton, Illinois where we foster rescued dogs, volunteer, teach part time, and enjoy small town life." About Back Roads: "There is a sense of timelessness when I travel the back roads of America. Two-lane blacktops and meandering gravel roads are the capillaries that carry me to those places that modernity has mostly ignored. For me, in these places, the sky is bigger, the earth is closer, and the air smells fresher. A feeling of tranquility exists there. Whether a bucolic scene, a sylvan setting or an alpine view, I am transported to a time and place that previous generations might have experienced. Black and white images contribute to that feeling of timelessness, whether depicting a leafless tree, a grazing horse, or an abandoned pick-up truck in a pasture. I hope my photos transport the viewer, even for a few moments, to these out-of-the-way places – sometimes beautiful, sometimes gritty, sometimes simple, sometimes unique, but always real." Awarded Photographer of the Week - Week 14
Thomas Eakins
Thomas Eakins
United States
1844 | † 1916
Thomas Cowperthwait Eakins (July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons. In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing-room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Thomas Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator. No less important in Eakins' life was his work as a teacher. As an instructor, he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation. Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in the nineteenth and early-twentieth-century American art". Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Thomas Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Thomas Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Thomas Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Thomas Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called Naked Series, which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model. Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works. Thomas Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests. Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars. Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia. In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics. Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students. Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior. Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student.Source: Wikipedia
Peter Marlow
Peter Marlow
United Kingdom
1952 | † 2016
Peter Marlow (19 January 1952 – 21 February 2016) was a British photographer and photojournalist, and member of Magnum Photos. Born in Kenilworth, England, Marlow studied psychology at Manchester University, graduating in 1974. He began his photography career in 1975 working on an Italian cruise liner in the Caribbean before joining the Sygma news agency in Paris in 1976. In the 1970s Marlow worked in Northern Ireland, Angola, The Philippines and Lebanon primarily as a war photographer, but soon found that the competition of photojournalism did not suit him. "I did get some very good pictures and was doing a lot of conflict work, but I just realised I was never ever going to be Don McCullin. And actually, in certain situations, I was very, very scared." He returned home to Britain and worked in Liverpool on an eight-year project, Liverpool – Looking out to Sea, which documented what he perceived to be a decline of the city under Margaret Thatcher. He became associated with Magnum Photos in 1980 and became a full member in 1986, having been attracted to the freedom the agency gives its photographers to work on personal projects. Alongside Chris Steele-Perkins, he founded Magnum's London office in 1987. He served as the agency's president twice and was vice-president numerous times. The photographer Martin Parr said it was “difficult to overestimate” Marlow's contribution to Magnum". He also worked regularly for The Sunday Times in the mid-1980s. In 1991 he received an assignment from the Somme department in France to photograph Amiens. Later he began to work abroad again, traveling to Japan, the United States, and other parts of Europe. His later photography is primarily in color. Though well known for his depictions of places, Marlow also documented politics with a collaboration with Tony Blair. Marlow died on 21 February 2016 from influenza contracted during a stem cell transplant as a treatment for multiple myeloma.Source: Wikipedia Although gifted in the language of photojournalism, Peter Marlow was not a photojournalist. He was initially, however, one of the most enterprising and successful young British news photographers, and in 1976 joined the Sygma agency in Paris. He soon found that he lacked the necessary appetite for the job while on assignment in Lebanon and Northern Ireland during the late 1970s; he discovered that the stereotype of the concerned photojournalist disguised the disheartening reality of dog-eat-dog competition between photographers hunting fame at all costs. After those days, Marlow’s aesthetic shifted – in that he made mainly color photographs – but his approach was unchanged. The color of incidental things became central to his pictures in the same way that the shape and mark of things had been central to his black-and-white work. Marlow had come full circle. He started his career as an international photojournalist, returned to Britain to examine his own experience, and discovered a new visual poetry that enabled him to understand his homeland. Having found this poetry, he took it back on the road: he photographed as much in Japan, the USA and elsewhere in Europe as he did in the UK.Source: Magnum Photos
Harry Gruyaert
Harry Gruyaert
Belgium
1941
Originally dreaming of becoming a film director, Harry Gruyaert studied at the School of Film and Photography in Brussels from 1959 to 1962. Shortly after he left Belgium at the age of 21, fleeing the strict catholic environment in which he was raised. Gruyaert travelled extensively across Europe, North Africa, Asia and the United States and lived in cities with a vibrant film and photography scene like Paris and London. During his first trip to New York in 1968, he discovered Pop artists like Roy Lichtenstein and Robert Rauschenberg. This encounter made him appreciate the creative potential of colour and encouraged him to search for beauty in everyday elements for the rest of his career. Around the same time Gruyaert befriended the American artists Richard Nonas and Gordon Matta-Clark and photographed their work. Further inspired by the visual impulses on his first trip to Morocco in 1969, he decided in the second half of the 1970s as one of the first photographers in Europe to commit himself entirely to colour photography. Gruyaert's cinematographic background instilled in him an aesthetic conception of photography. Rather than telling stories or documenting the world through his lens, he searches for beauty in everyday elements. His images are simply snapshots of magical moments in which different visual elements, primarily colour, form, light and movement, spontaneously come together in front of his lens. In his search for strong graphical images, Gruyaert focuses his camera on objects as much as on people, who are often reduced to silhouettes or rendered to plain colour fields. Unsurprisingly the countries he photographs are mostly identified by means of the subtle differences in colour palette and light, inherent to the local atmosphere, culture and climate, more than by the depicted subjects or scenes. Among his most well-known series are 'Rivages/Edges', featuring coastal views from around the world, that Gruyaert photographed out of a fascination for the rapidly changing light in these places. In the early 1970s, while he was living in London, Gruyaert worked on a series of colour television screen shots later to become the 'TV Shots' and now part of the Centre Pompidou collection. Around that time he regularly returned to his home country Belgium. This resulted in the series 'Roots', that perfectly reflects the Belgian Zeitgeist of the 1970s and 1980s. In 1982 Gruyaert joined Magnum Photos. More about Irish Summers More about Between Worlds
Polly Gaillard
Polly Gaillard
United States
1965
Polly Gaillard is a fine art photographer, writer, and educator. She is part-time Professor of Art at Furman University and has taught photography workshops and college courses for more than ten years including summers abroad teaching American students in Prague, Czech Republic, and Cortona, Italy. Polly received a Master of Fine Arts in Visual Arts from Vermont College of Fine Arts in 2010. She has exhibited her fine art photographs nationally and published a limited edition artist book, Pressure Points, with a foreword by actress Jamie Lee Curtis. Polly's photographic skills traverse contemporary art, documentary, portrait, and traditional photographic practices. She lives in Greenville, SC with her daughter. You, From a Distance Making portraits in a pandemic is challenging if you like to get closer than six feet to your subject. Frustrated by an inability to work at close range, I began to make portraits on my computer screen via FaceTime and Zoom by photographing friends, family, acquaintances, strangers, and my daughter at her father's home. This collaboration with others is particularly rewarding, especially when I've put the camera down, and we sit screen to screen discussing the changes in our collective worlds while checking in to make sure the other is okay. Each person has been generous in showing me around their homes to find the right background and light. They move furniture, take pictures off the wall, change clothing to create the right contrast, and position their laptops or phones so that I can take their picture at just the right angle. I sit behind my screen watching them do the work that I so desperately want to do as I experience a heightened sense of ambivalence, the love of "seeing" others, the distaste for lack of physical control over the situation. At times, the process calls for a third person to hold the camera phone, sometimes that assistant is a six-year-old girl, a father, a husband, or a cousin. During the awkwardness of the portrait session, there are moments of laughter when cats photobomb the sitting, a mother walks in the room wanting to reclaim her office space, a dad saunters by with a laundry basket, a sibling or grandchild screams from an adjoining room, and many phones crash to the floor from their perch of prime picture-taking position. We laugh together across connected distances about the absurdity of the situation and that I am trying to make a meaningful portrait amid unpredictability. Strangely, I find the absurdity satisfying; everything feels peculiar at this moment in time. For a more technically astute photographer than myself, the lack of technical command over making screen portraits would be unnerving. In essence, the image is blurry if the Wifi connection isn't clear. There are uncontrollable color shifts due to monitor calibrations; a moire pattern may appear because the screen is refreshing, and the perspective of the body can distort if the phone isn't perfectly parallel to the subject. I won't elaborate on how the highlights and shadows clip. The image noise and pixelation can drive you mad if you don't accept it as divine intervention. I find myself wanting to jump into the scene and move things and bodies, hold reflectors, close blinds, and refrain from making my subject do the heavy lifting. However, I sit behind the computer giving direction to "look to the right, chin down, eyes up, come closer to the camera" and then I embrace every technical flaw as if it's a gift. The power I have over the subject and the limitation I command over the image humbles me. The vulnerability I feel in putting these imperfect images into the world is tempered by the realization that we are all powerless in the face of this pandemic. You, From a Distance reflects the way I have experienced life during the Covid-19 pandemic- a personal feeling of distance and loss but with a desire to hold onto normalcy of making pictures, albeit without influence over the outcome. I am interested in these new ways of seeing each other and being together without being together - I look at you on my computer, in return, you look back at me through a phone or laptop while you can also see yourself in the frame. Who are we looking at - ourselves or others? The intersection of gazes is countless at times; it excites and confuses me. The process of looking and seeing divided by screens changes everything I have learned about image-making. The portraits become my memory of shared moments across time zones with distant faces; the four walls of my house expand into the space of others' homes. The intimacy I feel with the subject ironically is far greater than the portraits I make in-person in a time before social distance. In the span of one month, I have virtually traveled to five countries, five states, and homes nearby in South Carolina. Although more than the required physical distance is maintained through these portrait sittings, the mutual human connection is undoubtedly rich with meaning and unlimited possibility. December and Everything After
Shinji Isobe
Shinji Isobe
Japan
1976
Started street photography in 2009. While traveling in Asia, I mainly work on documentary photography. Exhibitions: Held three photo exhibitions in Japan Artist statement: Started photography in 2009, and currently captures urban landscapes in Japan and abroad through street photography. At the same time, I regularly visit slums in various parts of Asia and record people's daily lives through my lens. Through these activities, I aim to capture moments of joy, suffering, and hope. I am deeply attracted to both street photography and documentary photography. What these two genres have in common is the act of capturing a moment as it is. I am particularly interested in how such fleeting moments can convey people's stories and emotions.
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