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Win the First Solo Exhibition of 2026! Submit your best project now. Open Theme
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Scott M. Fincher
Scott M. Fincher
Scott M. Fincher

Scott M. Fincher

Country: United States
Birth: 1946

So what differentiates a portrait of a person from a picture of an object? Essentially nothing. A photographer's purpose is revelation. In the street or in the corporate suite the imperative is to take surfaces into the interior so that the viewer comes to understand something about what has been presented. This could be an aspect of personality or the structure of a design.

In short, one can say no more than one can see.

Early in my career, I used to fantasize that I could be a Beethoven of photography. The idea contradicts the central principle of the medium. What distinguishes photography from the other arts is time. Unlike music, which takes a single idea and expands it, photography interrupts the continuum and digests it into an exquisite moment where understanding, composition and action intersect.

All this is expressed succinctly in poet e.e. cummings's introduction to his volume "Is Five":
"I am abnormally fond of that precision which creates movement."

In my eyes, photography also adheres to Francis Bacon's maxim, "The contemplation of things as they are without error, without confusion, without substitution or imposture is in itself a nobler thing than a whole harvest of inventions." That is why I love both nature and the street and quest for the image that sits on the cusp of the real and surreal.

For the most part, I do not manipulate the images in the digital "darkroom" any more than I would have were I using techniques of the old "wet" darkrooms. Mostly, I adjust luminosity. My background is print journalism. I edited photography and foreign and national news for the Chicago Tribune and Chicago Sun-Times for many years before deciding to rededicate myself to my passion. It has been, as the great Edward Steichen once said about the photographic act, "Incredibly easy and impossibly difficult."

Nevertheless, the results have been good, and I have won national, international and art fair awards since my return to photography in 2006. My images are in collections all over the U.S. and in Germany, Poland, Denmark and Venezuela.

I hold a bachelor's in English from Northwestern University, Evanston, Ill., and have studied photography in too many workshops to enumerate. I live in Chicago.
 

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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
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United States/France
I was born in Tehran, Iran and studied in England where I obtained a Journalism Diploma, and later in France, where I obtained a B.A. in History and a B.A in English. I started my photography career in 1986 with my first assigned in the Atlas Mountains in Morocco. My work has been mainly on the Middle East and ex- Soviet Union countries. I started working on various assignments in Armenia since 1989 and continue to do so up to this day. In 1989, a year after the earthquake in Armenia, I went there for the first time. I am Armenian born and raised in Iran. Setting foot on the land of my ancestors for the first time brought great emotion for me. Since that first trip to Armenia and the deep connection I felt with the people and the land, I have continued to make regular trips to all corners of Armenia and Artsakh, depicting the lives of my fellow Armenians. In 1989-1990, I made my first trip to Artsakh (Nagorno-Karabakh) and photographed the first Nagorno-Karabakh conflict; I was one of the few photojournalists who managed to travel to the village of Getashen and the villages of the Shahumyan/Shahoumyan region (northern Artsakh) just before Operation Ring in 1991. I continued to travel across Armenia for decades and my humanitarian photo stories have been widely published in magazines and newspapers around the world, such as Los Angeles Times (USA), Washington Post, Newsweek, Le Monde, Peuples du Monde, Libération, L 'Express, Révolution (France), Photo Reporter, France - USSR, UN Multimedia, Foto Pratica (Italy), l'Autre Journal, Marie Claire (Italy), Pop Eye (Japan), Asahi Graph (Japan), Asahi Magazine ( Japan), AIM (USA), Photography (England), etc. In 1997 I decided to go to Armenia and stay there for one year in order to have a more profound understanding of their lifestyle and customs. That period was one of the most enriching and interesting experiences of my life… During the past thirty years I has been documenting the life of Armenians in Armenia, in Karabagh as well as in the Middle East and around the world. I held several exhibitions in France in Portugal and in the United States. In 1990, the prestigious French Newspaper “Le Monde” organized a solo photo exhibition of my work in its halls in Paris. I currently work as a freelance documentary photo-journalist but also collaborate with “Les Nouvelles d’Armenie Magazine”, an Armenian magazine published in France. I am working on having a photo book published of my work on Armenia and Artsakh (Karabagh). I started travelling to Armenia since 1989. I am of Armenian origin (born in Iran) and have continued to travel there on regular basis depicting the lives of Armenians. I travelled to Artsakh (H. Karabagh) several times starting in 1990 and covered the first conflict with Azerbaijan which ended in 1994. During my travels to Artsakh I also photographed moments of their daily lives.
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He stayed at Iwanami for two years before leaving to pursue freelance work. In 1957, Tomatsu participated in the exhibition Eyes of Ten where he displayed his series Barde Children’s School; he was featured in the exhibit twice more when it was held again in 1958 and 1959. After his third showing, Tomatsu established the short-lived photography collective VIVO with fellow Eyes of Ten exhibitors; these other members included Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno. Towards the end of the 1950s, Tomatsu began photographing Japanese towns with major American bases, a project that would span over 10 years. Tomatsu's artistic output and renown grew significantly during the 1960s, exemplified by his prolific engagements with many prominent Japanese photography magazines. He began the decade by publishing his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and his series Home in Photo Art. In contrast to his earlier style which resembled traditional photojournalism, Tomatsu was beginning to develop a highly expressionistic form of image-taking that emphasized the photographer's own subjectivity. In response to this emergence, a dispute arose when Iwanami Shashin Bunko founder Yonosuke Natori wrote that Tomatsu had betrayed his foundations as a photojournalist by neglecting the responsibility to present reality in a truthful and legible manner. He rejected the claim that he was ever a photojournalist, and admonished journalistic thinking as an impediment to photography. Both essays were published in Asahi Camera. In addition to Asahi Camera and Photo Art, Tomatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, he edited a monthly series titled I am King (1964); for Camera Mainichi, he printed multiple collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, The Sea Around Us in 1966. Tomatsu first went to Okinawa to photograph the American bases under the auspices of Asahi Camera in 1969. The images he captured formed the book Okinawa, Okinawa Okinawa which served as an explicit critique of the American air force. On the cover, an anti-base slogan verbalizing his disdain with the overwhelming U.S. presence in Okinawa reads: "The bases are not in Okinawa; Okinawa is in the bases". This sentiment was foreshadowed in Tomatsu's earlier writings, like his 1964 essay for Camera Manichi in which he stated "it would not be strange to call [Japan] the State of Japan in the United States of America. That's how far America has penetrated inside Japan, how deeply it has plumbed our daily lives." Tomatsu visited Okinawa three more times before finally moving to Naha in 1972. While in Okinawa, he traveled to various remote islands including Iriomote and Hateruma; he spent seven months on Miyakojima where he organized a study group called “Miyako University” aimed at mentoring young Miyako residents. Combined with his images taken in Southeast Asia, Tomatsu's photographs of Okinawa from the 1970s were shown in his prizewinning Pencil of the Sun (1975). Although he had come to Okinawa in order to witness its return to Japanese territory, Pencil of the Sun revealed a considerable shift away from the subject of military bases that he pursued throughout 1960s. He credited a diminishing interest in the American armed forces, in addition to the allure of Okinawa's brilliantly colored landscapes, for his adoption of color photography. In 1974, Tomatsu returned to Tokyo where he set up Workshop Photo School, an alternative two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the photo magazine Workshop. Tomatsu's dedication to nurturing the photography community in Japan was also evidenced in his role as a juror for the Southern Japan Photography Exhibition and his membership in the Photographic Society of Japan's committee to create a national museum of photography. The efforts of this group led to the establishment of photography departments at major national museums, such as Yokohama Museum of Art and the National Museum of Modern Art, Tokyo, as well as the first photography museum in Japan, Tokyo Photographic Art Museum. In this, photography is the same thing as love. When my gaze, diving into the sea as my subject, converges with the act of photography, hot sparks fly at the point of intersection. -- Shomei Tomatsu Tomatsu took part in his first major international show, New Japanese Photography (1974) at MoMA New York, alongside workshop members Hosoe, Moriyama, Fukase, and 11 other photographers. New Japanese Photography was the first survey of contemporary Japanese photographers undertaken outside of Japan. It traveled to eight other locations in the United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Art Museum. By 1980, Tomatsu published three more books: Scarlet Dappled Flower (1976) and The Shining Wind (1979) were composed of his images from Okinawa; and Kingdom of Mud (1978) featured his Afghanistan series printed earlier in Assalamu Alaykum. In the early 1980s, Tomatsu had his first international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at thirty venues over three years. He was also included in notable international group exhibitions regarding Japanese art: in 1985, he was one of the main artists in Black Sun: The Eyes of Four first shown at the Museum of Modern Art, Oxford; in 1994, he was featured in the seminal show Japanese Art After 1945: Scream Against the Sky at the Yokohama Museum of Art, Guggenheim Museum and San Francisco Museum of Modern Art. In the last decade of his career, Tomatsu embarked on a new and comprehensive series of retrospectives, dividing his oeuvre into five "mandalas" of place. Each mandala was named after the area it was exhibited: Nagasaki Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Art Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Art, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); and Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007). Tomatsu also had a separate retrospective, Shomei Tomatsu: Skin of the Nation, for the international museum circuit. Skin of the Nation was organized by the San Francisco Museum of Modern Art, and curated by Sandra S. Phillips and the photographer and writer Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Japan Society (New York); National Gallery of Canada, Corcoran Museum of Art, San Francisco Museum of Modern Art, and Fotomuseum Winterthur. In 2010 Tomatsu moved to Okinawa permanently, where he held the final exhibition during his lifetime, Tomatsu Shomei and Okinawa - Love Letter to the Sun (2011). He succumbed to pneumonia on 14 December 2012 (although this was not publicly announced until January 2013).Source: Wikipedia
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