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Doran Bastin
Doran Bastin
Doran Bastin

Doran Bastin

Country: United States

With a long, accomplished career in music, Doran Bastin is most recently furthering his creative explorations through photography - a medium that continues to keep pace alongside music, facing with similar strengths, challenges, and opportunities.

Known for his black and white urban landscapes Doran approaches the medium and his subjects with a keen, compassionate eye; finding intimate moments in some of the most unlikely places. Inspired by luminaries such as Lee Friedlander and Garry Winogrand, his photographs capture humanity, growth, and change in the Pacific Northwest, specifically in Seattle, Washington and Portland, Oregon where he divides his time.

His recent work has been featured in Photographic Center Northwest's Long Shot exhibition, Daylighted, awarded third place in the 2016 Collective Visions Gallery annual exhibition, and Jurors Merit Award in the International All About Photo 2017 Awards. Doran is a scrum master by day, a musician by night, and a photographer at heart.

Website

www.doranbastin.com

 

Inspiring Portfolios

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More Great Photographers To Discover

Frédéric Lipzyc
Frédéric Lipzyc
France
1954
Frédéric Lipzyc was born in Paris in 1954, he has been a professional photographer for fifteen years. His passion is Street Photo, he never goes out without his little Lumix GX8 which allows him to photograph in a humble and discreet way. According to his encounters in Paris or elsewhere, with easy contact and full of humanity, he wanders the streets with no specific project other than to catch what moves him. He prefers to move than to surprise. He allows us to see the most different aspects, the human being is at the center of his compositions. Social photographer, street photographer, he captures what we do not always see, anonymous people whom we wonder who they truly are, what are their joys and sufferings. The face, the body, the urban life in all its forms are captured by his curious and pure eye. Frédéric is a photographer of emotion and modesty, expressionist, he conveys emotion through the posture of his characters. In most of his photos, the urban is there as a character in its own right. He is the photographer of the human and the emotion in the city.
Willie Anne Wright
Willie Anne Wright
United States
1924
Willie Anne Wright is an American photographer known for her colorful cibachrome and grayscale Pinhole Photography. Willie Anne Wright was born Willie Anna Boschen, in Richmond, Virginia. Her father was a musician and sometime-artist. She graduated from the College of William & Mary in 1945 with a BS in Psychology, and from Virginia Commonwealth University in 1964 with an MFA in Painting. She later studied at the Maine photographic workshops in Rockport, Maine and the Visual Studies Workshop in Rochester, New York. She married and had three children. Willie Anne Wright began her artistic career as a painter, teaching art classes at the Jewish Community Center, and was influenced by one of her painting instructors, Theresa Pollak. For a while, she experimented with printmaking. By 1973, she began to focus more and more on photography. Inspired by her surroundings and personal life, her first works incorporated images of her family, friends, and Civil War reenactors. Well known for her use of the old technique of pinhole, she is also an exceptional master in lensless photography, solar printing, and photograms. Some of her more well known works include her Civil War Redux series, which focuses on local Civil War reenactors whom she followed around for several years, her Pregnant Women series, which features pregnant friends of hers, and The Swimmer series, which features women lounging by poolsides or in pools. Willie Anne first experimented with pinhole photography in 1985. For a class project she had to create and use a pinhole camera. She used Cibachrome paper for use in a sixteen by twenty inch pinhole camera. With color-correcting filters she created wide-angle color prints by placing the pinhole close to the film plane. Her images were whimsical with bright colors and a vignette border.Source: Wikipedia Willie Anne Wright is a native and resident in Richmond, Virginia. She received a BS in Psychology from The College of William and Mary and an MFA in Painting from Virginia Commonwealth University. She also studied photography at Maine Photographic Workshops, Rockport, Maine; Visual Studies Workshops, Rochester, New York; and VCU. Wright's paintings, serigraphs and drawings were her professional focus until 1972 when pinhole photography became her primary creative medium. Since then her lensless photography — pinhole and photogram — have been exhibited nationally and internationally, and have been included among numerous publications such as Art News, The Oxford American, Le Stenope, and The Book of Alternative Processes. Wright's works are collected privately and publicly, and are in the permanent collections of Virginia Museum of Fine Arts, Richmond, Virginia; Chrysler Museum of Art, Norfolk, Virginia; George Eastman House, Rochester, New York; High Museum of Art, Atlanta Georgia; The Mariners' Museum, Newport News, Virginia; Southeast Museum of Photography, Daytona Beach, Florida; New Orleans Museum of Art, New Orleans, Louisiana; Mobile Museum of Art, Mobile, Alabama; Morris Museum of Art, Augusta, Georgia; New Mexico History Museum, Santa Fe, New Mexico; Longwood University, Farmville, Virginia; University of Mary Washington, Fredericksburg, Virginia; University of Maine, Bangor, Maine; and University of New Hampshire, Dublin, New Hampshire.Source: www.willieannewright.com
Radana Kuchařová
Radana Kuchařová
Czech Republic
Radana Kuchařová was born in Czechoslovakia, graduated from the Czech Technical University and then worked as an engineer and designer. When the borders opened after the "Velvet Revolution", she began to get to know previously inaccessible regions with great joy, like many Czechs. She always carried a camera with her on her travels and recorded foreign countries. In addition to buildings and architecture, I became interested in people, their lives and customs. I also visited regions quite far from my homeland, especially in Asia, and tried to capture moments from the lives of people living a different way of life. People and the human story is what interests me the most in life and their depiction in photography. Recently, when I have been photographing more intensively, I have participated in various international photography competitions, in which I have also won awards and medals. I have participated in several joint exhibitions of Czech photographers and I have also had solo exhibitions in the Czech Republic.
Robert Mapplethorpe
Robert Mapplethorpe
United States
1946 | † 1989
Robert Mapplethorpe was born in 1946 in Floral Park, Queens. Of his childhood he said, "I come from suburban America. It was a very safe environment and it was a good place to come from in that it was a good place to leave." In 1963, Mapplethorpe enrolled at Pratt Institute in nearby Brooklyn, where he studied drawing, painting, and sculpture. Influenced by artists such as Joseph Cornell and Marcel Duchamp, he also experimented with various materials in mixed-media collages, including images cut from books and magazines. He acquired a Polaroid camera in 1970 and began producing his own photographs to incorporate into the collages, saying he felt "it was more honest." That same year he and Patti Smith, whom he had met three years earlier, moved into the Chelsea Hotel. Mapplethorpe quickly found satisfaction taking Polaroid photographs in their own right and indeed few Polaroids actually appear in his mixed-media works. In 1973, the Light Gallery in New York City mounted his first solo gallery exhibition, Polaroids. Two years later he acquired a Hasselblad medium-format camera and began shooting his circle of friends and acquaintances—artists, musicians, socialites, pornographic film stars, and members of the S & M underground. He also worked on commercial projects, creating album cover art for Patti Smith and Television and a series of portraits and party pictures for Interview Magazine. In the late 70s, Mapplethorpe grew increasingly interested in documenting the New York S & M scene. The resulting photographs are shocking for their content and remarkable for their technical and formal mastery. Mapplethorpe told ARTnews in late 1988, "I don't like that particular word 'shocking.' I'm looking for the unexpected. I'm looking for things I've never seen before … I was in a position to take those pictures. I felt an obligation to do them." Meanwhile his career continued to flourish. In 1977, he participated in Documenta 6 in Kassel, West Germany and in 1978, the Robert Miller Gallery in New York City became his exclusive dealer. Mapplethorpe met Lisa Lyon, the first World Women's Bodybuilding Champion, in 1980. Over the next several years they collaborated on a series of portraits and figure studies, a film, and the book, Lady, Lisa Lyon. Throughout the 80s, Mapplethorpe produced a bevy of images that simultaneously challenge and adhere to classical aesthetic standards: stylized compositions of male and female nudes, delicate flower still lifes, and studio portraits of artists and celebrities, to name a few of his preferred genres. He introduced and refined different techniques and formats, including color 20" x 24" Polaroids, photogravures, platinum prints on paper and linen, Cibachrome and dye transfer color prints. In 1986, he designed sets for Lucinda Childs' dance performance, Portraits in Reflection, created a photogravure series for Arthur Rimbaud's A Season in Hell, and was commissioned by curator Richard Marshall to take portraits of New York artists for the series and book, 50 New York Artists. That same year, in 1986, he was diagnosed with AIDS. Despite his illness, he accelerated his creative efforts, broadened the scope of his photographic inquiry, and accepted increasingly challenging commissions. The Whitney Museum of American Art mounted his first major American museum retrospective in 1988, one year before his death in 1989. His vast, provocative, and powerful body of work has established him as one of the most important artists of the twentieth century. Today Mapplethorpe is represented by galleries in North and South America and Europe and his work can be found in the collections of major museums around the world. Beyond the art historical and social significance of his work, his legacy lives on through the work of the Robert Mapplethorpe Foundation. He established the Foundation in 1988 to promote photography, support museums that exhibit photographic art, and to fund medical research in the fight against AIDS and HIV-related infection.
Johan Gerrits
Johan Gerrits
Netherlands
1962
Though we travel the world over to find the beautiful, we must carry it with us or we find it not - Ralph Waldo Emerson I was born in the east of the Netherlands, a green countryside full of nature. My interest for nature was one of the reasons to start 25 years ago with photography. Since then subjects changed from nature, architecture, art into people. Especially the last one takes a big role in my travelphotography. Two of my great passions in life are photography and travelling. I believe that travel broadens one's view of the world, makes you more tolerant, and reflects on our way of living and thinking. Experiencing other cultures, rituals and customs, enrichen your knowledge and deeper understanding of the world around you. By documenting these unique cultures, in which some of them are vanishing very fast. I hope that my work has a merit in preserving their beautiful and cultural diversity. In my photography I try to reveal a person's character, his spirit, his way of showing himself to the world. In doing this I respect their culture, habits and religion as much as possible. I'm not a professional photographer, just an amateur who likes to photograph the beauty of mankind.
Stéphan Gladieu
Stéphan Gladieu
France
1969
Stéphan Gladieu was born in 1969 and lives in Boulogne-Billancourt. He is represented by Olivier Castaing of the School Gallery in Paris and Artco Gallery in Germany, Cape Town and Joshua Tree. He began his career in 1989, covering war & social issues, travelling across Europe,Central Asia, the Middle East (Afghanistan, Iran, Iraq, Israel, Egypt, Pakistan) and Asia (India, Nepal, Vietnam, China, etc). Going back to his beginnings, he very quickly enriched his photographic writing by using portraiture to bear witness to the human condition in the world. His main focus is on his personal and artistic work through series of portraits in which DNA is colour and the play of contrast between subject and background in natural settings. Stéphan Gladieu plays on the iconic character of the frontal image and on the frontier between the real and the unreal. His portraiture has included covering the Saudi Princes, Princesses in Nepal, actors & directors behind the scenes at Cannes Film Festival, politicians, intellectuals, but also everyday people the world over. Stephan still realize international features and portraits series, for international magazines but he is mainly focused on is personal work: human story through colorful portrait collection. On the side of his journalist activity, Stephan is working with private company (LVMH, Danone, TOTAL…) and International institutions (World Bank, UNICEF) to work on their visual identity. Nowadays, Stephan Gladieu’s work is published in leading publications in France and internationally.Source: www.stephangladieu.fr Exclusive Interview with Stephan Gladieu
Matthew Pillsbury
Matthew Pillsbury
United States / France
1973
Matthew Pillsbury is a French-born American photographer, living in New York City. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. In 2004 The New York Times Magazine commissioned him to do a portfolio of photos of New York museums after hours. One such photo was taken at the Guggenheim Museum: An installation in progress in the Ronald O. Perelman Rotunda (Oct. 1, 2004.) In addition to New York, he continued to shoot within museums in both London and Paris, including the Musée du Louvre. At the Louvre he photographed the Mona Lisa. The New York Times and the Aperture Foundation published New York Times Photographs in the fall of 2011, featuring one of his photos of the American Museum of Natural History's Rose Center For Earth and Space. In the Dec 11, 2011 issue of New York Magazine, Pillsbury's works were published as part of their "Reasons to Love New York 2011" feature. The photos included four shots from City Stages, which included Occupy Wall Street protesters in Zuccotti Park, as well as Jing Fong dim sum, Fausto in Washington Square Park and High Line. His series, City Stages initially ran from February 23, 2012 to April 28, 2012 at the Bonni Bunrubi Gallery in New York City. The exhibition opened in Atlanta, GA on September 13, 2012 and ran until November 17, 2012 at The Jackson Fine Art gallery. In September 2013, the Aperture Foundation published a monograph that includes a retrospective of his works, titled, City Stages. The New York Times Magazine published one of Pillsbury's City Stages photos as part of their Manhattanhenge feature in July 2013. Art Relish conducted an interview in October 2012 with him discussing his City Stages works. In the Oct 1, 2012 edition of Time Magazine, High Line photo, featuring a park in Manhattan constructed of abandoned train tracks, was highlighted as part of his exhibit at the Jackson Fine Art gallery. The Screen Lives series, inspired by Sugimoto's movie theater photos, features black and white, long-exposure photographs of family and friends sitting in their apartments interacting with their computer and television screens. On the CNN Photos Blog, Pillsbury's Screen Lives series was featured in a post about the School of Visual Arts "Myths & Realities" show, which took at the Visual Arts Gallery in New York, Aug 29-Sept 29, 2012. On November 27, 2011, New York Times Magazine featured two of Pillsbury's photos of Jane's Carousel from "City Stages." In April 2014, Pillsbury was one of 11 photographers awarded with the John Simon Guggenheim Memorial Foundation Fellowship. Approximately 200 Fellowships are awarded each year through two annual competitions that receive between 3,500 and 4,000 applications. Guggenheim Fellowships are grants awarded to "advanced professionals in mid-career" who have demonstrated exceptional ability by publishing a significant body of work within the fields of natural sciences, social sciences, humanities and the creative arts, excluding the performing arts. In 2014, Pillsbury photographed various cities in Japan, with the focus being in and around Tokyo. Recent photographs from his work in Tokyo were revealed in a photo essay published on July 18, 2014 in The New York Times Magazine and include images from Tokyo Disneyland, Robot Restaurant and the CupNoodles Museum in Yokohama. In April 2014, The New York Times Magazine first ran a photo essay of Pillsbury's work that centered around the hanami parties that occur during the week when the cherry blossoms are at peak bloom. An exhibition of His new Tokyo work opened Sept 10, 2014 and closed November 15, 2014 in New York City at Benrubi Gallery. A portfolio of Pillsbury's new images was featured in The New Yorker in September 2015, and showcased locations that include the High Line, the American Museum of Natural History, Astoria Park Pool and the Coney Island Boardwalk. He has also widened the project's focus to include locations outside of Manhattan, after a move to Brooklyn in January 2015 that inspired him to shoot urban life in the outer boroughs. In a redesign and relaunch in the February 22, 2015 issue, The New York Times Magazine published a photograph Of his on its cover. The long exposure image featured an illuminated spinning globe, which he took in his basement. He is represented exclusively by Edwynn Houk Gallery in New York.Source: Wikipedia
Danny Lyon
Danny Lyon
United States
1942
Brooklyn native Danny Lyon received a BA in history in 1963 from the University of Chicago, where he served as staff photographer for the Student Non-Violent Coordinating Committee. A self-taught photographer, he traveled with the Chicago Outlaws motorcycle club in 1965-1966 and published his pictures of the club members as The Bikeriders (1968). Since 1967 he has been an independent photographer and an associate at Magnum, and he has made films since 1969. Lyon has received Guggenheim Fellowships in photography and filmmaking, and his work has been included in many major exhibitions, including Toward a Social Landscape at the George Eastman House. His first solo exhibition was held at the Art Institute of Chicago. In addition to The Bikeriders, Lyon has published a number of photographic books based upon his experiences with a group of people or in a particular place, among them The Movement (1964), about the Civil Rights movement, and Conversations with the Dead (1971), a study of life in Texas prisons. Among the films he has produced are Social Services 127, Los Niños Abandonados, and Little Boy. Personal participation in the lives of his subjects is vital component to Danny Lyon's photography. His subjects often deviate from societal norms, yet he is dedicated to communicating their character and sensibility honestly, sympathetically, and nonjudgmentally; for him this requires firsthand knowledge of their experiences. Whereas in his earlier work he seemed to withhold his own personality from the images in order to emphasize that of his subjects, his recent work includes more of himself. Lyon has consistently produced effective, sincere documents of real people's lives that have inspired many photographers since the 1960s. Source: ICP
Ruud van Empel
Ruud van Empel
Netherlands
1958
Ruud van Empel (born 21 November 1958 in Breda) is a Dutch photographer and visual artist. He studied at the Academie voor Beeldende Kunst St. Joost (St Joost Academy of Art) in Breda in the 1970s, and began making independently produced videotapes in the eighties. He moved to Amsterdam in the late eighties to work on his career as a visual artist. His first photographic series were The Office (1995-2001), Study for Women (1999-2002) and Study in Green (2003). The Groninger Museum presented his first solo exhibition in 1999. He made his international breakthrough with his series World-Moon-Venus, which was shown in the George Eastman Museum in Rochester, New York State. Until mid-1995, Van Empel’s art was primarily generated by a process of assembling analogue photographic images. At that point, he exchanged this traditional collage technique – cutting, pasting and retouching in the darkroom – for image processing on the computer, working in an idea-driven manner. The first series created with this method was The Office (1995). In a technical sense, The Office displays a handicraft-like quality, missing the perfectionist character of his later work. Nevertheless, Ruud van Empel clearly demonstrated that his approach differed from other disciplines such as staged photography. In certain aspects, The Office offered a somewhat surrealistic character and referred to photomontages from the 1920s in terms of style and design. On the basis of this art-historical reference, Van Empel created a new genre within photography – without a ready-to-wear label. The artist himself speaks of the ‘construction of a photographic image’. Although he does make use of pure photomontage – he never applies so-called morphing techniques – the final result strives for content aligned to natural reality rather than to surrealism. The artificiality is visible but the final image is a convincing, autonomous reality. As a consequence, the work does not seem grotesque or absurd but could theoretically actually appear in reality. In that respect, Van Empel’s images are independent. They do not manifest themselves as ‘symbolic’ and have been stripped of all ‘pictorial’ associations. He does not deploy photography as a substitute for painting but rather uses it as an independent form of depiction. Every image consists of photographic sources that are digitally assembled on the computer. The work of Ruud van Empel exists by grace of the camera by means of which he records his building blocks. After The Office, he created the Study for Women series, which comprises a number of female portraits that refer to the magic realism art movement. In this series, produced in the period 2000-2002, he displayed the form language with which he would soon gain worldwide recognition. The Study in Green series from 2003-2004, the Untitled series from 2004, and the three closely related series World, Moon and Venus, which he began in 2005, represented Van Empel’s true international breakthrough. Curator Deborah Klochko invited him to participate in the exhibition entitled Picturing Eden in the George Eastman House. In the book Ruud van Empel Photoworks 1995-2010, she wrote: ‘Van Empel’s virtuosity lies in his capacity to combine in photography the kind of ideas anchored in painting (historical references, the power of a glimpse, use of colour) and cinema (structure with multiple images and the power of a narrative), and to do so on a large scale. To understand his work you must ask yourself: ‘Is it science or art? Is it real or imaginary? Is innocence or decadence?’ Particularly the World series, which explores the theme of innocence, made a deep impression. These works were inspired by photos taken by his father. Van Empel placed neatly dressed, black boys and girls in paradisical settings of unspoiled, non-existent natural surroundings. Great interest in and appreciation of this series are expressed worldwide to this day. The breakthrough in America also led to renewed attention in Dutch museums. Van Empel has had solo exhibitions in Museum Het Valkhof in Nijmegen, the Groninger Museum and the NoordBrabants Museum in ’s-Hertogenbosch. Since the international recognition of his work gave Ruud Van Empel the status of an artist with an own independent form language, he has progressively extended his oeuvre with the Theatre series from 2010-2013, and Souvenir, which provided a charged picture of his youth in Breda. This series was purchased by the NoordBrabants Museum. A typical feature of the work of Ruud van Empel is the composition of a perfected and idealized representation right down to the finest details. But this always has a darker side, albeit not always evident. Ruud Schenk, curator of the Groninger Museum, wrote about that aspect with reference to the Study for Women series (2000-2002): ‘As a spectator you feel that there is something not quite right about the depiction of the women: they are not completely lifelike, but tend to be a mixture of real women and window dummies. This generates a certain discomfort, an uneasiness that touches upon what was described as 'das Unheimliche' (the uncanny) at the beginning of the 20th century.’ Although the photographic images seem to capture an epoch, you can hardly assign a date to any of them. This timeless element of Van Empel’s work has taken on a different significance in his recent work, as he deals with themes such as transience and Vanity in his Still Life series from 2014, and also portrays older people as in the portrait of an older woman in the Sunday series (2012), or in the Nude series (2014), in which he questions the pose of the model and the aesthetics of nudity. In the Solo Work series, on which Ruud van Empel has been working since 2011, he consistently deals with just one topic in an isolated work. The moral, ethical and aesthetic dilemmas of society and art are presented to us in a photographic form language. The significance of these is shown in the countless publications and international exhibitions of this work, not only in institutions specialized in photography but also in renowned museums for modern visual art.Source: Wikipedia
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Latest Interviews

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Interview
Exclusive Interview with Jan Janssen
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Exclusive Interview with Henk Kosche
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Exclusive Interview with Henk Kosche
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Exclusive Interview with Josh S. Rose
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Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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Exclusive Interview with Peter Ydeen
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Exclusive Interview with Peter Ydeen
Winner of AAP Magazine #45 Travels, his series reflects this unique vision—capturing the spirit of place through subtle layers of light, color, and emotion. Whether traveling abroad or observing the rhythms of his own surroundings, Ydeen creates images that feel both grounded and enchanted, inviting viewers into a world where reality and reverie meet.
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Exclusive Interview with Julie Wang
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Exclusive Interview with Julie Wang
Chinese-born photographer Julie Wang brings a poetic, contemplative sensitivity to her visual exploration of the world. Having lived for nearly equal parts of her life in China, Europe, and the United States, she approaches her subjects with the nuanced perspective of someone shaped by many cultures. This blend of distance, curiosity, and emotional resonance infuses her work with a quiet depth, allowing her to reveal the fragile beauty and subtle tensions that often pass unnoticed.
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Exclusive Interview with Ghawam Kouchaki
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Exclusive Interview with Ghawam Kouchaki
American photographer Ghawam Kouchaki brings a sharply observant and introspective gaze to the streets of Japan’s capital. Based in Los Angeles, he approaches Tokyo with the distance — and curiosity — of an outsider, allowing him to uncover the city’s subtle contradictions, quiet tensions, and fleeting gestures that often go unnoticed. His series Tokyo no no, selected as the Solo Exhibition for December 2024, explores the hidden undercurrents of urban life: the unspoken rules, the small ruptures in routine, the poetic strangeness found in everyday moments. Through muted tones, instinctive timing, and meticulous framing, Kouchaki reveals a Tokyo that exists somewhere between reality and imagination — both intimate and enigmatic. We asked him a few questions about his life and work.
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