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FINAL DAYS TO WIN A SOLO EXHIBITION IN MAY 2026
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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

Jesús Umbría Brito
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Carole Mills Noronha
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Matthew Portch
Matthew Portch
United Kingdom
1970
I was born and raised in Bristol, England through the '70s and '80s in a typical suburb. As a child, television and movies were my favourite distraction, especially anything from the United States. The backdrop of the North American scenery felt like an exotic antidote to the humdrum of the English city suburbs and countryside. I was a keen illustrator spending hours pouring over the minutia of the subject matter. I wanted my drawings to feel as close to reality as possible. This work saw me enrolled in college at a young age where I studied Photography and Graphic Design. Drawing on my childhood memories, the visuals of the American landscape remained a major influence on my photography. I became inspired by North American photographers of the '60s and '70s who were prevalent in using large format film. This laborious system of capture enhanced these seemingly ordinary looking street scenes and vistas with fastidious detail. I discovered a more modern process in the form of a technical camera, digital back, and precision optics, then proceeded to cast my own journey. I like my pictures to be aesthetically simple, clean and graphic, which resonates with my background in design. I prefer the images to retain an air of perplexity, so keeping them free of people and any notable present-day object helps suspend them in a moment in time. As with most large format photography techniques, when I photograph a scene I capture everything across the frame in complete focus. This can lend a heightened sense of reality. Given each picture is deliberately simple and mundane – the detail of the capture is just as important as the subject matter and becomes a character of the image in itself. I use the full size of the sensor and prefer not to crop. Restricting myself to this discipline is almost a digital reverence to large format film. My creative vision is to capture a calm and melancholic disposition in the landscape and create a scene of discernible simplicity to evoke an emotional and response from within. About Lost America Lost America examines a quiet stillness in a forgotten landscape that is, in a sense: 'on-pause'. Backwater towns and rural corners are juxtaposed with the ambiguity of detached suburbia. Places appear frozen in time, their inhabitants absent or long since departed. Ardently stagnant in their appearance, the images aim to unlock a moment of reflective contemplation and instil a melancholic feeling of familiarity. One might not notice or acknowledge these spaces, especially when viewed within the vast stretch of America's panorama. Yet, when framed as a single vignette, the places can appear to echo a moment of mournful reverie. Or, for some, they might behold an alluringly sombre, everlasting impression.
Sean Perry
Sean Perry
United States
1968
Sean Perry is an Austin-based photographer creating atmospheric portraits of the built environment across Texas, New York, and Japan. His photographs and books are held in the permanent collections of the Museum of Fine Arts, Houston; Amon Carter Museum of American Art; Harry Ransom Center; The Wittliff Collections; Yale University; Seattle Art Museum; and the Menil Collection. In 2009 he was selected as a finalist for the Hasselblad Masters Award. Perry attended Berklee College of Music and was a working musician before establishing his photographic practice in 1996. Cloverleaf Press published his first limited edition book, Transitory, in 2006, followed by Fairgrounds in 2008. Both were featured as a case study in Publish Your Photography Book (Princeton Architectural Press, 2011 & 2014). In 2025, he released Fairgrounds: Box Set, a lettered edition of 26. His photographs have been published in The New York Times Magazine, Billboard, New York, Graphis, L'Œil de la Photographie, and American Photography. He has served as Department Chair of Photography & Visual Media at Austin Community College since 2018, and previously taught at the School of Visual Arts in New York City. In 2023, he co-founded Photobook Austin with Bryan Schutmaat. Interview with Sean Perry (2014) All About Photo: When did you realize you wanted to be a photographer? Sean Perry: When I was younger I didn't know or have access to any professional photographers, but I really loved movies and looked at a lot of books. At that time I got into music and everything else was just secondary. As a musician I always thought about pictures and the visual atmosphere great songs provoke and in my thirties I started photographing and haven’t stopped. Where did you study photography? With whom? I don’t have a formal background studying photography but it’s not quite right to say I'm self taught either. One of my old bandmates, Jeff Miller is a brother to me, a great photographer and my first teacher - I learned about cameras, making good pictures and printing in the darkroom. That experience was also my first big introduction to contemporary artists like Joel-Peter Witkin and The Starns. I later had important mentors in a photographer I assisted for, Frank Curry and a sculptor who has had a tremendous influence on me as an artist and photographer, John Christensen. Do you have a mentor? I have a few friends and colleagues who I admire and trust that I ask for insight and guidance with various things... Elizabeth Avedon, Jace Graf, Stephen Clark - there are others. I ask different people, different questions for different reasons if that makes sense. I think it's important to deeply consider who you ask and why. I've been a client of Mary Virginia Swanson for many years and her savvy is always invaluable, I truly owe her a great deal. I'm always learning and seeking out the chance to improve and grow. How long have you been a photographer? I have been making pictures consistently since 1996 and started working professionally in 1998. Do you remember your first shot? What was it? What I remember most are the pictures that when I saw the film, they made me feel that the image was somehow better, or more than my capability at the time. It would lead to months of chasing and trying to catch up to the image. The first time that happened was of a barren tree in the wintertime, backlit. I remember making the other pictures from that time, but the experience of seeing something unexpected back on the contact sheets always sticks with me as meaningful. What or who inspires you? Music always. Also the discovery and study of people that give themselves to their pursuits with the discipline and heart to be excellent. New York City. Late fall leading to snow and cold weather makes me happy. How could you describe your style? A little romantic but not sentimental - sci-fi but not overtly conceptual. I always work to make beautiful images and objects that don’t apologize for their consideration of aesthetic and design. My experience has taught me there is a strange, small line between beautiful and pretty, arbitrary and yet often substantial. I think my favorite word or aim for my work is earnest, and hopefully elegant. I try to be consistent and to quote someone I deeply respect, Paul Rand – "Don’t try to be original, just try to be good." What kind of gear do you use? Camera, lens, digital, film? I’m fluent in digital tools and use them to manage images online etcetera, but I have used the same camera gear for over twelve years. Hasselblad 501CM with a 120mm lens and 25A Red filter. Tri-X film in A12 backs. Processed in D76, 1 to 1. Silver gelatin prints bleached and then toned in combinations of sepia and selenium or platinum–palladium prints from enlarged negatives. Do you spend a lot of time editing your images? I tend to run film and then not look at it for a while.... I then go through the contact sheets and make work prints of the things that seem to have promise. As the series and work evolves the process of editing, sequencing and design kicks in. After the edges of a project are more or less in place, I’ll go back again and see what I may have missed on the contact sheets. Favorite(s) photographer(s)? If I am only allowed one, Irving Penn – hands down, no one else. I love books and too many favorites to list, but in no particular order others would be Saul Leiter, Ted Croner, Robert & Shana Parke-Harrison, Tom Baril, Louis Faurer, Edward Burtynsky, Albert Watson, Hiroshi Sugimoto, Berenice Abbott and Matt Mahurin. What advice would you give a young photographer? Fearlessly make all the bad pictures you need to in order to get to the good ones. Not thoughtlessly in the number of images, but without hesitation in the intent to chase your ideas. When you are disappointed, try to understand why specifically – was it a technical mistake your effort and experience will resolve over time or was it about vision in what you could or could not see at that moment. The technical things are usually easier to improve upon, I have found the other takes additional perseverance and courage. For myself there is always the confrontation of closing the distance between the potency I’m after and the many challenges at hand while guiding it there. I think the biggest secret is simply not to quit. What mistake should a young photographer avoid? Everyone is different, so very hard to say. I believe one truth for myself has been it’s more valuable to invest time in what your pictures, your life, your point of view are all about and less energy worrying about the urgency sometimes encouraged in technology and shorter term concerns. Play long ball. An idea, a sentence, a project you would like to share? I am currently administrating an ambitious project that connects college students with high school students, creating mentorship and the development of visual language. For the college students it is to illustrate the value of mentorship from both sides, as well as create meaningful dialogue about photography and image making. It provides a mechanism for high school students to share and express their photographic work with a new audience and has direct, tangible advantages for everyone involved – accenting the importance of communication and emphasizing the photography community's tradition of portfolio review. Your best memory has a photographer? All of my favorite memories are darkroom related. My first darkroom was in John Christensen's studio, I deeply miss those days and that place. I would often print all day and all night - it's where I learned about photo-chemistry and the subtleties of split-toning and other irresistible alchemy. Your worst souvenir as a photographer? My checking account. If you could have taken the photographs of someone else who would it be? It's an interesting question but it reminds me of a rock & roll story, urban legend I remember as a kid and recently retold in Esquire Magazine. When Van Halen was touring in the late 70’s they were opening for Ted Nugent who admired Eddie Van Halen's guitar tone. Among other things, Eddie would hide one of his effect pedals (a tape echo) in an old bomb casing, adding to the mystery of his great tone and why he sounded the way he did. Everyone believed he had a "magic" black box. During sound check, Ted Nugent got the chance to play through Eddie’s rig and was disappointed to discover his guitar tone was unchanged – he sounded like he always did and whatever he loved about Eddie's tone was in his hands and not in the gear. I think photographs are like that, there are many pictures I would be thrilled if I had produced but in the end I can only make what is in my hands and heart. The images I love that others have made don't represent my life and could never belong to me. I remain a fan and audience to my heroes, happily so.
Cally Whitham
Cally Whitham
New Zealand
Taking an idealistic view of the world, Cally Whitham records the ordinary, transforming it into a surreal image, reflecting the way things are perceived and altered through nostalgia and memory. Driven by a desire to remember, Whitham uses her camera to collect images, which allows her to preserve her surroundings forever. At the age of 11, she spent Christmas using her first roll of film shooting her favourite things, including her aunt's farm, an old house she wanted to live in and a big tree at the beach. As an adult she returns to similar subjects recaptured in shadows of times past. Based in New Zealand, Whitham finds the subtle, forgotten and overlooked in these locations, which are touched with beauty through their ordinariness and familiarity. Layering her photographs with emotion, the works explore the ways in which personal milieus are captured. Source: www.cally.co.nz The New Zealand photographer Cally Whitham focuses her artistic research on the depiction of everyday life She began photography at 11 years old when accompanying her father who was a painter. He roamed the countryside to do sketches of forests and farms. From an early age she therefore had painting as an artistic reference and mastered the techniques of the Beaux Arts. Source: Yellow Korner Interview With Cally Whitham: AAP: When did you realize you wanted to be a photographer? "When I was about 16 I think. I took a class at school and was hooked." AAP: Where did you study photography? "I studied at the Design School, which has since become Unitech." AAP: How long have you been a photographer? "21 years, with a few years break in the middle." AAP: Do you remember your first shot? What was it? "The first photo I ever took was of my grandparents and brother at a beach. I couldn't believe I was allowed to take a photo!" AAP: What or who inspires you? "Light inspires me. When the quality of light is just right anything seems possible; the unworthy becomes photogenic." AAP: How could you describe your style? "Pictorialism" AAP: Do you have a favorite photograph or series? "Wow, too hard to choose!" AAP: Do you spend a lot of time editing your images? "Yes I do. The initial photo is just a part of the process in creating an image. Post production is the place where the image and the vision I had come together. I don't photograph reality but rather create a potential or ideal reality and that potential is added in post production." AAP: Favorite(s) photographer(s)? "Alfred steiglitz in his early days and Julia Margaret Cameron." AAP: What advice would you give a young photographer? "Have a back job to pay the bills - it's a tough industry now to try to pay a mortgage on." AAP: What mistake should a young photographer avoid? "Not understanding the business, tax and admin side of being a photographer." AAP: Your best memory has a photographer? "The moments I have realized I was on to something during a shoot."
Brett Weston
Brett Weston
United States
1911 | † 1993
Brett Weston (originally Theodore Brett Weston; December 16, 1911, Los Angeles–January 22, 1993, Hawaii) was an American photographer. Van Deren Coke described Brett Weston as the "child genius of American photography." He was the second of the four sons of photographer Edward Weston and Flora Chandler. Weston began taking photographs in 1925, while living in Mexico with Tina Modotti and his father. He began showing his photographs with Edward Weston in 1927, was featured at the international exhibition at Film und Foto in Germany at age 17, and mounted his first one-man museum retrospective at age 21 at the De Young Museum in San Francisco in January, 1932. Weston's earliest images from the 1920s reflect his intuitive sophisticated sense of abstraction. He often flattened the plane, engaging in layered space, an artistic style more commonly seen among the Abstract Expressionists and more modern painters like David Hockney than other photographers. He began photographing the dunes at Oceano, California, in the early 1930s. This was a favorite location of his father Edward and a location that they later shared Brett's with wife Dody Weston Thompson. Brett preferred the high gloss papers and ensuing sharp clarity of the gelatin silver photographic materials of the f64 Group rather than the platinum matte photographic papers common in the 1920s and encouraged Edward Weston to explore the new silver papers in his own work. Brett Weston was credited by photography historian Beaumont Newhall as the first photographer to make negative space the subject of a photograph. Donald Ross, a photographer close to both Westons, said that Brett never came after anyone. He was a true photographic equal and colleague to his father and "one should not be considered without the other." "Brett and I are always seeing the same kinds of things to do - we have the same kind of vision. Brett didn't like this; naturally enough, he felt that even when he had done the thing first, the public would not know and he would be blamed for imitating me." Edward Weston - Daybooks - May 24, 1930. Brett Weston used to refer to Edward Weston lovingly as "my biggest fan" and there was no rivalry between the two photographic giants. Brett and his wife Dody loyally set aside their own photography to help Edward after he was unable to print his own images due to Parkinson's disease, which claimed Edward's life in 1958. Brett Weston married and divorced four times. He had one daughter, Erica Weston. Brett Weston lived part time on the Big Island of Hawaii and in Carmel, California for the final 14 years of his life. He maintained a home in Waikoloa that was built by his brother Neil Weston, and later moved to Hawaii Paradise Park. He died in Kona Hospital on January 22, 1993 after suffering a massive stroke. Works by Brett Weston are included in collections of the Colorado Springs Fine Arts Center, the Honolulu Museum of Art, the Los Angeles County Museum of Art, the Museum of Contemporary Art, Los Angeles, the Oklahoma City Museum of Art and the San Francisco Museum of Modern Art. In November of 1996, Oklahoma City collector Christian Keesee acquired from the Brett Weston Estate the most complete body of Weston’s work. Source: Wikipedia
Jennifer Baron
Jennifer Baron
The Netherlands
1971
Jennifer Baron is a Dutch photographer based in Amsterdam. After many years in the field of education, she has decided to pursue her passion for photography. Her journey into the world of visual storytelling has culminated in the recent publication of her self published debut book, ‘Frozen August.’ ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible experiences, pain and traces left behind. In my work, abstraction alternates with intimacy and emotion.’ Statement Jennifer’s photographic work is a visual dance that encourages the viewer to explore the subtle balance between the intangible and the tangible, the distant and the immediate. It’s in the contrasting elements of her art that a strong feeling emerges, motivating people to explore their own feelings and experiences. She believes that black and white photography has a unique ability to capture the raw essence of human emotions and experiences. It gives the viewers the opportunity to fill in the colors of their own emotions and interpretations. Her work is deeply rooted in her personal experiences and emotions. ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible the experiences, the pain and the traces left behind. In my work, abstraction alternates with intimacy and emotion.’ Frozen August When you have experienced a loss, you can go a long time without dealing with it. You get carried away by everyday life. Suddenly that grief is there again. Why you can still grieve intensely even years after the death of a loved one. ‘My work gives an insight into my grieving process over the sudden death of my brother in August 1990. After 33 years of keeping silent about this, this wound is still so palpable. My world in darkness invites you to follow the trail of emotions. Body and nature become landscapes of mourning. Light and dark are about hope and despair. By combining various media; photography, sketches and publication book, my project Frozen August came about.’
Frans Lanting
Frans Lanting
The Netherlands
1951
Frans Lanting, born on July 13, 1951, in Rotterdam, Netherlands, is a renowned nature photographer celebrated for his breathtaking images capturing the beauty and diversity of the natural world. From an early age, Lanting exhibited a deep fascination with the wonders of nature, spending countless hours exploring the landscapes and wildlife surrounding his hometown. Lanting's career took off in the 1970s when he embarked on a series of expeditions to remote corners of the globe, capturing breathtaking images of wildlife and landscapes. His work quickly gained attention for its unparalleled beauty and technical mastery, earning him widespread acclaim within the photography community. I remain as curious and as excited about the world as I was when I started. I also have a strong sense of mission. I really believe that through my work I can contribute to a better understanding of the natural world. There's never been a greater urgency for us to increase our appreciation for the natural systems that support all life on the planet - including ourselves! – Frans Lanting Throughout his career, Lanting has focused on documenting the wonders of the natural world, from the vast plains of Africa to the icy landscapes of Antarctica. His photographs are characterized by their striking compositions, vivid colors, and intimate portrayal of animals in their natural habitats. One of Lanting's most iconic projects is his acclaimed book "Life: A Journey Through Time," which explores the diversity and interconnectedness of life on Earth. The book features stunning photographs accompanied by insightful commentary, offering viewers a glimpse into the wonders of the natural world. In addition to his work as a photographer, Lanting is also a passionate conservationist dedicated to raising awareness about environmental issues. He believes that photography has the power to inspire positive change and is committed to using his images to advocate for the protection of wildlife and wild places. Over the years, Lanting's work has been featured in numerous exhibitions, publications, and documentaries, earning him a reputation as one of the world's leading nature photographers. He has received numerous awards and honors for his contributions to the field, including the prestigious Wildlife Photographer of the Year Award and the Lucie Award for Outstanding Achievement in Wildlife Photography. Despite his success, Lanting remains humble and deeply connected to the natural world that he so passionately captures through his lens. He continues to travel the globe in search of new subjects and experiences, always striving to push the boundaries of his craft and inspire others to appreciate the beauty and diversity of life on Earth. Frans Lanting's work serves as a powerful reminder of the importance of preserving our planet's precious biodiversity for future generations. Through his stunning photographs, he invites viewers to pause, reflect, and marvel at the wonders of the natural world, reminding us of our shared responsibility to protect and cherish the planet we call home.
Julien Coomans
Julien Coomans
Belgium
Julien Coomans is a Brussels based amateur photographer with a passion for photographing the natural world. He is a highly artistic individual which led him to pursue a career as an Architect. In his free time he loves to explore his artistic side through the medium of photography and has been commended for his images in several photographic publications. ​ Through experimenting with his camera settings and techniques, Julien seeks to capture scenes of tranquillity and minimalism in a bid to counter the hustle and bustle of his daily city life. ​ He travels widely in Europe, whether it be to the expansive northern beaches of Flanders or the rugged mountains of northern Italy, Julien is happiest when at one with nature. His camera is simply an excuse to get out there, discover beautiful places and capture stunning images. Fishing Huts, Fouras, France I traveled to Fouras on the west coast of France to photograph some unusual but picturesque fishing huts that are dotted along the coast line. Central to my vision was to take a series of long exposures in order to set a tranquil scene and emphasise the elegant wooden structures. The first day was miserable - windy and a lot of rain - yet despite this I was amazed by the beauty of the huts. Undeterred, I used my time to study the scene and find my compositions, ready to pounce when conditions were just right. The hardest part about finding the right compositions was avoiding stretches of land on the horizon as the bay curves quite dramatically. I had to find the perfect balance between fishing hut, weather conditions and the horizon line beyond. After finding my compositions my next challenge was to watch out for the tide times. I had to shoot as the tide was going out not only to physically be able to take the shot but to be sure I was safe. On the second day the conditions improved and I had my window between outgoing and incoming tides. The wind had died down making the water much calmer which was better as I could keep the exposure down to a few minutes to try and improve my chance of avoiding any tripod wobble. After shooting my pre-scouted compositions and checking the LCD screen for sharpness I packed up and went for a well earned beer!
Alban Lécuyer
Alban Lécuyer
France
1977
Born in Paris in 1977, Alban Lécuyer studied Journalism and Photography at the Lille Graduate School of Journalism (France). He mainly works as a photographer of architecture within public projects and for private companies (advertising campaigns, photographic missions). Whilst collaborating with various journals, he teaches the History of Photography and Image Analysis at the DMA in Nantes (France). His personal projects centre around the analysis of new forms of dwellings from the social, economic, political and media point of view, and on the alteration of urban space. His works have been exhibited in Spain (Getxophoto Festival), in Switzerland (Biel Festival of Photography) and in France (Le BAL, Circulation(s) Festival, Images Singulières Festival, Archifoto – International Awards of Architectural Photography, etc.). The Here Soon project transposes reality from everyday city life into the aesthetic of computer graphics, which aim to showcase high-quality real estate projects. The pictures of the series reproduce the codes of those fictitious representations of reality: contrasts are light, shadows are reduced to a minimum, and all that stands between the spectator and the architectural project – trees, vehicles, passers-by and so on – is shown in transparency. Nevertheless, the frame leaves place for writing on the walls, laundry hung out to dry, abandoned objects, trash – everything that bears witness to a civilization that has left its mark on the place that it inhabits. The presence of the local residents also calls attention to their singularity, their paths, and their relationship with their surroundings. Therefore, the emergence of a concrete memory of places contradicts the universal and potential value of images.
Richard Le Manz
Richard Le Manz
Spain
1971
For this engineer and self-taught photographer born in Spain in 1971, photography is equally essential both, to communicate the beauty and to reflect on the complex socio-environmental issues, which threaten our planet. He started in photography making landscape photography, but depicting nature is not enough. Pictures of great landscapes may not be the best way to move consciences and change our values and morals. His photography becomes what some journalist called "Philography", photography to philosophize, photography to make people think, to reflect. Photography used as a mean for expressing ideas, transmission of messages, and provoking reactions. Photography as a means to let out the images generated in his mind, imagination and creativity. For this purpose, the artist uses both the object and various photographic techniques like expression way, to delve into the plot of reflection, ideas and dreams. Photography to transmit a clear message, sometimes critical. His landscape photographs begin to turn to black and white and later they go unstructuring seeking to convey a clearer message. One of the first projects in which the search for new forms of expression begins is the "Unstructured Sunset" project that can be seen in this brief presentation. After receiving numerous national and international awards, he present in 2018 his first major project "Habitat, beyond photography", moving from local exhibitions to being invited to international festivals. In 2019 I present this project, together with the most recent "In Our Hands" at the Xposure International Photography festival in Sharjah (United Arab Emirates); different projects but both focuses on the future of our planet. The work "Habitat, beyond photography" explores the relationship between development and nature, between development and the environment and especially between the world of automotive and the environment. It focuses on the serious problem of the mobility habits of today's society, traffic and pollution. It uses internal elements of the explosion engine, (intake valves, exhaust valves, spark plugs, camshafts, injectors, timing chain, and so on) transforming and stamping these objects with a new meaning, creating visual metaphors where nothing is as it seems. In "In Our Hands" he uses multiple exposure in camera without digital manipulation to create images that show a stubborn reality, we are nature and his future is in our hands.
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Interview
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.
Read the full interview
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