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William Nourse
William Nourse
William Nourse

William Nourse

Country: United States
Birth: 1966

Will Nourse is a landscape photographer known for his use of color and texture to bring his outdoor experiences to life.

He has been an avid photographer for almost twenty years, and his work reflects a lifetime of hiking, backpacking, climbing, skiing and sailing, all of which have given him a deep appreciation for the wonders of the natural world.

He was recently a featured artist in the exhibition 'Expeditions: From Iceland to the Gobi' at the Paula Estey Gallery, Newburyport, MA.

He has exhibited in juried shows at the Cambridge Art Association, the Newburyport Art Association (NAA), 1650 Gallery in Los Angeles, CA and various online galleries. Recently, he exhibited in the Cambridge Art Association's National Prize Show (2017), his image 'Seljalandsfoss #2' was selected as Best in Show for Photography in the NAA's 20th Annual Regional Juried Show (2017) and his photo 'Vestrahorn #1' won the Newburyport Development Award for Work in Photography in the NAA's 2016 Fall Member's Juried Show Part II.

He currently resides in Amesbury, MA with his wife, daughter, two Wheaten Terriers and two cats.

Websites

www.willnourse.photography

@willnoursephotography

 

Inspiring Portfolios

Jesús Umbría Brito
© Jesús Umbría Brito
Nanda Hagenaars
© Nanda Hagenaars
Carole Mills Noronha
© Carole Mills Noronha
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More Great Photographers To Discover

Jesse Marlow
Jesse Marlow
Australia
1978
Jesse Marlow is a Melbourne based photographer. His works are held in public and private collections across Australia, including the National Gallery of Victoria, Australian Parliament House Canberra, Monash Gallery of Art, City of Melbourne and State Library of Victoria. In 2003, he published his first book of photographs, Centre Bounce: Football from Australia's Heart, (Hardie Grant Books). Images from Centre Bounce have been exhibited and published extensively, both in Australia and internationally. In 2005, he published a book of street photographs, Wounded, (Sling Shot Press). In 2006, he was selected to participate in the World Press Photo Joop Swart Masterclass in Amsterdam. While in 2010, Marlow was one of 45 street photographers from around the world profiled in the book, Street Photography Now (Thames & Hudson). He was awarded the International Street Photographer of the Year Award in 2011, and in 2012 won the Monash Gallery of Art's Bowness Prize. Marlow released his third monograph, Don't Just Tell Them, Show Them in 2014. In the same year, he was profiled in the Thames & Hudson book, The World Atlas of Street Photography. In 2020, Marlow published his 4th monograph Second City. Since 2015, Marlow has been a Leica Ambassador. He is a member of both the international street photographers' collective, UP Photographers and Institute Artists.
Gustave Le Gray
Gustave Le Gray
France
1820 | † 1884
Gustave Le Gray was born in 1820 in Villiers-le-Bel, Val-d'Oise. He was originally trained as a painter. He even exhibited at the salon in 1848 and 1853. He then crossed over to photography in the early years of its development. He made his first daguerreotypes by 1847. His early photographs included portraits; scenes of nature such as Fontainebleau Forest; and buildings such as châteaux of the Loire Valley. He taught photography to students such as Charles Nègre, Henri Le Secq, Nadar, Olympe Aguado, and Maxime Du Camp. In 1851 he became one of the first five photographers hired for the Missions Héliographiques to document French monuments and buildings. In that same year he helped found the Société Héliographique, the "first photographic organization in the world". Le Gray published a treatise on photography, which went through four editions, in 1850, 1851, 1852, and 1854. In 1855 Le Gray opened a "lavishly furnished" studio. At that time, becoming progressively the official photographer of Napoleon III, he became a successful portraitist. His most famous work dates from this period, 1856 to 1858, especially his seascapes. The studio was a fancy place, but in spite of his artistic success, his business was a financial failure: the business was poorly managed and ran into debts. He therefore "closed his studio, abandoned his wife and children, and fled the country to escape his creditors". He began to tour the Mediterranean in 1860 with the writer Alexandre Dumas, père. They crossed the path of Giuseppe Garibaldi, and Dumas enthusiastically joined the revolutionary forces with his fellow travelers. His striking pictures of Giuseppe Garibaldi and Palermo under Sicilian bombing became as instantly famous throughout Europe as their subjects. Dumas abandoned Le Gray and the other travelers in Malta as a result of a conflict about a woman. Le Gray went to Lebanon, then Syria where he covered the movements of the French army for a magazine in 1861. Injured, he remained there before heading to Egypt. In Alexandria he photographed Henri d'Artois and the future Edward VII of the United Kingdom, and wrote to Nadar while sending him pictures. He established himself in Cairo in 1864; he remained there about 20 years, earning a modest living as a professor of drawing, while retaining a small photography shop. He sent pictures to the universal exhibition in 1867 but they did not really catch anyone's attention. He received commissions from the vice-king Ismail Pasha. From this late period there remain a mere 50 pictures, some of them as beautiful as ever. He probably died on July 30, 1884, in Cairo. Source: Wikipedia
Paul Gibert
Paul Gibert
United States
1969
Paul Gibert has been shooting black and white images of urban environments and nature landscapes for the past nine years. From the streets of Los Angeles to landscapes of Chile in South America the camera has always been with him to capture what he sees. Light and composition are the foundation of the images that are as much about the subject as they are about capturing a mood.
Laurent Chéhère
Laurent Chéhère
France
This Parisian by birth is a former award-winning advertising for his campaign Road Safety. Audi or Nike. One day he decides to leave the advertising to go around the world. Upon his return he chose to live his two passions, travel and photography. From Shanghai to Valparaiso, frome Srinagar to Ushuais, from La Paz to Lhasa, from Bamako to Bogota. He will feed his imagination and give us his view of the world and others. He loves exploring the cities, suburbs, country, as he likes to explore all fields of photography from reportage to conceptual image. Its particular interest in architecture and offset ideas will be born the series of "Flying Houses". Real house? Imaginary house? He tries to show us their hidden beauty pulling them out of their anonymity and perhaps invites us to leave. Laurent Chéhère exposed the series "Flying Houses" at Dock en Seine City of Fashion and Design in June 2012 where he won the Prix Special. He is represented by the gallery "Paris-Beijing" where he will exibit this series in October 2012. The "Flying Houses" will be shown in China at the 2012 Pingyao Internation Photography Festival and the Internation Fair "Paris Photo 2012" Source www.parisbeijingphotogallery.com
Samantha VanDeman
Samantha VanDeman
United States
1982
Samantha was born in Chicago, IL. She received a BFA in Fine Art from Columbia College Chicago and an MFA in Visual Arts from The Art Institute of Boston at Lesley University. During the summer of 2003, Samantha studied drawing at Santa Repararta International School of Art in Florence, Italy. Her work has been published and exhibited in the United States and abroad. Samantha lives and works in Chicago, IL. Born in 1982, Samantha VanDeman grew up in the suburbs of Chicago. She studied fine arts at Columbia College Chicago, receiving a BFA in 2005. During her last year in college, she took a B+W photography class and found her passion. From that point on, she started to actively documenting everything around her. In 2007, she returned to college, this time to earn a MFA in photography from the Art Institute of Boston at Lesley University in 2009. It was during her time at the low residency program at AIB, that she was able to have independent studies with artists such as Anne Wilson, Mayumi Lake, Jeanne Dunning, and Laura Letinsky. Samantha has exhibited her work nationally. Her work has been exhibited at Emory Visual Arts Gallery, Atlanta, GA; Finch and Ada, NY; New Orleans Photo Alliance Gallery, New Orleans, LA; Las Manos Gallery, Chicago, IL; Gallery 263, Cambridge, MA; Midwest center for Photography, Wichita, KS; Gallery 808, Boston, MA; Change Artist Space, San Francisco, CA; Perspective Gallery, Evanston, IL; Barrett Art Center Galleries, Poughkeepsie, NY; Fourth Wall Projects in Boston, MA; The Center for Fine Art Photography in Fort Collins, CO; Newspace Center for Photography in Portland, OR; Black Box Gallery, Portland, OR; Texas Photographic Society, San Antonio, TX ; Wright Museum of Art in Beloit, WI and Review Santa Fe 100. Samantha VanDeman is adjunct faculty at The Art Institute of Illinois in Tinley Park, IL. All about Samantha VanDeman:AAP: When did you realize you wanted to be a photographer?My last year as an undergraduate at Columbia College Chicago, I took a Black and white photography class. It was then I knew I wanted to be a photographer. Up until that point, I wanted to be a painter. AAP: Where did you study photography? I studied photography at The Art Institute of Boston at Lesley University. During my time at The Art Institute of Boston, I had independent studies with Laura Letinsky, Jeanne Dunning, Anne Wilson and Mayumi Lake.AAP:Do you have a mentor?Laura Letinksy has been a friend/mentor since 2008 AAP: How long have you been a photographer?10 yearsAAP: Do you remember your first shot? What was it?My first shot was of rotten fruit.AAP: What or who inspires you?I’m inspired by silence, decay, kindness and long road trips. Artists who inspire me are Jenny Saville, Edward Hopper, Sally Mann and Fiona Apple.AAP: What kind of gear do you use? Camera, lens, digital, film?Canon 5DAAP: Do you spend a lot of time editing your images?I do minimal editing.AAP: Favorite(s) photographer(s)?Sally Mann, Angela Strassheim, Nan Goldin and Corrine DayAAP: What advice would you give a young photographer?Find your own voice and follow your gut. Your best work will come from the projects you are most passionate about.AAP: What mistake should a young photographer avoid?Trying too hard to be different or copying another photographer’s styleAAP: An idea, a sentence, a project you would like to share?I’m currently working on a project called “Died Alone”. This project explores abandoned living spaces of people that died alone in their home.AAP: Your best memory has a photographer?My fondest memory: The first time I explored the abandoned – now demolished Michael Reese Hospital in Chicago. I had never explored an abandoned place before Michael Reese Hospital, so it opened up a whole new world for me.AAP: If you could have taken the photographs of someone else who would it be?Weegee or Walker Evans
Lewis Hine
Lewis Hine
United States
1874 | † 1940
Lewis Hine was an American sociologist and photographer known for using his camera as a tool for social reform. His photographs were instrumental in changing child labor laws in the United States. There were two things I wanted to do. I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated. -- Lewis Hine Lewis Hine was born on September 26, 1874, in Oshkosh, Wisconsin. After his father was killed in an accident, Hine began working and saving for college. He attended the University of Chicago, Columbia University, and New York University to study sociology. He became a teacher at the Ethical Culture School in New York City, where he encouraged his students to embrace photography as an instructional tool. Hine took his sociology pupils to New York Harbor's Ellis Island, where he photographed the thousands of immigrants that landed each day. Between 1904 and 1909, he shot over 200 plates (photographs) and realized that documentary photography could be used to effect social change and reform. Hine joined the Russell Sage Foundation's staff photographer in 1907, photographing life in the steel-making regions and inhabitants of Pittsburgh, Pennsylvania, for the landmark sociological study The Pittsburgh Survey. The next year, he left his teaching post to work as a photographer for the National Child Labor Committee (NCLC). Lewis Hine recorded child labor during the next decade, with a concentration on the use of child labor in the Carolina Piedmont, to aid the NCLC's lobbying attempts to abolish the practice. In 1913, he chronicled juvenile laborers among cotton mill workers with a series of composite pictures by Francis Galton. Charlie Foster has a steady job in the Merrimack Mills. Huntsville, Alabama.© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Lewis Hine's work for the NCLC was frequently hazardous. Factory police and foremen routinely threatened him with violence or even death as a photographer. The immorality of child labor was intended to be hidden from the public at the time. Photography was not only forbidden, but it also posed a significant danger to the enterprise. Hine was compelled to disguise himself in order to gain access to the mills, mines, and factories. He worked as a fire inspector, postcard vendor, bible salesman, and even an industrial photographer documenting manufacturing technology. During and after World War I, he shot relief efforts for the American Red Cross in Europe. Hine created a series of work portraits in the 1920s and early 1930s that stressed the human contribution to modern industry. Lewis Hine was commissioned to photograph the Empire State Building's construction in 1930. He photographed the workers in perilous positions as they secured the structure's steel framework, taking many of the same hazards as the employees. He was hoisted out in a specially built basket 1,000 feet above Fifth Avenue to get the best views. He recalls hanging above the city at times, with nothing below but "a sheer drop of nearly a quarter-mile." Cherryville Mfg. Co., Cherryville, N.C. One of the smallest boys. Doffer. 1908© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. During the Great Depression, Hine worked for the Red Cross, photographing drought relief in the American South, and for the Tennessee Valley Authority (TVA), documenting life in the mountains of eastern Tennessee. He was also the chief photographer for the Works Progress Administration's National Research Project, which investigated changes in the industry and their impact on employment. Hine was also on the faculty of the Ethical Culture Fieldston School. Lewis Hine was chosen as the photographer for the Works Projects Administration's National Research Project in 1936, but his work there was never completed. His final years were filled with professional struggles caused by the loss of government and corporate patronage. Hine hoped to participate in the Farm Security Administration photography project, but despite numerous letters to Roy Stryker, Stryker always declined. Hine lost his house and applied for welfare because few people were interested in his work, past or present. After an operation, he died on November 3, 1940, at Dobbs Ferry Hospital in Dobbs Ferry, New York. He was 66 years old at the time. Group of workers, including boys and girls, standing outdoors© Lewis Hine / Library of Congress Prints and Photographs Division Washington, D.C. Hine's photographs aided the NCLC's campaign to end child labor, and the Children's Bureau was established in 1912. The Fair Labor Standards Act of 1938 eventually put an end to child labor in the United States. Corydon Hine, Hine's son, donated his father's prints and negatives to the Photo League, which was disbanded in 1951. The Museum of Modern Art declined to accept his photographs, but the George Eastman House did. Wendy Lamb Books published Elizabeth Winthrop Alsop's historical fiction middle-grade novel Counting on Grace in 2006. The final chapters focus on Grace, a 12-year-old girl, and her life-changing encounter with Lewis Hine during his 1910 visit to a Vermont cotton mill known to employ a large number of child laborers. The iconic photograph of Grace's real-life counterpart, Addie Card (1897-1993), taken during Hine's undercover visit to the Pownal Cotton Mill, graces the cover. In 2016, TIME Magazine published colorized versions of several of Hine's photographs of child labor in the US. In the early days of my child labor activities I was an investigator with a camera attachment... but the emphasis became reversed until the camera stole the whole show. -- Lewis Hine Lewis Hine was trained to be an educator in Chicago and New York. A project photographing on Ellis Island with students from the Ethical Culture School in New York galvanized his recognition of the value of documentary photography in education. Soon after, he became a sociological photographer, establishing a studio in upstate New York in 1912. For nearly ten years Hine was the photographer for the National Child Labor Committee, contributing to exhibitions and the organization's publication, The Survey. Declaring that he "wanted to show things that had to be corrected," he was one of the earliest photographers to use the photograph as a documentary tool. Around 1920, however, Hine changed his studio publicity from "Social Photography by Lewis W. Hine" to "Lewis Wickes Hine, Interpretive Photography," to emphasize a more artistic approach to his imagemaking. Having joined the American Red Cross briefly in 1918, he continued to freelance for them through the 1930s. In 1936 Hine was appointed head photographer for the National Research Project of the Works Projects Administration, but his work for them was never completed. His last years were marked by professional struggles due to diminishing government and corporate patronage, and he died in 1940 at age sixty-six.Source: The J. Paul Getty Museum Born in Oshkosh, Wisconsin, Lewis W. Hine studied sociology before moving to New York in 1901 to work at the Ethical Culture School, where he took up photography to enhance his teaching practices. By 1904 he had begun a series of photographs documenting the arrival of immigrants at Ellis Island; this project, along with his pictures of harsh labor conditions published in the Pittsburgh Survey, brought his work to the attention of the National Child Labor Committee. He served as its official photographer from 1911 to 1916, and later traveled with the Red Cross to Europe, where he documented the effects of World War I in France and the Balkans for Red Cross Magazine. After returning to the United States in 1922, he accepted commercial assignments, produced another series on Ellis Island immigrants, and photographed the construction of the Empire State Building. Several of these construction pictures were published in Men at Work (1932), a book celebrating the individual worker's interaction with machines in the modern world. Despite the success of this book, Hine's financial situation became desperate and his photography was virtually forgotten. Berenice Abbott and Elizabeth McCausland learned of his work through the New York City Photo League and mounted a traveling retrospective exhibition of his work to revive interest in it in 1939. Lewis Hine is best known for the documentary images of child labor practices that he produced under the aegis of the National Child Labor Committee from 1911 to 1916. These photographs not only have been credited as important in the passing of child labor laws, but also have been praised for their sympathetic depiction of individuals in abject working conditions. Hine labeled his pictures "photo-interpretations," emphasizing his subjective involvement with his subjects; this approach became the model for many later documentary photographers, such as Sid Grossman and Ben Shahn.Source: International Center of Photography
Pascal Maitre
Pascal Maitre
France
1955
Born in Buzançais, France, in 1955, Pascal Maitre studied psychology before beginning a career in photojournalism in 1979. His numerous assignments have taken him all over the Earth, from Afghanistan to South America. His books, In the Heart of Africa and Madagascar: Travels in a World Apart, gather images from 15 years of work in Africa. His photographs have been published in publications around the world, including GEO, Le Figaro Magazine, Newsweek, Life, and many others. His photographs first appeared in National Geographic in a September 2005 article on oil in Africa. Maitre is based in Paris, France. Source: National Geographic After studying psychology, he starts his carrier as photojournalist with the Jeune Afrique press group. In 1984 he joins the Gamma staff and then in 1989, he cofounds the Odyssey Images agency. From 1994 to 2018, he was a member of Cosmos Agency. He is now represented by MYOP. He has worked with many prestigious international magazines including, the Figaro Magazine, Geo, Paris Match, Stern, Brigitt and the National Geographic. In 2000, he published My Africa, a book that compiles 15 years of his work on this continent, with Aperture in the USA and Geo in Germany. In September 2001, the French version is released by Vents de Sable editions. In 2012 he publishes Amazing Africa, a compilation of 30 years of his work on Africa, with edition Lammerhuber and Unesco. Pascal Maitre has worked in over 40 countries in Africa, while tackling many different aspects, men and their way of life, politics, conflicts, tradition or the environement. He received numerous awards, including some World Press Photo awards, the AFD/Polka Prize for the Best Photo Report Project, the VISA D’Or 'Honneur for Lifetime Achievement'. He had eight personal exhibitions at Visa pour l'Image in Perpignan, two personal exhibitions at the Maison Européenne de la Photographie in Paris and a personal exhibition about his work at The Arche de la Défense in Paris.Source: MYOP
Arnold Odermatt
Arnold Odermatt
Switzerland
1925 | † 2021
Arnold Odermatt was a Swiss police photographer whose work spanned more than 40 years. Originally trained as a baker, he was a photographer for the Nidwalden cantonal police from 1948 until his retirement in 1990. He is best known for his eerily beautiful black and white photographs of the aftermath of motor vehicle accidents. Odermatt joined the police in 1948 and rose to become a lieutenant, chief of the transport police, and deputy chief inspector of the Nidwalden Police before he retired. At the beginning of the 1990s, Odermatt's photography was discovered by his son, Urs Odermatt during research for his film Wachtmeister Zumbühl, and this work became a central theme in the film's plot. Urs brought his father's works together in the working groups entitled Meine Welt, Karambolage, Im Dienst, and In zivil and has published Odermatt's work ever since, working in collaboration with the Frankfurt art historian Beate Kemfert and a gallery in Berlin - Galerie Springer & Winckler. In 2001, Odermatt's photography was selected by Harald Szeemann to be exhibited at the 49th Venice Biennale. In 2002 James Rondeau exhibited Odermatt's work in its own right at the Art Institute of Chicago, as did Urs Stahel at the Fotomuseum Winterthur in 2004. Odermatt was born in Oberdorf, canton Nidwalden, Switzerland. He joined the Nidwalden Police in 1948. He was forced to give up his original career as a bakery and pastry chef on health grounds. As the policeman Odermatt first appeared with his Rolleiflex at the scene of an accident - to provide photos to complement the police report, people found this rather disconcerting. At that time, photography was anything other than an independent means of providing the police with evidence. A colleague observed Odermatt as he took pictures for the force and was suspicious. He was ordered to report to his commander immediately. Odermatt managed to convince his superiors of the pioneering work he was doing. They allowed him to convert an old toilet in an observation post in Stans into a makeshift darkroom. When the observation post was moved into another building several years later, Switzerland’s first police photographer was given his own laboratory. Odermatt's biggest role model was the famous Magnum photographer Werner Bischof. He met him once by chance, as he was on security duty on the Bürgenstock and wanted to photograph Charlie Chaplin. Odermatt's own style was characterized by sobriety and authenticity. The spartan linguistic expression of his police reports can also be found in Odermatt’s images. His craftsmanship is beyond question, nothing of note is missed by his photographic eye. In Karambolage, his most famous series of work, you can’t see the maimed victims but you do see the ethereal, surreal sculptures of scrap metal. With the softness and melancholy of Jacques Tati, he looks at the consequences of speed and the hectic nature of modern times. For 40 years, Odermatt captured the daily work of the Nidwalden police force. It was only rarely that the local press, the court or an insurance company were interested in his photos. It was only when his son, the film and theatre director Urs Odermatt, showed the photos for the first time at a solo exhibition in Frankfurt am Main that the art scene first became interested in his work. After the inspiring exhibition, the photo book Meine Welt followed. Suddenly the everyday observations from the central Swiss province had gained the same status as those of his well-traveled predecessor, Werner Bischof. At an early stage in his police career, when Arnold used the camera to catalog traffic accidents, this was a revolutionary innovation in the Swiss police. If Odermatt were to turn up at a crime scene with his camera today, he could expect to be told that photography was not for him, but was instead the job of a specially trained police photographer.Source: Wikipedia
Gabriella Aragon
Gabriella Aragon
United States
1987
I am an artist with a concentration in photography and experimenting in post-production, color, and light. I like to work with many mediums and have created props, sets, and accessories to incorporate into my work. I enjoy learning and exploring which has led me to create many characters in self-portraits and portraits of others. Traditionally trained in advertising, I also continue to photograph still lifes that explore natural light. When I am not photographing, you can find me weaving, painting, drawing, sewing, or gardening.
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