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Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Enter AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Jeff Dunas
(C) ANDREAS Bitesnich 2019
Jeff Dunas
Jeff Dunas

Jeff Dunas

Country: United States
Birth: 1954

Jeff Dunas is an American Photographer whose work spans five decades. His work has appeared in hundreds of magazines, album covers, books and calendars. Dunas' principal areas of work have included Nudes, Documentary, Celebrity & Portrait and Street Photography. He is the author is 8 monographs and 5 museum catalogues. As an entrepreneur, he founded Melrose Publishing Company, Collector's Editions, Ltd., launched, Edited and Published Collectors Photography magazine, published Darkroom Photography (later Camera & Darkroom). Dunas founded the Palm Springs Photo Festival in 2006 and the Official Portfolio Review at PhotoPlus Expo in 2010. In 2014, he produced & directed PhotoSynthesis, a photography & music festival in Los Angeles for the Annenberg Foundation. He work has been shown in twelve, one-person museum exhibitions and over 50 gallery exhibitions. Dunas has lived between Los Angeles and Paris, France since 1974.

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More Great Photographers To Discover

Margaret Watkins
Canada
1884 | † 1969
Margaret Watkins (1884-1969) was born in Canada. Best known for art and advertising photography executed in New York in the 1920s, Watkins was active in the Clarence White school of photography and a participant in the shift from pictorialism to modernism. Her working life spanned a Victorian upbringing in Hamilton, Ontario, and the witnessing of the first Soviet Five-Year Plan. Watkins' modernism, which involved experimentation and a radical focus on form, transgressed boundaries of conventional, high-art subject matter. Her focus was daily life and her photographs, whether an exploration of the objects in her New York kitchen or the public and industrial spaces of Glasgow, Paris, Cologne, Moscow, and Leningrad in the 1930s, strike a balance between abstraction and an evocation of the everyday, offering a unique gendered perspective on modernism and modernity. Watkins established a studio in Greenwich Village and in 1920 she accepted the position of editor of the annual publication Pictorial Photography in America. Clarence White asked Watkins to join the faculty of his school, where Watkins met other notable photographers, including Alfred Stieglitz and Paul Strand. She worked for Macy's department stores and for the J. Walter Thompson advertising agency, capturing simple domestic objects with a clarity of modernist vision rare in commercial photography at the time. Her landscapes, portraits, nudes, still lifes, and abstractions received praise and attracted controversy. Exhibitions were held in the United States and in Europe. In 1928, Watkins decided to visit her four elderly aunts in Glasgow, Scotland. She traveled throughout Europe, photographing extensively and producing a body of work documenting post-revolution Russia. Her aunts began to take ill, and Watkins remained in Glasgow to help care for them. She drifted from the spotlight of public recognition, and few photographs or negatives exist from this time. Watkins lived in Scotland in seclusion until her death in 1969.
Harry Gruyaert
Belgium
1941
Originally dreaming of becoming a film director, Harry Gruyaert studied at the School of Film and Photography in Brussels from 1959 to 1962. Shortly after he left Belgium at the age of 21, fleeing the strict catholic environment in which he was raised. Gruyaert travelled extensively across Europe, North Africa, Asia and the United States and lived in cities with a vibrant film and photography scene like Paris and London. During his first trip to New York in 1968, he discovered Pop artists like Roy Lichtenstein and Robert Rauschenberg. This encounter made him appreciate the creative potential of colour and encouraged him to search for beauty in everyday elements for the rest of his career. Around the same time Gruyaert befriended the American artists Richard Nonas and Gordon Matta-Clark and photographed their work. Further inspired by the visual impulses on his first trip to Morocco in 1969, he decided in the second half of the 1970s as one of the first photographers in Europe to commit himself entirely to colour photography. Gruyaert's cinematographic background instilled in him an aesthetic conception of photography. Rather than telling stories or documenting the world through his lens, he searches for beauty in everyday elements. His images are simply snapshots of magical moments in which different visual elements, primarily colour, form, light and movement, spontaneously come together in front of his lens. In his search for strong graphical images, Gruyaert focuses his camera on objects as much as on people, who are often reduced to silhouettes or rendered to plain colour fields. Unsurprisingly the countries he photographs are mostly identified by means of the subtle differences in colour palette and light, inherent to the local atmosphere, culture and climate, more than by the depicted subjects or scenes. Among his most well-known series are 'Rivages/Edges', featuring coastal views from around the world, that Gruyaert photographed out of a fascination for the rapidly changing light in these places. In the early 1970s, while he was living in London, Gruyaert worked on a series of colour television screen shots later to become the 'TV Shots' and now part of the Centre Pompidou collection. Around that time he regularly returned to his home country Belgium. This resulted in the series 'Roots', that perfectly reflects the Belgian Zeitgeist of the 1970s and 1980s. In 1982 Gruyaert joined Magnum Photos. More about Irish Summers More about Between Worlds
Harry Callahan
United States
1912 | † 1999
Harry Callahan (Harry Morey Callahan) (October 22, 1912 – March 15, 1999) was an American photographer and educator. He taught at both the Institute of Design in Chicago and the Rhode Island School of Design. Callahan's first solo exhibition was at the Art Institute of Chicago in 1951. He had a retrospective at the Museum of Modern Art in New York in 1976/1977. Callahan was a recipient of the Edward MacDowell Medal and the National Medal of Arts. Along with the painter Richard Diebenkorn, he represented the United States in the Venice Biennale in 1978. Harry Callahan was born in Detroit, Michigan. He worked at Chrysler when he was a young man then left the company to study engineering at Michigan State University. He dropped out, returned to Chrysler and joined its camera club. Callahan began teaching himself photography in 1938. He formed a friendship with Todd Webb who was also to become a photographer. A talk given by Ansel Adams in 1941 inspired him to take his work seriously. In 1941, Callahan and Webb visited Rocky Mountain State Park but didn't return with any photographs. In 1946 he was invited to teach photography at the Institute of Design in Chicago by László Moholy-Nagy. He moved to Rhode Island in 1961 to establish a photography program at the Rhode Island School of Design, eventually inviting his close friend and fellow artist Aaron Siskind to join him, teaching there until his retirement in 1977. Callahan met his future wife, Eleanor Knapp, on a blind date in 1933. At that time she was a secretary at Chrysler Motors in Detroit and he was a clerk. They married three years later. In 1950 their daughter Barbara was born. Callahan died in Atlanta in 1999. His wife Eleanor died on February 28, 2012 in a hospice in Atlanta at the age of 95. Callahan left almost no written records—no diaries, letters, scrapbooks or teaching notes. His technical photographic method was to go out almost every morning, walk through the city he lived in and take numerous pictures. He then spent almost every afternoon making proof prints of that day's best negatives. Yet, for all his photographic activity, Callahan, at his own estimation, produced no more than half a dozen final images a year. He photographed his wife and daughter and the streets, scenes and buildings of cities where he lived, showing a strong sense of line and form, and light and darkness. Even prior to birth, his daughter showed up in photographs of Eleanor's pregnancy. From 1948 to 1953 Eleanor, and sometimes Barbara, were shown out in the landscape as a tiny counterpoint to large expanses of park, skyline or water. He also worked with multiple exposures. Callahan's work was a deeply personal response to his own life. He encouraged his students to turn their cameras on their own lives, leading by example. Callahan photographed his wife over a period of fifteen years, as his prime subject. Eleanor was essential to his art from 1947 to 1960. He photographed her everywhere—at home, in the city streets, in the landscape; alone, with their daughter, in black and white and in color, nude and clothed, distant and close. He tried several technical experiments—double and triple exposure, blurs, large and small format film. Callahan was one of the few innovators of modern American photography noted as much for his work in color as for his work in black and white. In 1955 Edward Steichen included his work in The Family of Man, MoMA's popular international touring exhibition. In 1956, he received the Graham Foundation Award, which allowed him to spend a year in France with his family from 1957 to 1958. He settled in Aix-en-Provence, where he took many photographs. In 1994, he selected 130 original prints with the help of the gallery owner Peter MacGill, and brought them together under the name of French Archives, to offer them to the Maison Européenne de la Photographie in Paris. Some of these images were taken in Aix-en-Provence and in the South of France, and are the subject of a temporary exhibition at the Granet Museum in Aix-en-Provence in 2019. Callahan left behind 100,000 negatives and over 10,000 proof prints. The Center for Creative Photography at the University of Arizona maintains his photographic archives. In 2013, Vancouver Art Gallery received a gift of almost 600 Callahan photographs from the Larry and Cookie Rossy Family Foundation.Source: Wikipedia Harry Callahan has won many awards for his photography, including a Guggenheim Fellowship in 1972 and the Photographer and Educator Award from the Society for Photographic Education in 1976, and he was designated Honored Photographer of the Rencontres Internationales de la Photographie in Arles, France in 1977, and received ICP's Master of Photography Infinity Award in 1991. Among the major exhibitions of his work were Photographs of Harry Callahan and Robert Frank (1962), one of the last shows curated by Edward Steichen at the Museum of Modern Art, and retrospectives at the Museum of Modern Art (1976) and at the National Gallery in Washington, DC (1996). Callahan was widely respected in the photography community for his open mind and experimental attitude, qualities reinforced by his association with Moholy-Nagy and the principles of Bauhaus design. He produced work in both formalist and more documentary modes and worked in both black-and-white and color. He used a 35-millimeter and an 8x10 camera and worked with multiple exposures as well as straight images. Such versatility contributed to his success as a teacher, his students ranging widely in style--among them Ray K. Metzker, Emmet Gowin, Kenneth Josephson, and Bill Burke.Source: International Center of Photography
Thomas Michael Alleman
Thomas Michael Alleman was born and raised in Detroit, where his father was a traveling salesman and his mother was a ceramic artist. He graduated from Michigan State University with a degree in English Literature. During a fifteen-year newspaper career, Tom was a frequent winner of distinctions from the National Press Photographer’s Association, as well as being named California Newspaper Photographer of the Year in 1995 and Los Angeles Newspaper Photographer of the Year in 1996. As a magazine freelancer, Tom’s pictures have been published regularly in Time, People, Business Week, Barrons, Smithsonian and National Geographic Traveler, and have also appeared in US News & World Report, Brandweek, Sunset, Harper’s and Travel Holiday. Tom has shot covers for Chief Executive, People, Priority, Biz Tech, Acoustic Guitar, Private Clubs, Time, Investment Advisor, Diverse and Library Journal. Tom teaches “The Photographer’s Eye” at the Julia Dean Photo Workshops, and “Vision and Style” at the New York Film Academy, both in Hollywood. Tom exhibited “Social Studies”, a series of street photographs, widely in Southern California. He’s currently finishing Sunshine & Noir, a book-length collection of black-and-white “urban landscapes” made in the neighborhoods of Los Angeles. Sunshine & Noir had it’s solo debut at the Afterimage Gallery in Dallas in April, 2006. Subsequent solo exhibitions include: the Robin Rice Gallery in New York in November 2008, the Blue Sky Gallery in Portland, OR, in October 2009, the Xianshwan Photo Festival in Inner Mongolia, China, in 2010 and California State, Chico, in 2011. In the summer of 2012, a dozen pictures from Sunshine & Noir were featured in the “Photo Menage” exhibiton at the St. Petersburg Mueum of Art, in Russia, and ten prints will be shown during the RAYKO Gallery’s annual Plastic Camera Show in San Francisco in March, 2013, where Tom will be the Featured Artist. Also in early 2013, Tom will mount his first LA solo show, at the Duncan Miller Gallery, and his second solo show at the Robin Rice Gallery in New York City,
Alejandra Nowiczewski
Italy/Argentina
1966
Born in Buenos Aires and based in Madrid since 2022, Alejandra Nowiczewski is a sworn translator and a photographer specializing in philosophical, social and environmental issues. She obtained a Master’s Degree in Photographic Projects from PhotoESPAÑA and completed several photography workshops and mentorship programs in Argentina and Madrid. She has recently exhibited in Madrid Penumbra, a conceptual photobook dummy based on a book she wrote on the translation of legal metaphor and its social dimension. Addressing metaphor and symbol, she presents her photographic series as a visual and metaphorical reinterpretation of processes, concepts or essential texts. Within the framework of contemporary photography, she seeks to explore the ability of the photographic document to suggest something more than itself, to serve as a conduit to visualize social, philosophical or environmental topics. Her works were featured in Artdoc Magazine and in its online exhibition. She was also a nominee in the reFocus Awards 2022, Black & White Photo Contest, Minimalism, and was selected for PhotoESPAÑA’s Descubrimientos PHE25 portfolio review. She has exhibited her photographic work in Buenos Aires (Rolf Art, Ingõt Arte, Pinta BAphoto 2024 and 2022, and BAphoto 2021) and Madrid (PhotoESPAÑA, Centro de Arte Alcobendas, Museo Zapadores Ciudad del Arte and PhotoESPAÑA, Galería Nueva Las Letras). Her works are also in private collections in Argentina. Statement: I intend that my work, in its form of expression, should have the potential to add meaning and raise awareness. In line with my training in translation and its social dimension, I am interested in creating visual metaphors from linguistic metaphors, with the aim of bringing the cognitive into the visual universe and thus broadening its understanding. My work also explores a variety of themes, ranging from philosophical to climate change, biodiversity and sustainability issues. In the first case, I try to awaken intuition regarding the symbolic; in the second, I compose my images in such a way that, beyond their aesthetic component, they raise awareness about these critical global issues, which I consider priority for human and natural systems. I also accompany my projects with documentary archives that support the research on these topics.
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