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Fabian Muir
Fabian Muir
Fabian Muir

Fabian Muir

Country: Australia

Fabian Muir is an award-winning Australian photographer based in Sydney. The principal motivation behind his projects and practice is visual storytelling with a focus on humanist issues.

He is an Eddie Adams alumnus (USA) and represented by Michael Reid in Sydney and Berlin.

He speaks fluent German, French and Spanish, while his Russian sputters with the determination of a Lada on a rather steep incline.

His images have featured in major solo and group exhibitions and festivals around the world and have been acquired by numerous significant collections. His fine art series addressing social challenges and injustice confronting refugees, entitled 'Blue Burqa in a Sunburnt Country' (2014) and 'Urban Burqa' (2017), as well as his two-year survey of daily life in the DPRK (North Korea) have attracted global press, television and radio coverage. He has also spent years surveying the legacy of the Soviet Union in the aftermath of its disintegration.

Outlets include The Guardian / The Atlantic / VICE / BBC World TV / CNN International TV / LensCulture / SPIEGEL / Frankfurter Allgemeine Zeitung / BBC Asian Network / BBC Digital / FotoEvidence / PDN / Vogue Entertaining + Travel / Sueddeutsche Zeitung / Channel 9 Australia / BuzzFeed / World Photography Organisation Blog / Leica Magazine / Vision (China) / ZEISS Lenspire / France Culture (Radio France) / Photographic Museum of Humanity (PHmuseum) / Marie Claire / CNU (China) / El Observador (Portugal) / The Sydney Morning Herald / Fotoblogia (Poland) / LIFO / Bird in Flight / FAHRENHEITº Magazine / MindFood Magazine / Ampersand Magazine / Studio Magazine / Bios Monthly (Taiwan) / La Repubblica / Lenta.ru / The Age / Black + White Magazine / Konbini / Capture Magazine / Photojournalink / Expert-Russkiy Reporter / Street Photography Magazine / Feature Shoot / Gulf News (UAE) / The National (UAE) / PhotogrVphy Magazine / Musée Magazine New York / Forbes Magazine / London Telegraph / Lenscratch / Aesthetica Magazine / Portrait of Humanity book published by Hoxton Mini Press, London / The Independent / London Times / Huck Magazine / British Journal of Photography

Gallery

Michael Reid

Websites

www.fabianmuir.com

@fabianmuir

 

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More Great Photographers To Discover

Joël Tettamanti
Joël Tettamanti
Switzerland
1977
Joël Tettamanti was born in 1977 in Efok, Cameroon, and grew up in Lesotho and Switzerland. He studied photography at ECAL, Lausanne, where his teachers were Pierre Fantys and Nicolas Faure. Following his studies, he worked as an assistant to the photographer Guido Mocafico in Paris. Tettamanti is established as a commercial and media photographer for clients such as Wallpaper*, Kvadrat, and international architects. His work has been featured in solo and group exhibitions in Europe, and has been the subject of several monographs, including Local Studies (2007) and Davos (2009). He lives in Lausanne. The Swiss photographer Tettamanti creates works that focus on the impact of human settlement on the landscape, from Asia to the Arctic Circle. The images are often without people, examining instead the contradiction of human frailty and resilience, and the relationships people form with the land. His work is a vast archive of the structures, villages, and cities people create, and of the landforms and climates that shape them. Like many photographers who have been drawn to archive the world, Tettamanti’s interest lies beyond collecting artifacts of the human imprint on the land. The questions he asks of a place – why things look the way they do, and how they came about – lead to profoundly social narratives about the people who are uplifted and sometimes defeated by the land they inhabit. Tettamanti gravitates toward inhospitable environments where these relationships play out in spectacle: the juxtaposition of sublime natural beauty and buildings of startling banality, or ingenuity, or of land seemingly without limit and the meager architecture put upon it. The story can be one of use and misuse, where urban sprawl or industrial incursions have degraded the land and corrupted its beauty, as well as one of human adaptability and resourcefulness. The land is shaped by people as much as it shapes them. His quest as an artist recalls the expeditionary photography of the American West in the nineteenth century, when territories previously unexplored by Americans were opened to visual imagination by the camera. Today, when technology and globalization make distant cultures accessible, there is still a sense of revelation in Tettamanti’s work. For this artist, much like the nineteenth-century pioneers of the medium, photography remains a means of understanding the world, and retains the power to astonish with images of places that exist beyond the imagination. Source: MIT Museum
Alexandro Pelaez
Alexandro Pelaez
Venezuela
1977
Alexandro Pelaez is a Caracas-born analogue photographer based in London with a BA in Communication (Advertising) at Jacksonville University in Florida and was headhunted as an art director in the advertising agency BVK Meka in Miami. Having moved to London in 2001, where he completed his second BA (Hons) in Graphic at Central Saint Martins, University of the Arts London, Alexandro has worked over the years on various photography projects with different clients in the UK, Latvia, Germany, Italy, France, Vietnam, Hong Kong, Shanghai and USA. In 2014 Alexandro received the Highly Commended Award by the London Photographic Association for his "HEROES & VILLAINS". In 2017 Alexandro was the finalist with the "Londoners" series at the ACCI "Art of Living" Photography Competition in California, and won two Honourable Mentions by International Photographer of the Year for both categories of Fine Art: Conceptual and People: Portrait; and by Density Neutral Photography Awards for the category Fine Art: Conceptual. Recently, Alexandro received three Honourable Mention Awards by the IPA International Photography Awards in New York (2019) with the OneShot Street Photography competition New York (single image) Category: Specials; also received the Finalist Award by the Fine Art Photography Awards (2019) Category: Cityscape (series). Alexandro received the 2nd place award by the IPA International Photography Award 2019 in New York in the category of: Analogue/ Film, Other. Artist Statement "When I am shooting in double exposure with my 35mm film camera, in my way and style, I am trying to capture the true essence of a city or an area. What I want to convey is my perspective of “what you see is what you get" by capturing those unique moments when I catch an image. The double exposure allows me to capture all that but can take my images to a different level where I can be more creative by holding double layered scenarios that will give the viewer a magical, almost surreal perspective and sense of unnatural futurism." Alexandro Pelaez and the Magical in the Realism
Urszula Tarasiewicz
Urszula Tarasiewicz
Poland
1975
Urszula Tarasiewicz, Photographer, organizer of events and photo exhibitions. Studied at the National Film School in Łódź, Poland. I produce pictures with a medium format Hasselblad, which for me retains a particular sort of magic. The quality, the way light works on film, always elevates my interest when I decide to shoot a particular subject. The 'truth in photography' is a continuous debate. But that idea has always fascinated me. I observe the space around me, searching for a contrast between people and their environments. At times I allow the subject to play different roles or use simple props to alter the mood in the picture. There are many stories you can choose from when you observe the picture. I like the viewer to question its authenticity. For me, it's the interpretation that creates the magic. - Urszula Tarasiewicz Her photographs are the effect of acute observation of her surroundings and the ability to notice intriguing details and phenomena which are sometimes absurd and marginal, sometimes sentimental reminiscences of the People's Republic of Poland and the birth of the capitalism in Poland. Marcin Krasny The artist's eye focuses on the margins of reality, the kitsch and grotesque public space. Simple, plain and ascetic compositions, or quite the opposite - full of details, colorful - frames of Urszula Tarasiewicz's works depict the world as a place which is not as much absurd as it is pleasant and charming- Anna Czaban - Art Historian Urszula Tarasiewicz /b. 1975/ studied Photography at the Leon Schiller National Higher School of Film, Television and Theatre in Łódź, Poland. The works from the series New Urban Legends which are on display at the andel's Hotel in Łódź /curator Lucyna Sosnowska/ have won the portrait category at the 2010 Curator's Contest of the Photo District News Magazine, the 2012 New Talent Award of the German edition of the FotoMagazine, as well as the contest of the Norwegian photography magazine Fotografii for a place at the 17#Debutantutstilling 2012 exhibition in Oslo. The New Urban Legends series has been exhibited in, among others, the Milk Gallery NYC (2010). Other photo series by Urszula Tarasiewicz have been shown internationally: in the US at the Critical Mass exhibition (2012), the series The Future Is So Bright created in Norway during the Artist in Residence program at the Halsnøy monastery was presented at a group exhibition in Norway in 2013 and in Warsaw in 2015 at the Ja to Ktoś Inny show /curator Klima Boheńska/, at the Krinzinger Galerie in Vienna during the group exhibition Call Me on Sunday (2014, curator Ursula Maria Probst), at the Jam Factory gallery in Oxford (2014), in Stuttgart at the Face to Face show (2014), at the Bunkier Sztuki gallery in Kraków during the show Kasa z Widokiem /curator Lidia Krawczyk. Ogrodowa/Garden Street Garden Street, A project documenting flats after evictions on Garden Street. 150 families left the building. It was the first residential complex for workers in 1880 in the new industrial city of Lodz. Izrael Poznański wealthy entrepreneur (1833-1900) is regarded as being one of the icons of Łódź. His monumental factory just across Ogrodowa street along with the labourers' tenement houses, is a true city within a city. In its best years, nearly 7000 people in total worked and lived here. The moment Poznański's empire fell after World War II was the beginning of the estate's and all of its inhabitants' long agony. Its fate was concluded with the decommissioning of the Poltex company in 1991. Famuły became a no man's land, its residents left to their own devices. The project 100 Tenement houses in Łódź, thanks to which a major renovation of the Poznański's factory housing estate started in 2014 was preceded by a long process of relocating all the residents. It was during this time I began to document the empty flats. The famuły rooms stun with their ruthlessness, their coldness, with the visibly absent inhabitants. The artist guides us around the world which is already gone, lost. Looking at Tarasiewicz's photos, we're confronted with desolate rooms, dilapidated walls out of which someone ripped off electrical wiring and where time imprinted the ghosts of furniture and lost artworks.
Graham Earnshaw
Graham Earnshaw
Australia
I am a photographer living in beautiful Perth, Western Australia. My personal favorite style of photography is landscape and travel. But I also find myself pushing the boundaries between photography and art, with a particular emphasis on motion in portraying nature. And my other newfound love is aerial photography - a vantage point for opening up a whole new way of capturing the extraordinary beauty of Mother Nature.
Raul Cacho Oses
Raul Cacho Oses
Spain
1984
Raúl Cacho is a photographer born in Pamplona (Navarra, Spain). It was at the age of 22 when he began his practice of photography alongside his career as a project professional in the Renewable Energies. Raul's professional travels have allowed him to reside in various countries and continents, where he has had the opportunity to enrich and deepen his visual experiences. In 2021, after three years living in Tangier, his first photography book titled "Morocco: Lights, Souk, and Action" was published. Whether capturing an artisan, an intimate portrait or the vibrant energy of bustling traditions, Raul's photography is a testament to the power and beauty of the world around us. Through his images, he reminds us to appreciate the world we live in and to never stop exploring, learning, and growing.
Frances Benjamin Johnston
Frances Benjamin Johnston
United States
1864 | † 1952
Frances "Fannie" Benjamin Johnston (15 January 1864 – 16 May 1952) was an early American female photographer and photojournalist whose career lasted for almost half a century. She is most known for her portraits, images of southern architecture, and various photographic series featuring African Americans and Native Americans at the turn of the 20th century. The only surviving child of wealthy and well connected parents, she was born in Grafton, West Virginia, raised in Washington, D.C., and studied at the Académie Julian in Paris and the Washington Students League following her graduation from Notre Dame of Maryland Collegiate Institute for Young Ladies in 1883 (now known as Notre Dame of Maryland University). An independent and strong-willed young woman, she wrote articles for periodicals before finding her creative outlet through photography after she was given her first camera by George Eastman, a close friend of the family, and inventor of the new, lighter, Eastman Kodak cameras. She received training in photography and dark-room techniques from Thomas Smillie, director of photography at the Smithsonian. She took portraits of friends, family and local figures before working as a freelance photographer and touring Europe in the 1890s, using her connection to Smillie to visit prominent photographers and gather items for the museum's collections. She gained further practical experience in her craft by working for the newly formed Eastman Kodak company in Washington, D.C., forwarding film for development and advising customers when cameras needed repairs. In 1894 she opened her own photographic studio in Washington, D.C., on V Street between 13th and 14th Streets, and at the time was the only woman photographer in the city. She took portraits of many famous contemporaries including Susan B. Anthony, Mark Twain and Booker T. Washington. Well connected among elite society, she was commissioned by magazines to do "celebrity" portraits, such as Alice Roosevelt's wedding portrait, and was dubbed the "Photographer to the American court." She photographed Admiral Dewey on the deck of the USS Olympia,[6] the Roosevelt children playing with their pet pony at the White House and the gardens of Edith Wharton's famous villa near Paris. Her mother, Frances Antoinette Johnston, had been a congressional journalist and dramatic critic for the Baltimore Sun and her daughter built on her familiarity with the Washington political scene by becoming official White House photographer for the Harrison, Cleveland, McKinley, "TR" Roosevelt, and Taft presidential administrations. Johnston also photographed the famous American heiress and literary salon socialite Natalie Barney in Paris but perhaps her most famous work, shown here, is her self-portrait of the liberated "New Woman", petticoats showing and beer stein in hand. Johnston was a constant advocate for the role of women in the burgeoning art of photography. The Ladies' Home Journal published Johnston's article "What a Woman Can Do With a Camera" in 1897[9] and she co-curated (with Zaida Ben-Yusuf) an exhibition of photographs by twenty-eight women photographers at the 1900 Exposition Universelle, which afterwards travelled to Saint Petersburg, Moscow, and Washington, DC. She traveled widely in her thirties, taking a wide range of documentary and artistic photographs of coal miners, iron workers, women in New England's mills and sailors being tattooed on board ship as well as her society commissions. While in England she photographed the stage actress Mary Anderson, who was a friend of her mother. In 1899, she gained further notability when she was commissioned by Hollis Burke Frissell to photograph the buildings and students of the Hampton Normal and Agricultural Institute in Hampton, Virginia in order to show its success. This series, documenting the ordinary life of the school, remains as some of her most telling work. It was displayed at The Exhibit of American Negroes of the Paris Exposition Universelle in 1900. She photographed events such as world's fairs and peace-treaty signings and took the last portrait of President William McKinley, at the Pan-American Exposition of 1901 just before his assassination. With her partner, Mattie Edwards Hewitt, a successful freelance home and garden photographer in her own right, she opened a studio in New York in 1913 and moved in with her mother and aunt. Hewitt wrote Johnston love letters over the course of their relationship, which are chronicled in "The Woman Behind the Lens: The Life and Work of Frances Benjamin Johnston, 1864–1952." Many of the early letters focused on Hewitt's admiration for Johnston's work, but as their romance progressed, they became increasingly full of words of love: "...when I need you or you need me — [we] must hold each other all the closer and with your hand in mine, holding it tight..." She lectured at New York University on business for women and they produced a series of studies of New York architecture through the 1920s. In early 1920 her mother died in New York. In the 1920s, she became increasingly interested in photographing architecture, motivated by a desire to document buildings and gardens which were falling into disrepair or about to be redeveloped and lost. As her focus in architecture grew, she became specifically interested in documenting the architecture of the American South. Johnston was interested in preserving the everyday history of the American South through her art; she accomplished this by photographing barns, inns, and other ordinary structures. She was not interested in photographing the grand homes and estates of the American South, but rather the quickly deteriorating structures in these communities that portrayed the life of common southerners. Her photographs remain an important resource for modern architects, historians and conservationists. She exhibited a series of 247 photographs of Fredericksburg, Virginia, from the decaying mansions of the rich to the shacks of the poor, in 1928. The exhibition was entitled Pictorial Survey--Old Fredericksburg, Virginia--Old Falmouth and Nearby Places and described as "A Series of Photographic Studies of the Architecture of the Region Dating by Tradition from Colonial Times to Circa 1830" as "An Historical Record and to Preserve Something of the Atmosphere of An Old Virginia Town." Publicity from the display prompted the University of Virginia to hire her to document its buildings and the state of North Carolina to record its architectural history. Louisiana hired Johnston to document its huge inventory of rapidly deteriorating plantations and she was given a grant in 1933 by the Carnegie Corporation of New York to document Virginia's early architecture. This led to a series of grants and photographs of eight other southern states, all of which were given to the Library of Congress for public use. In December 1935, she began a year long project to capture the less evolved structures of the Colonial Era in Virginia. This was effort was intended to be a one year project, but evolved into an eight year extensive project, in which she surveyed 50,000 miles and 95 counties in Virginia. Johnston was named an honorary member of the American Institute of Architects for her work in preserving old and endangered buildings and her collections have been purchased by institutions such as the Metropolitan Museum of Art, the Virginia Museum of Fine Arts and the Baltimore Museum of Art. Although her relentless traveling was curtailed by petrol rationing in the Second World War the tireless Johnston continued to photograph. Johnston acquired a home in the French Quarter of New Orleans in 1940, retiring there in 1945, where she died in 1952 at the age of eighty-eight.Source: Wikipedia
Esmeralda Ruiz
Esmeralda Ruiz
United States
Artist Statement: "My childhood was different then most. Growing up with nothing but artists was one thing, but having actually flat lined during a surgery after being diagnosed with a kidney infection changed my life forever. It wasn’t that it left me weak or prevented me from going outside and playing or even going to school with other children but the images that I saw when that moment occurred is what I strive to show in my work today. A wonderful world where the air was crisp and refreshing, with all of its flowers in bloom, my journey begins down a path with little yellow homes on each side. Beyond the path, a valley flowers appeared. On the right there were rocky mountains so enormous that clouds covered their midsection with their snow covered summits peering through. To my left the sound of the ocean was relentlessly crashing into a cliff. As I crossed my valley of flowers and ascended the cliff, I felt a cool yet, strong breeze off the ocean forcing me back. As I looked up into the vast skies above, I was overcome by the ever so omnipotent clouds with their glorious rays of sunlight beaming through. The feeling of leaping into the breeze and flying towards the light was more then overwhelming. Instead, I greeted it with a smile and made my way back to the valley. Relaxed, laying across its delicate wild flowers, my tranquil body curled up and fell into a deep sleep. Awaking to my mother at my bedside, disappointment overcame me with the realization that it was all just a dream. Weeks passed, the pain healed but my dream still reigned true. Numerous sketches and endless rants of my new world was all that was real. Having to transition from a world of such perfection to a life of obscurity seemed almost inconceivable. As such, a minor state of depression would set in as my life slowly began to drift back into its regular routine. During this time my only solace came from the amazing work found in books from various art movements and even my favorite childhood cartoons. However, as my healing process dragged on, much of what I know about color (and how I use it today) came from all the extra time spent in my parent’s studio. Watching them work and being surrounded by various mediums helped better understand art as a form of expression. This would inevitably forge my desire to show the world what I had experienced on that fateful day. As the years pass, my dream still lives within me. My thesis project has only driven my need to share my moment with the world in ways I never thought possible. After much soul searching and numerous critiques, I have come to the realization that my utopia isn’t just a dream; it is in the landscapes that have always surrounded me. Those three minutes had and will always have a tremendous impact on my life. If anything, I learned how fragile life is and to always appreciate the beautiful things in life. Photography has allowed me to show what stands out in my eyes by glorifying it in a photograph. It is the best way that I can communicate what I saw and what I felt at that particular moment. It is the bridge between my past and my present.Source: Esmeralda Ruiz Website
Rashod Taylor
Rashod Taylor
United States
1985
Rashod Taylor is a fine art and portrait photographer whose work addresses themes of family, culture, legacy, and the black experience. He has earned notable attention for his ongoing longform photo series Little Black Boy; in it he documents his son's life while examining the Black American experience and fatherhood. Taylor attended Murray State University and received a Bachelor's degree in Art with a specialization in Fine Art Photography. Taylor has since exhibited and published nationally and internationally. Most recently his "Little Black Boy" series was acquired by the Museum of Fine Arts Houston and received the 2021 Arnold Newman Prize For New Directions in Photographic Portraiture. Taylor was also a 2020 Critical Mass Top 50 Finalist, winner of Lens Culture's Critics Choice award and a 2021 Feature Shoot Emerging Photography Awards winner. Taylor's editorial clients include National Geographic, The Atlantic, Essence Magazine and Buzzfeed News, among others. His work has also been included in Feature Shoot and Lenscratch among others. Rashod Taylor lives in Springfield, MO, with his wife and son.
Barry Guthertz
Barry Guthertz
United States
1946
Barry Guthertz has been exhibiting his Fine Art photography throughout the Northeast for over 35 years. His award winning work has appeared in The Brooklyn Museum, The French Embassy, the General Electric and Union Carbide Corporate Galleries as well as in Silvermine Gallery in New Canaan,CT and The Flinn Gallery in Greenwich. He has had numerous solo exhibitions and participated in group shows in NYC, Portland, OR, London England, and throughout Fairfield County, CT where he lives. His b&w porfolios have been published twice in Lenswork Magazine, as well as on the cover in Shadow and Light Magazine, as the featured artist August 2018. Earth Rhythm The magnitude of nature's forces can both terrify and fascinate. Left in their wake is a mysterious beauty carved into the earth's landscape. These hypnotic shapes, forms and abstract patterns speak to my inner core. It's been a challenge to visually capture these breathtaking compositions as well as to share the extraordinary feelings that awaken inside me when I click the shutter.
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Call for Entries
AAP Magazine #57 Portrait
Publish your work in our printed magazine and win $1,000 cash prizes
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