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Final Chance to Win a Solo Exhibition this April! Deadline: March 18, 2025
Final Chance to Win a Solo Exhibition this April! Deadline: March 18, 2025
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Melvin Pirard
Melvin Pirard
Melvin Pirard

Melvin Pirard

Country: Belgium
Birth: 1992

My name is Melvin Pirard, I am 27 years old and I come from Belgium. I practice the photo seriously for a little less than three years. I have a degree in Agronomy and it is therefore as a passionate self-taught that I learned the picture. It was my mother who made me liked the photo, she always had a camera on holiday. I stung her the camera from time to time and I liked immerse myself in my imagination and try to represent at best what I saw with my child's eyes.

I had the chance to travel a lot and so a little over two years ago I wanted to be more serious about photography when I was going through in Africa. I already had in mind to become a professional photographer. Now I'm doing it, I start as a professional photographer right now. And winning this 2nd prize is very important for me, it encourages me and pushes me to go further.

Websites

www.hesabuvision.com

@melvin.pirard

 

Inspiring Portfolios

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More Great Photographers To Discover

R.J. Kern
R.J. Kern
United States
1978
R. J. Kern is a photographer whose work explores animal portraiture as it relates to ideas of home, ancestry, and a sense of place. He majored in Art & Art History and Environmental Geography from Colgate University and holds a Master's Degree from the University of Colorado in Boulder. R. J. is the recipient of a 2016 Artist Initiative Grant awarded by the Minnesota State Arts Board. His work received critical acclaim through the 2015 Review Santa Fe, a finalist for Critical Mass 2016, and is apart of the public exhibition series, The FENCE, on display in Boston, Brooklyn, Atlanta, Houston, and Santa Fe in 2016. His work has been featured by National Geographic, PBS, and the World Photography Organization. His work is represented by Gallery 360 in Minneapolis, Minnesota and Ecce Gallery in Fargo, North Dakota. He lives in Minneapolis with his wife, two kids, and goldendoodle, Willy. Project Statement: The Unchosen Ones The Unchosen Ones takes place on the sidelines of county fair animal contests in Minnesota in 2016. One isn't born a winner or loser, but a chooser. This theme I explore in this series. As we look at them, they look back, allowing us to think about how we choose winners and the repercussions for the ones not chosen. The project consists of over 60 portraits made at 10 Minnesota county fairs in 2016. The photographs showcase the subject facing the camera, allowing the viewer to decide what connects and distinguishes these subjects.
David Johndrow
David Johndrow
United States
David Johndrow is a fine art photographer living in Austin, Texas. After studying photography the University of Texas, he began shooting commercial work as well as pursuing his more personal fine art photography.David’s continuing series, Terrestrials, combines his passion for gardening and photography and features macro nature photographs of animals and plants that inhabit his Hill Country, Texas garden. To realize his vision, he prints with silver gelatin, platinum/palladium, gum-bichromate and gumoil.His photographs are part of the Wittliff Collection of Southwestern and Mexican Photography, as well as in many private collections.All about David Johndrow:AAP: When did you realize you wanted to be a photographer?I took a darkroom class in art school and fell in love with the process. The first roll of film I shot I processed and printed myself.AAP: Where did you study photography?I learned photography at The University of Texas, but I built my own darkroom and started working on my own. I really honed my printing skills working as a printer in a photo lab. Just the shear volume of work I printed during that time made me a better printer.AAP: Do you have a mentor or role model?I can’t say I had any mentors except for photographers like Irving Penn who I loved and was inspired by.AAP: How long have you been a photographer?I’ve been a photographer for 30 years.AAP: Do you remember your first shot? What was it?My first shot was of my friends who were in a band. I had other friends who were actors and comedians, so I started taking lots of portraits for peoples publicity shots.AAP: What or who inspires you?I am inspired creatively by many different kinds of artists, but my biggest inspiration is the natural world. Rarely do I go in search of photographs; rather things just appear to me when I spend enough time outdoors. Gardening is my biggest obsession next to art.AAP: How could you describe your style?I have lots of styles but my most well know work is done in macro. I guess the one common thing in all my work is a simple graphic composition.AAP: Do you have a favorite photograph or series? I love Matt Mahurin, especially his portraits of Tom Waits. AAP: What kind of gear do you use?I shoot with a Hasselblad on 120 film.AAP: Do you spend a lot of time editing your images?Although I shoot on film, I edit my images on the computer. It helps me group images in a series or arrange them for exhibition.AAP: Favorite(s) photographer(s)?My favorite photographer is Irving Penn.AAP: What advice would you give a young photographer?I would tell young photographers to shoot a lot of images, do a lot of experiments, and try to learn some different printing processes.AAP: What mistake should a young photographer avoid?Don’t try and shoot photos of things you think others would like but shoot subjects you are most interested in. Every subject has been done before, so try and put your own spin on it.AAP: What are your projects?The project I’m working on is close-ups of natural textures.AAP: Your best memory as a photographer?My best memory is of shooting the pyramid at Chichen Itsa. It was at the solstice and I wanted a photo of the serpent shadow on the steps, but it was a cloudy, rainy day. Suddenly, right before closing, the sun burst out and I got some great shots.AAP: Your worst souvenir as a photographer?Don’t knowAAP: The compliment that touched you most?“Every time I look at your photograph I see something different”.AAP: If you were someone else who would it be?No one else.AAP: Your favorite photo book?Irving Penn: Passages
Andrew Moore
Andrew Moore
United States
1957
Andrew Moore’s work is in the collection of the Whitney Museum of American Art, Yale University Art Gallery, the Library of Congress, the Israel Museum, the High Museum, the George Eastman House and the Canadian Centre for Architecture. Recent exhibitions include The Queens Museum, Columbia University and The Museum of the City of New York in conjunction with a retrospective on the legacy of Robert Moses. Moore has had recent solo shows in Minneapolis, Moscow, Paris, San Francisco, and Nebraska. In 1975, Moore enrolled at Princeton University, where he worked on an independent major in photography under the guidance and mentorship of the historian Peter Bunnell and the photographer Emmet Gowin, who at the time, was completing his first monograph. During that time, Moore also had the benefit of working with visiting artists including Frederick Sommer, Jim Dow, and Joel Meyerowitz. Moore graduated summa cum laude in 1979. After a brief stint working with commercial photographers in New York City, Moore moved to New Orleans, where he continued a body of work first started for his senior thesis. Over the next two years, he focused on the city’s disappearing commercial district, where he found subjects such as a coffin workshop, a broom factory, and a raw furrier–places employing artisans and outdated machinery. The New Orleans Downtown Development District awarded Moore a grant which enabled him to produce a portfolio of one-hundred 8x10 color contact prints, which were placed in the city’s archives. In 1981, Moore returned to New York City, where he began a three-year project documenting the rapid changes to the urban landscape, specifically at the South Street Seaport and Fulton Fish Market in lower Manhattan. At the start of his project, the demolition of the present marketplace and shopping pier was just getting underway. Moore returned many times over the following months, often photographing at night to portray the architecture and ambiance of the surrounding neighborhood amidst massive, rapid transformation. For this work, Moore and two other photographers, Barbara Mensch and Jeff Perkell, were awarded grants from the JM Kaplan Foundation, and the New York State Council on the Arts, which enabled the completed project, South Street Survey to be shown at the Municipal Art Society in 1985. During this time, Moore was also working on a series of photographs of grain elevators in Buffalo, New York with the assistance of an NYSCA individual grant. In Buffalo, Moore met a group of artists working with appropriated imagery, which inspired him to begin using mechanical and chemical processes to incorporate multiple negatives, paintings, drawings, and xeroxes into complex montage images outside of strict documentary practice. This method of recombination, in the era before Photoshop, created images of convulsive beauty and were the subject of Moore’s first solo exhibition in New York at Lieberman and Saul Gallery in 1986, following his first solo show at Real Art Ways in Hartford, CT in 1985. Moore continued this method of montaging imagery for the next 7 years, expanding his practice into experimental short films. During this time, Moore collaborated on short films with others including the artists Lee Breuer and David Byrne. His film Nosferatu 1989 was nationally broadcast on MTV and PBS’s New Television series. 42nd Street In 1995, Moore returned to his roots in documentary practice as the texture of New York’s 42nd Street was rapidly changing. With all of the theaters between 7th and 8th avenues scheduled to be razed or refurbished, Moore sought permission to photograph the torn seats and faded fire curtains which told the stories of those spaces. In 1997, Moore showed these photographs at Yancey Richardson Gallery in New York. Despite his change of style, the work was well-received; in a review for The New Yorker, Andrew Long noted, “The straight forward treatment is a departure for the photographer, who characteristically produces multi-image evocations of New York City. Nothing is lost however - his earlier poetic constructs now give way to broader arenas for the imagination to roam.” Cuba Moore first traveled to Cuba in 1998 to photograph Havana’s decaying theaters. The project soon expanded in scope to document the larger effects of Cuba’s permanent Revolution, which were particularly apparent during the economic depression known as the “Período especial.” Moore’s large-scale color photographs of Havana reveal an elegant but crumbling metropolis of muted pastel interiors, courtyards, and scenes of daily life. Moore returned to photograph Cuba’s architecture and environment over the next 14 years, in the process publishing two monographs Inside Havana (Chronicle Books, 2002) and Cuba (Damiani, 2012). Moore has said his work intends to show, “how contemporary history, and specifically cultures in transition, are expressed through architecture.” The photographer Julius Shulman wrote of Inside Havana, “Exhibited throughout Moore’s work is a genuine flavor of ‘presence’. He does not attempt to gloss over questionable conditions, nor does he try to contort reality. With tremendous sensitivity, Moore creates art statements of the architecture he shows us. His images are painterly and poetic.” Moore’s photographs from Cuba appeared as a cover story in the September 23, 2012 issue of New York Times Magazine. Russia While working in Cuba, Moore became interested in the island nation’s long relationship with Russia. This led him to photograph the architectural environments where Russian history and politics collide in unexpected ways. Between 2000 and 2004 Moore made 8 trips around Russia from St. Petersburg to the remotest parts of the country. The New Yorker wrote of the work, “in taking Russia - its contradictions and gorgeous ruins - at face value, he captures a country’s diversity and history.” For example, Moore photographed a “czarist church [that] was turned into a soap factory during the Soviet period, and now has been restored into a kind of youth center.” Moore remarked, “For me these kinds of subjects present a cross-section through time: they address Russia’s complex past, as well as the larger compacting and collapsing processes of contemporary history.” In 2004, Moore published the monograph Russia Beyond Utopia (Chronicle Books, 2004). Detroit In 2008 and 2009, Moore traveled to Detroit to portray in photographs “the idea that in an urban setting you could also have a landscape happening, the forces of nature intersecting with American urbanism, the process of decline also intersecting with the revival of nature.” In 2010, Moore released Detroit Disassembled (Damiani, 2010), with an introduction by Detroit-native and Poet Laureate Philip Levine, to coincide with an exhibition at the Akron Art Museum. He was originally invited to document the city by two young French photographers, Yves Marchand and Romain Meffre, who had been photographing Detroit’s abandoned spaces since 2005. While Moore’s Detroit series follows the themes of transformation and decaying space explored in previous bodies of work, his focus on the motor city generated controversy in the pages of The New Republic and the journal Guernica. The photographs were decried as “ruin porn,” which Mike Rubin defined in The New York Times as “urban decay as empty cliché, smacking of voyeurism and exploitation.” Curator Sarah Kennel writes in The Memory of Time, an exhibition catalog from the National Gallery of Art, that, “in Moore’s photographs, ruination serves more explicitly as an allegory of modernity’s failure.” Other critics argue that whether or not Moore’s Detroit photographs fit the category of “ruin porn” is a matter of academic debate. Joseph Stanhope Cialdella argues in the journal Environmental History that Moore’s work instead conveys the “aesthetic of a postindustrial sublime” which “gives nature the authority to transform the image of Detroit into a novel, yet disturbing landscape that blurs the lines between wilderness and the city.” Dora Apel writes in Beautiful Terrible Ruins that Moore’s “pictures of Detroit tend to emphasize the relationship of nature and culture, with nature in the ascendancy.” Apel ultimately argues that the “ruin porn” images and debate fail to focus on the political and economic policies that are the root causes of the ruins. Dirt Meridian From 2005 to 2014, Moore photographed the people and landscape of “great American Desert,” which roughly includes the area west of the 100th meridian to the Rocky Mountains, from Texas north to Canada. The area is one of the most sparsely populated regions in the country, “where the daily reality is often defined by drought and hardship.” To make many of the photographs, Moore collaborated with Doug Dean, the pilot of a single-engine aircraft, to create bird’s-eye perspectives revealing the vastness of the land. Rather than flying high above the plains, Moore chose perspectives that have “the sense of being within the landscape rather than above it.” For an essay accompanying Moore’s photographs in The New York Times Magazine, Inara Verzemnieks wrote, “From above, the land is like one endless, unpunctuated idea - sand, tumbleweed, turkey, bunch stem, buffalo, meadow, cow, rick of hay, creek, sunflower, sand — and only rarely did a house or a windmill or a barn suddenly appear to suspend the sense of limitlessness.” On the ground, Moore photographed the people who inhabit this unforgiving landscape and the evidence of their efforts, from active homesteads to abandoned schoolhouses. These photographs are published in Moore’s newest monograph: Dirt Meridian (Damiani, 2015).
Brice Gelot
Brice Gelot
France
1985
Brice Gelot known as ''NSD51/50'' is a french born street/documentary photographer. He was born and live in Dijon, France. He started as a self-taught artist and took his first photograph in 2004. Afterwards he travelled the world and worked for few magazines and brands. Today represented by art gallery worldwide. His photographs reflects the street, graffiti, tattoos culture, gangs and the dark side of our society with poverty. Brice photographs the world as it is, the truth and reality of the city sometimes with a poetic feeling.
Maja Strgar Kurecic
Maja Strgar Kurecic
Croatia
1972
Maja Strgar Kurecic is a fine art photographer and an Associate Professor of photography at the Faculty of Graphic Arts, University of Zagreb, Croatia. She has been involved in photography for over 25 years. At the beginning of her career, Maja engaged mostly in advertising and journalistic projects. The last few years she devoted to projects that fall within the field of abstract photography. She earned international recognition for her recent projects: Other Worlds, Escape Landscapes and Floating Garden that won many international awards. She exhibited photographs on over 50 group and 20 independent exhibitions, held in country and abroad. OTHER WORLDS (2018) In the intimacy of my room, I immerse myself in an unpredictable, hidden world of colors and liquids. I create abstract motives from scratch. With the camera, I approach the subject and stop the moment of the dynamic process of their interaction. What is elusive to the eye in real time becomes visible in photographs... Although these photographs look like an abstract expression of colors and shapes, for me they mean much more. They represent symbolic landscapes - places where I escape from everyday worries and the real world, symbolize my inner world. What drives me in creation is the eternal search for wider horizons, unfettered spaces that transcend the boundaries of where we are physically standing and transcend into the infinite space of the imagination. For me, creation is a journey to freedom, to an open flow of pure ideas.
Szymon Barylski
Szymon Barylski
Poland
1984
Szymon Barylski Polish freelance photographer born in 1984 based in Ireland. He has been published, among others, The Irish Times, National Geographic Poland, The Eye of Photography, Edge of Humanity Magazine. He has had a number of exhibitions in many countries including 3rd Documentary Photography Days in Istambul, MIFA Photography, The SE Centre for Photography- Documentary Photography. His pictures were awarded in many competitions. Szymon is involved in documentary photography and photo essays. Photographing for he is a tool for exploring and learning about the world. He tries to tell a story and show it directly. In his opinion, people are an inexhaustible topic and a source of inspiration. Szymon said: „When traveling, I meet people; as a result, I create the image of my relation with them. The exploration of the environment where I take photos allow me to create emotional and convincing scenes.“ He thinks you cannot photograph the things you do not know well. That is why he prepares himself for each project individually, accurately, going into detail in the newspapers and on the Internet. Next, he looks for an inspiration in other photographer’s photos and conversations, as a result, he can create real pictures. His own narrative presented in his photos are at the same time very personal and common. Szymon thinks that a lot of people can identify themselves with his works. Photographer wish his photos could increase individual and collective awareness about the social, political and economic need and urge people to act, be part of positive changes.
Helen Warner
Helen Warner
Ireland
Helen Warner is a fine art photographer living and working in Belfast, Northern Ireland. Originally from Toulouse in the South West of France, Helen is a graduate of The Queen’s University of Belfast where she mastered in Cinema and Modernism. Her photography is deeply influenced by the intertwining of theatre, intricate costume making and story telling. With the use of traditional props and costumes, Helen creates fantastically freakish images which aim to recreate the opaque world of dreams. Everything you see in these photographs is real, Helen only uses very basic editing. (Source: Helen Warner Website)
Marcus Bleasdale
Marcus Bleasdale
United Kingdom
1968
Marcus Bleasdale is a British photojournalist, born in the UK to an Irish family. He spent over twelve years covering the conflict within the borders of the Democratic Republic of Congo and the work was published in his book One Hundred Years of Darkness, his second book The Rape of a Nation addressed the issues of the conflct being fuelled by natural resource exploration and was awarded the best photojournalism books of the year in 2009 by POYi in the USA. His work on human rights and conflict has been shown at the United States Senate, US House of Representatives, The United Nations and the Houses of Parliament in the UK. He works regularly with Human Rights Watch, Medecins Sans Frontieres and other NGOs to highlight health and human rights issues in several countries. He works to cover issues which are underreported by mainstream media. In 2007, Human Rights Watch and the Open Society Institute awarded Bleasdale a grant to continue his work on justice and accountability in the DRC. Bleasdale is currently based in Oslo, Norway with his wife Karin Beate and is an owner and member of VII Photo. Source Wikipedia
Willie Anne Wright
Willie Anne Wright
United States
1924
Willie Anne Wright is an American photographer known for her colorful cibachrome and grayscale Pinhole Photography. Willie Anne Wright was born Willie Anna Boschen, in Richmond, Virginia. Her father was a musician and sometime-artist. She graduated from the College of William & Mary in 1945 with a BS in Psychology, and from Virginia Commonwealth University in 1964 with an MFA in Painting. She later studied at the Maine photographic workshops in Rockport, Maine and the Visual Studies Workshop in Rochester, New York. She married and had three children. Willie Anne Wright began her artistic career as a painter, teaching art classes at the Jewish Community Center, and was influenced by one of her painting instructors, Theresa Pollak. For a while, she experimented with printmaking. By 1973, she began to focus more and more on photography. Inspired by her surroundings and personal life, her first works incorporated images of her family, friends, and Civil War reenactors. Well known for her use of the old technique of pinhole, she is also an exceptional master in lensless photography, solar printing, and photograms. Some of her more well known works include her Civil War Redux series, which focuses on local Civil War reenactors whom she followed around for several years, her Pregnant Women series, which features pregnant friends of hers, and The Swimmer series, which features women lounging by poolsides or in pools. Willie Anne first experimented with pinhole photography in 1985. For a class project she had to create and use a pinhole camera. She used Cibachrome paper for use in a sixteen by twenty inch pinhole camera. With color-correcting filters she created wide-angle color prints by placing the pinhole close to the film plane. Her images were whimsical with bright colors and a vignette border.Source: Wikipedia Willie Anne Wright is a native and resident in Richmond, Virginia. She received a BS in Psychology from The College of William and Mary and an MFA in Painting from Virginia Commonwealth University. She also studied photography at Maine Photographic Workshops, Rockport, Maine; Visual Studies Workshops, Rochester, New York; and VCU. Wright's paintings, serigraphs and drawings were her professional focus until 1972 when pinhole photography became her primary creative medium. Since then her lensless photography — pinhole and photogram — have been exhibited nationally and internationally, and have been included among numerous publications such as Art News, The Oxford American, Le Stenope, and The Book of Alternative Processes. Wright's works are collected privately and publicly, and are in the permanent collections of Virginia Museum of Fine Arts, Richmond, Virginia; Chrysler Museum of Art, Norfolk, Virginia; George Eastman House, Rochester, New York; High Museum of Art, Atlanta Georgia; The Mariners' Museum, Newport News, Virginia; Southeast Museum of Photography, Daytona Beach, Florida; New Orleans Museum of Art, New Orleans, Louisiana; Mobile Museum of Art, Mobile, Alabama; Morris Museum of Art, Augusta, Georgia; New Mexico History Museum, Santa Fe, New Mexico; Longwood University, Farmville, Virginia; University of Mary Washington, Fredericksburg, Virginia; University of Maine, Bangor, Maine; and University of New Hampshire, Dublin, New Hampshire.Source: www.willieannewright.com
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