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Kevin Lyle
Kevin Lyle
Kevin Lyle

Kevin Lyle

Country: United States
Birth: 1951

I am, for the most part, self taught. I first became interested in art around the age of 12. Art class became the most interesting part of school. After high school I attended the Cleveland Institute of Art for one semester before realizing that art school was not for me at that time. After moving to Chicago my first job turned into a career in computers and systems management and I did little or no art for many years. I've always had an inclination to collect. Collecting African masks and the process of photographing them for documentary purposes led to a broader interest in photography. When I began going for long walks to search for photographic material I soon realized the exercise and fresh air were an added bonus to this pursuit of collecting images.

Artist Statement

As long as I can remember, I've been curious about incidental objects and environments and their potential for a sort of extraordinary/ordinary beauty. I find this quality in the work of photographer Eugene Atget, composer Erik Satie and singer-songwriter Woody Guthrie. These great artists are a constant source of inspiration. My process is fueled by an innate hunter/gatherer impulse. Most of my images are collected within walking distance of my home on Chicago's north side. Contemplative wandering in the urban analog world, away from the preponderance of drama delivered digitally via television and the Internet, reveals evidence of real life - evidence of what may be, may have happened or may yet occur. Sometimes mundane, sometimes oblique, askew or atypical. Mostly overlooked, until documented.

Websites

www.kevinlylephotography.com

@klyle2006

 

Inspiring Portfolios

Jesús Umbría Brito
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Nanda Hagenaars
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Carole Mills Noronha
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Noell Oszvald
Noell Oszvald
Hungary
1990
Noell Oszvald was born in Hungary in 1990. While preferring to be labeled as a visual artist, Noell Oszvald uses the photographic medium as the raw material through which she channels her emotions. Favoring black and white in order to avoid any distraction that may be created by colors, she strips her images to their bare essence. Her compositions rely on pure straight lines into which the subject fuses, hence rubbing off all hierarchy within the components. The resulting sobriety, reinforced by the choice of a square format, acts as a breeding ground to a complex melange of subtle feelings derived from her melancholy and loneliness. Indeed, while all facial features are deliberately kept hidden, Oszvald’s work could easily fall within the self-portrait category; “they’re reflections of who I am,” says the artist about her images. However, the spectral presence of the character merging with its surroundings, the full-fledged role played by the environment and the powerful sensitivity that exudes through, are closer to the conceptual photography of the similarly precocious Francesca Woodman. Yet, more than her self, Oszvald conveys an apparent yet suspicious sense of calmness, well guarded by a perfectly controlled composition. In addition to the lines dividing space, the impeccable geometric interactions and the sharp contrast between the various shades of black are brought into opposition with the muffled silence of her quiescent emotions. It triggers a delicate duality, which underlies a rich and complex inner world. The reassuring perfection of these images acts like a robust armor to the highly sensitive Oszvald, who despite her young age, proves herself to be an accomplished artist. “My aim is to set up concepts using the human body as a base, while not making it the main focus of the picture. The result is a still image that is built around a person, but all parts of the whole are of equal importance. I reduce my pictures to content, composition, and form because this minimalist approach allows me to put equal emphasis on the idea behind the artwork and the entirety of the image. Portraying a sense of calmness with images that are built up based on geometric shapes is a recurring theme of my work.”Source: Artpil Noell Oszvald only shoots in black and white because she finds colors to be distracting. “I feel the same way about clothes and other matters of appearance, which why I like to reduce my images to forms, composition and content.” When asked what the story is behind one of her photo, Prejudice, Noell Oszald shared this, “I had the idea of Prejudice in my mind for a long time before I finally made it. I was very unsure about it, because I wanted the picture to look absolutely the way it does now, but to achieve this composition I had to paint the bird in, in not exactly the right position. I feared people would pick on me and call me ignorant, because the image is not precise. I was afraid of being judged while working on a picture about prejudice. How ironic.” As you look through Oszvald's beautiful and sometimes haunting images, you can't help but feel a mix of emotions. They all fall in the conceptual photography field, meaning, they illustrate an idea but one that Oszald believes should be personal to the viewer. “I don't want to tell people what to see in my images,” explains Oszland, “this is the reason why I never really write any descriptions other than titles. It shows what I wish to express but everyone is free to figure out what the picture says to them. It's very interesting to read so many different thoughts about the same piece of work.”Source: My Modern Met
Samuel Bourne
Samuel Bourne
British
1834 | † 1912
Samuel Bourne, an English photographer born in 1834, is celebrated as one of the foremost figures in early Indian photography. His journey into the world of photography began in Nottingham, England, where he initially worked as a bank clerk. However, his passion for the burgeoning art of photography soon eclipsed his banking career, leading him to pursue it full-time. Bourne's meticulous attention to detail and his technical proficiency quickly set him apart in the photographic community. In 1863, Bourne embarked on an ambitious voyage to India, a decision that would define his career and cement his legacy. He arrived in Calcutta (now Kolkata) and joined forces with the established photographic studio Howard & Shepherd, which later became known as Bourne & Shepherd. This partnership allowed Bourne to explore the Indian subcontinent extensively, capturing its diverse landscapes, architecture, and people with an unprecedented level of precision and artistry. Bourne's expeditions were both challenging and groundbreaking. He undertook several arduous journeys to remote and often inaccessible regions of India, including the Himalayas, where he captured stunning photographs of the mountains, rivers, and valleys. His images of Kashmir, Simla (now Shimla), and Darjeeling are particularly renowned for their clarity and composition. Bourne's work required immense physical stamina and technical skill, as he often had to transport heavy photographic equipment through difficult terrains. Throughout his time in India, Bourne produced an extensive portfolio that vividly documented the subcontinent's natural beauty and architectural grandeur. His photographs provided a window into India for the Western world and were widely acclaimed for their artistic merit and documentary value. Bourne's work was regularly featured in British photographic journals, and he received numerous accolades for his contributions to the field. Samuel Bourne returned to England in 1870, leaving behind a lasting legacy in the world of photography. He continued to be involved in the photographic industry but never again embarked on such extensive travels. Bourne's Indian photographs remain a significant historical record, offering a glimpse into the 19th-century Indian landscape and culture. His pioneering efforts not only advanced the technical aspects of photography but also set a high standard for future generations of photographers. Samuel Bourne passed away in 1912, but his work continues to be celebrated for its artistic and historical importance.
Platon (Antoniou)
Platon (Antoniou)
United Kingdom
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Born in London in 1968, Platon was raised in the Greek Isles until his family returned to England in the 1970's. He attended St. Martin's School of Art and after receiving his BA with honors in Graphic Design, went on to receive an MA in Photography and Fine Art at the Royal College of Art. After working for British Vogue for several years, he was invited to NY to work for the late John Kennedy Jr. and his political magazine, 'George'. After shooting portraits for a range of international publications including Rolling Stone, the New York Times Magazine, Vanity Fair, Esquire, GQ and the Sunday Times Magazine, Platon developed a special relationship with Time magazine, producing over 20 covers. In 2007 Platon photographed Russian Premier Vladimir Putin for Time Magazine's Person Of The Year Cover. This image was awarded 1st prize at the World Press Photo Contest. In 2008 he signed a multi-year contract with the New Yorker. As the staff photographer, he has produced a series of large-scale photo essays, two of which won ASME Awards in 2009 and 2010. Platon's New Yorker portfolios have focused on many themes including President Obama's Inauguration, the U.S Military, portraits of world leaders and the Civil Rights Movement. The following year, Platon teamed up with the Human Rights Watch to help them celebrate those who fight for equality and justice in countries suppressed by political forces. These projects have highlighted human rights defenders from Burma as well as the leaders of the Egyptian revolution. Following his coverage of Burma, Platon photographed Aung San Suu Kyi for the cover of Time - days after her release from house arrest. In 2011, Platon was honored with a prestigious Peabody Award for a collaboration on the topic of Russia's Civil Society with The New Yorker Magazine and Human Rights Watch. Platon's first monograph 'Platon's Republic', was published in 2004 by Phaidon Press. To coincide with its publication, the work was exhibited internationally, in London at the ex-Saatchi Gallery as well as the Milk Gallery in New York. His second book, 'Power' - a collection of portraits of over 100 world leaders - was published in 2011 by Chronicle and following its success was selected by Apple to be released as an app. The book includes portraits of Barack Obama, Mahmoud Ahmedinejad, Dmitry Medvedev, Benjamin Netanyahu, Hugo Chavez, Mahmoud Abbas, Tony Blair, Robert Mugabe, Silvio Berlusconi, and Muammar Qaddafi. In recent years, public speaking has progressively played a major role in Platon's career as communicator and storyteller. He has been invited to be a keynote speaker at the World Economic Forum in Davos, Yale, the London School of Economics, the National Portrait Gallery in London and the International Center of Photography in NY. He has also appeared on a range of television media including Charlie Rose (PBS), Morning Joe (MSNBC), Fareed Zakaria's GPS (CNN) and the BBC World News. Between 2011-2013, Platon's work has been exhibited in galleries both domestically and abroad. He has exhibited in New York at the Matthew Marks Gallery and the Howard Greenberg Gallery, as well as internationally at the Colette Gallery in Paris, France. The New York Historical Society also exhibited a solo show of Platon's Civil Rights photographs, which remain as part of the museum's permanent collection. Other permanent collections holding Platon's photography include The Florida Museum of Photographic Arts in Tampa, Florida and The Westlicht Museum for Photography in Vienna, Austria. Platon's advertising credits include the United Nations Foundation, Credit Suisse Bank, Exxon Mobil, Diesel, the Wall Street Journal, Motorola, Nike, Converse, Verizon, Vittel, Levi's, IBM, Rolex, Ray-Ban, Tanqueray, Kenneth Cole, Issey Miyake, Moschino, Timex and Bertelsmann among others. Platon lives in New York with his wife, daughter and son. (Source: www.platonphoto.com)
Ming Smith
Ming Smith
United States
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Ming Smith is an American photographer. She was the first African-American female photographer whose work was acquired by the Museum of Modern Art in New York City. Smith was born in Detroit, Michigan, and raised in Columbus, Ohio. After graduating from Howard University in 1973, she moved to New York City, where she found work modeling. While in New York she met photographer Anthony Barboza, who was an early influence. Smith's approach to photography has included in-camera techniques such as playing with focus, darkroom techniques like double exposure, collage techniques and paint on prints. Her work is less engaged with documentation of events than with expression of experience. It has been described as surreal and ethereal, as the New York Times observed: "Her work, personal and expressive, draws from a number of artistic sources, preeminently surrealism. She has employed a range of surrealist techniques: photographing her subjects from oblique angles, shooting out of focus or through such atmospheric effects as fog and shadow, playing on unusual juxtapositions, even altering or painting over prints." Smith's early work was composed of photos that were shot quickly to produce elaborate scenes, and due to this process many of her photos have double dates. She has used the technique of hand-tinting in some of her work, notably her Transcendence series. Ming Smith has photographed many important black cultural figures during her career, including Alvin Ailey and Nina Simone. In 1973 Smith was featured in the first volume of the Black Photographers Annual, a publication closely affiliated with the Black Arts Movement of the 1960s and early 1970s. Smith had her first exhibition at Cinandre, a hairdressing salon, in 1973 as well. At Cinandre, she met Grace Jones, whom she photographed wearing a black and white tutu on occasion. 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Susan Kismaric named a price for Smith's work, which Smith declined due to the price not paying off her bills. Kismaric asked Smith to reconsider, which she eventually did. Shortly after, she became the first Black woman photographer to be included in the collections of the Museum of Modern Art (MOMA) in New York City. In addition to the MOMA, Smith's art has been featured at the Schomburg Center for Research in Black Culture and the Smithsonian Anacostia Museum & Center for African American History and Culture in Washington, D.C. Smith has twice exhibited at the Bellevue Hospital Centre in Morristown, New Jersey, through their Art in the Atrium exhibitions. The first was in 1995, for Cultural Images: Sweet Potato Pie, an exhibit curated by Russell A. Murray. In 2008 she contributed as part of the exhibition New York City: In Focus, part of Creative Destinations 2008 Exhibition of African American Art. Smith's photographs are included in the 2004 Ntozake Shange book The Sweet Breath of Life: A Poetic Narrative of the African-American Family and Life. In 2010, her work was included in MOMA's exhibition Pictures by Women: A History of Modern Photography. This exhibition recontextualized Smith's work alongside that of Diane Arbus and marked a growing interest in Smith's work. Organized by curator Roxana Marcoci, it was curated by Sarah Meister through the Department of Photography. In 2017, a major survey exhibition of Smith's work was held at the Steven Kasher Gallery in New York. The exhibition featured 75 vintage black-and-white prints that represented Smith's career. Smith has collaborated with filmmaker Arthur Jafa in the Serpentine Sackler Gallery's 2017 show, Arthur Jafa: A Series of Utterly Improbable, yet Extraordinary Renditions (Featuring Ming Smith, Frida Orupabo and Missylanyus). That same year, she was featured in the Tate Modern group exhibition Soul of a Nation: Art in the Age of Black Power, curated by Mark Godfrey and Zoé Whitley. The show received international acclaim before traveling to Crystal Bridges Museum of American Art, The Brooklyn Museum, The Broad, the de Young Museum of San Francisco and the Museum of Fine Arts, Houston. Since then, Smith's work was featured in solo presentations by Jenkins Johnson Gallery both at Frieze New York and Frieze Masters in 2019, the former of which receiving the Frieze Stand Prize. In 2020, Ming's work will be included in the group exhibition Working Together: Louis Draper and the Kamoinge Workshop at the Virginia Museum of Fine Arts in Richmond, VA. From there, the exhibition will travel to The J. Paul Getty Museum in Los Angeles, CA, and the Whitney Museum of American Art, New York, NY.[19] Smith's work is in museum collections including the National Gallery of Art, Whitney Museum of American Art, Brooklyn Museum of Art, Philadelphia Museum of Art, Detroit Institute of Arts, Virginia Museum of Fine Arts, and the Schomburg Center for Research in Black Culture. Some of Smith's work displayed in the Museum of Modern Art depicts motherhood in Harlem. These photos are taken using a documentary style way of photographing these subjects. Ming Smith lives and works in New York City.Source: Wikipedia Ming Smith is known for her informal, in-action portraits of black cultural figures, from Alvin Ailey to Nina Simone and a wide range of jazz musicians. Ming’s career emerged formally with the publication of the Black Photographer’s Annual in 1973. She was an early member of the Kamoinge Workshop, an association of several generations of black photographers. Ming has traveled extensively, showing her viewers a cosmopolitan world filled with famous landmarks and extraordinary landscapes. People continue to be her most treasured subjects. This is most apparent in her series depicting African American life. Ming’s early style was to shoot fast and produce complicated and elaborate images in the developing and post-printing processes, so that many of her pictures carry double dates. She experimented with hand-tinting in My Father’s Tears, San Miguel de Allende, Mexico (1977/1979). Ming continues to expand the role of photography with her exploration of image and paint in the more recent, large-scale Transcendence series. Ming’s place in photography’s 175-year history was recognized by her inclusion in the Museum of Modern Art’s groundbreaking exhibition Pictures by Women: A History of Modern Photography in 2010. Ming Smith's photography is held in collections in the Museum of Modern Art, New York; the Schomburg Center for Research in Black Culture, New York; the Smithsonian Anacostia Museum & Center for African American History and Culture, Washington, DC and the AT&T Corporation.Source: Steven Kasher Gallery
Colin Page
Colin Page
United Kingdom
1967
I begun my journey into photography thanks partly to the Duke of Edinburgh Awards project and the help of my Dad who set up a make shift darkroom in the cramped spare bedroom. I worked in a professional darkroom and then art studio for nearly 20 years. Using many different film cameras, usually borrowed or second hand, I always developed and printed my own pictures. The new technologies replaced the darkroom and I was made redundant. I tried many different things including an HND in photography as a mature student. BUT…… After a long near death illness, and with the help of my family, I took up photography again. Mostly ‘street photography’ and with new digital cameras. Using a computer instead of a darkroom but only doing that could be done in a darkroom. Awarded Photographer of the Week - Week 04
S. Gayle Stevens
S. Gayle Stevens
United States
S. Gayle Stevens has worked in antiquarian photographic processes for over fifteen years. Her chosen medium is wet plate collodion for its fluidity and individuality. She exhibits extensively across the United States, United Kingdom, the Netherlands and China. Ms. Stevens received an MFA from the School of the Art Institute of Chicago in 1999. She is an educator, speaker, juror, curator and an active member of the photographic community. Named one of the Critical Mass Top Fifty Photographers for 2010, she received second place in the Lens Culture International Exposure Awards in 2011 and was named a finalist for the Clarence John Laughlin Award in 2012. Her work has been featured in Fraction, Square, Shots, Diffusion, B + W Photography, South by Southeast and Fuzion magazines and in the recently published book Inventing Reality, New Orleans Visionary Photography. North Light Press published a book of Stevens’ work, Calligraphy, in their 11 + 1 Signature series. Christopher James will feature her work in the third edition of The Book of Alternative Photographic Processes. Stevens’ work is widely collected and is part of the permanent collection of the Ogden Museum of Southern Art, the Rockford Museum of Art and the Center for Fine Art Photography among others. A member of the Posse photo collective, she divides her time shooting in Pass Christian, Mississippi and Downers Grove, Illinois, where she resides. Stevens is represented by Tilt Gallery.
Graeme Purdy
Graeme Purdy
Northern Ireland
1971
Born and raised in Northern Ireland and now based in London, England. I've always loved the outdoors. Hiking, camping and being in nature have always been at the heart of fond memories and friendships. Statement For me, great images are always driven by going the extra mile. Looking at the world from a different perspective, following the beat of my own drum. Increasingly, I've fallen in love with Black & White photography, it has become a very big part of how I shoot, where I shoot and when I shoot. It has provided the creative dimension I needed. My ambition is to find fresh images. I embrace and relish the challenge of doing things differently and creating genuinely unique content. This has real-life consequences, but I am highly driven to make new and distinctive images. I am prepared to forfeit 500 good images for one that is great - and I often forfeit 500 good images for no results at all.
Christian Vizl
Christian Vizl
Mexico
1972
CHRISTIAN VIZL was born in México City and has been a photographer for over three decades. He has won dozens of international professional awards including Wildlife Photographer of the year, International photographer of the year and Sony World Photography awards. He has served as judge in several international underwater photography contests and his images have been published in numerous outlets including National Geographic and Ocean Geographic. Artist Statement "Every since I was a kid, as far back as I can remember, I was attracted to the sea. I dreamt about what lay beneath the waves, and how would it look if suddenly all the water vanished, leaving in stasis all the animals and living creatures. In this way, I could walk inside the ocean and see them all, suspended for a moment in time and space. I have devoted my life to exploring and contemplate the amazing beauty of the ocean and it has been an incredible journey that has brought me a deep feeling of connection with nature, but sadly during my lifetime I have witness the ever-increasing devastation that we humans are creating in this planet. Today the world's Ocean is in grave danger. Overfishing, pollution, plastics, radiation, climate change, acidification and other human pressures threaten the fundamental nature of the ocean and it's animals are being pushed to near extinction. The time to act and reverse our negative impact is now, before it's too late risking loosing everything. The majority of humans see marine animals merely as tons of food, but I see them as so much more than that. They don't have a voice that we can understand, so the higher purpose of my images is to be a voice of the ocean and for the ocean, hoping that people can get a glimpse of who they really are, beautiful sentient individuals, with feelings and different personalities, with complex behaviors and interesting lives that science is only starting to understand. I believe Photography is capable of real service to humanity, promoting empathy and initiating change, so my main purpose as a photographer is to create poetic images showing the incredible beauty of these animals knowing they carry the power of changing our perception and spark the love and empathy that we all have inside. If we want to have a future in this planet, we need to understand that our lives are interconnected to all living animals, and our own well being is directly linked to the well being of these animals. As Dr. Sylvia Earl stated, "No blue no green, if the oceans die, we die" All the images where taken in their natural environment, with great respect to the animals, and for postproduction I only use basic settings in Lightroom." Photography is all about light, and in my opinion, it is the single most important aspect when it comes to creating appealing, inspiring and touching images. Beyond technical issues, what's most important is how I apply and manipulate the light that's available in order to create pictures with dramatic effect, carrying depths of emotion and using contrast and tonalities as means to emphasize form and structure of the scenery. I focus on the emotional impact of the final shot that will connect on a deeper level with the people that observe these photographs. Just as a poet uses words to create poetry, a photographer uses light to create images. So when I'm underwater taking pictures, one of my goals is to create poetic images through the use of light. I try to capture sublime moments of the marine environment, the essence of being there, in that experience and in the presence of that particular animal, capturing their splendor and soul. It's sheer beauty and poetry with images that inspire, make us vibrate through the beauty in every corner of the ocean, an epic sight that make us dream of a better world, where we value and care for all expressions of life.
Lise Sarfati
Lise Sarfati
France
1958
Lise Sarfati has lived and worked in the United States since 2003. She has realized six important series of photographs there. They have been followed by exhibitions and publications. Each of her works makes clear the identity of an approach focused on the intensity of the rapport established with the person photographed, and of that person with the context. A vision in which the individual is environment, a map outlining a perilous cultural geography. The richness of perception is constructed without effects. The compositions are flawless in the simplicity and unity of the image – the style tends to be elementary and clean, avoiding all qualifications, but the traits of each thing and each person trace a hundred thousand folds. The dimension of the interplay of postures is that of a solemn immaturity: the scenery formed by the people and places is the silent crumpling of a dream in which each risks his or her skin. A feminine seduction tinged with fateful coincidences; the beauty of the adolescents looks like a magic spell. Their solitude and strangeness in the world turn the image into an echo chamber inhabited by the photographer, her subject and the viewer. The earlier period of a photographic work carried out in Russia (continuously from 1989 to 1999) confirms the tendency of this research. She identifies a very precise and endless psychological spectrum. The projections, the ambitions associated with the immense space, the way in which they compose these figures, play an essential role: the supporting roles are incandescent. A determinism of the heroic, inevitably tragic figure, as if not even we really have another choice.
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