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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

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More Great Photographers To Discover

Nan Goldin
Nan Goldin
United States
1953
Nancy "Nan" Goldin is an American photographer. As a teenager in Boston in the 1960s, then in New York starting in the 1970s, Nan Goldin has taken intensely personal, spontaneous, sexual, and transgressive photographs of her family, friends, and lovers. In 1979 Nan Goldin presented her first slideshow in a New York nightclub, and her richly colored, snapshotlike photographs were soon heralded as a groundbreaking contribution to fine art photography. The Ballad of Sexual Dependency—the name she gave her ever-evolving show—eventually grew into a forty-five-minute multimedia presentation of more than 900 photographs, accompanied by a musical soundtrack. Goldin first exhibited at Matthew Marks Gallery in 1992. Her work has been the subject of two major touring retrospectives: one organized in 1996 by the Whitney Museum of American Art and another, in 2001, by the Centre Pompidou, Paris, and Whitechapel Art Gallery, London. Recent exhibitions include the slide and video presentation Sisters, Saints & Sybils at La Chapelle de la Salpêtrière, Paris, and her contributions to the 40th Les Rencontres d'Arles in 2009. Goldin was admitted to the French Legion of Honor in 2006 and received the Hasselblad Foundation International Award in 2007. The Ballad of Sexual Dependency was most recently presented live in Turbine Hall at Tate Modern, London, in 2008, and the slideshow was installed in the exhibition Here is Every. Four Decades of Contemporary Art at the Museum of Modern Art New York, September 2008 to March 2009. Her Scopophilia exhibition is currently part of Patrice Chéreau's special program at the Louvre. Goldin lives and works in Paris and New York.Source: www.matthewmarks.com For me it is not a detachment to take a picture. It’s a way of touching somebody—it’s a caress.... I think that you can actually give people access to their own soul. -- Nan Goldin Nancy Goldin is an American photographer and activist. Her work often explores LGBT subcultures, moments of intimacy, the HIV/AIDS crisis, and the opioid epidemic. Her most notable work is The Ballad of Sexual Dependency (1986), a slide show, that documents the post-Stonewall gay subculture and Goldin's family and friends. She is a founding member of the advocacy group P.A.I.N. (Prescription Addiction Intervention Now). Goldin's first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transgender communities, to which she had been introduced by her friend David Armstrong. While living in downtown Boston at age 18, Goldin "fell in with the drag queens," living with them and photographing them. Among her work from this period is Ivy wearing a fall, Boston (1973). Unlike some photographers who were interested in psychoanalyzing or exposing the queens, Goldin admired and respected their sexuality. Goldin said, "My desire was to show them as a third gender, as another sexual option, a gender option. And to show them with a lot of respect and love, to kind of glorify them because I really admire people who can recreate themselves and manifest their fantasies publicly. I think it's brave". Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A with Bomb "I remember going through a psychology book trying to find something about it when I was nineteen. There was one little chapter about it in an abnormal psych book that made it sound so ... I don't know what they ascribed it to, but it was so bizarre. And that's where I was at that time in my life. I lived with them; it was my whole focus. Everything I did – that's who I was all the time. And that's who I wanted to be". Goldin describes her life as being completely immersed in the queens'. However, upon attending the School of the Museum of Fine Arts in Boston, when her professors told her to go back and photograph queens again, Goldin admitted her work was not the same as when she had lived with them. Goldin graduated from the School of the Museum of Fine Arts in 1977/1978, where she had worked mostly with Cibachrome prints. Her work from this period is associated with the Boston School of Photography. Following graduation, Goldin moved to New York City. She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. She was drawn especially to the hard-drug subculture of the Bowery neighborhood; these photographs, taken between 1979 and 1986, form her slideshow The Ballad of Sexual Dependency—a title taken from a song in Bertolt Brecht's Threepenny Opera. Later published as a book with help from Marvin Heiferman, Mark Holborn, and Suzanne Fletcher, these snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. In her foreword to the book she describes it as a "diary [she] lets people read" of people she referred to as her "tribe". Part of Ballad was driven by the need to remember her extended family. Photography was a way for her to hold onto her friends, she hoped. The photographs show a transition through Goldin's travels and her life. Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller. In 2003, The New York Times nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years." In addition to Ballad, she combined her Bowery pictures in two other series: I'll Be Your Mirror (from a song by The Velvet Underground) and All By Myself. Goldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous being a 45-minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public. In the book Auto-Focus, her photographs are described as a way to "learn the stories and intimate details of those closest to her". It speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling. It references one of Goldin's notable photographs "Nan One Month After Being Battered, 1984" as an iconic image which she uses to reclaim her identity and her life. Goldin's work since 1995 has included a wide array of subject matter: collaborative book projects with Japanese photographer Nobuyoshi Araki; New York City skylines; uncanny landscapes (notably of people in water); her lover, Siobhan; and babies, parenthood and family life. In 2000, her hand was injured and she currently retains less ability to turn it than in the past. In 2006, her exhibition, Chasing a Ghost, opened in New York. It was the first installation by her to include moving pictures, a full narrative score, and voiceover, and included the three-screen slide and video presentation Sisters, Saints, & Sybils. The work involved her sister Barbara's suicide and how she coped through the production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films. After some time, her photos moved from portrayals of dangerous youthful abandonment to scenes of parenthood and family life in progressively worldwide settings. Source: Wikipedia
Stefano Azario
Stefano Azario
Italy
1966
Born in Paris, July 31 1966, Stefano Azario is a photographer and director now living between Milan and New York. Stefano began taking photographs at the age of 11 in 1977, shortly after the loss of his father. His family moved from Italy to London in 1979, where he studied photography at the London College of Printing from 1984 to 1987. Having developed a reputation as one of the best-known commercial photographers of children and babies, Stefano is currently concentrating more in documentary and fine art photography. A turning point in Stefano's career came in 1992 when Vogue Bambini began commissioning him regularly until the magazine's demise in 2018. In 2013, Stefano was asked to plan and photograph an entire issue of the magazine. In 1994, Stefano started shooting Gap Kids and BabyGap global advertising campaigns and continued uninterrupted for over 25 years. Major publications, advertising agencies, and globally known brands have worked with him. Benetton, Uniqlo, and Armani are just a few of the brands he has collaborated with. In his photography, Stefano tries above all to lead from the heart. With the likes of Dorothea Lange, Irving Penn and Luigi Ghirri as inspiration, Stefano is nimble in his working ways; at home directing on large video sets or shooting solo. Whether accessing his intimate and tender vision of children and babies or shooting in the Indonesian forest, he enjoys using a whole gamut of different cameras, films and technology, constantly challenging his way of seeing. His last exhibition "In Cerca Della Retta Via" at the No Gallery in Pontremoli, was put together with the patronage of the Italian Ministry of Culture as part of the Lunigiana Land Art festival in 2022. Statement Through the viewfinder I aim to capture fleeting, heartfelt moments that tell compelling human stories. I seek to make order of the world around me, to share an intuitive perspective, in the hope that my images can evoke emotions and memories, connecting viewer and subject. Throughout my career I have been drawn to projects that explore themes of childhood and relationships, seeking to convey experiences that shape us in these formative years. More recently I have roamed other areas from landscape to portraiture to expand and challenge my photographic practice and storytelling ability. In Search of a Path
Jean-Pierre Laffont
Jean-Pierre Laffont
Algeria
1935
Jean-Pierre Laffont attended the School of Graphic Art in Vevey, Switzerland, where he graduated with a Master's Degree in Photography. He was a founding member of the Gamma USA and Sygma Photo News agencies. For more than five decades, Laffont traveled the globe, covering the news, the people, and the social and economic issues of his time. His photos were published in the world's leading news magazines, including Le Figaro, London Sunday Times, Newsweek, Paris Match, Stern, and Time. He was named one of the one hundred most important people in photography. Among the numerous awards Laffont has received are the Overseas Press Club of America's Madeline Dane Ross Award, the World Press Photo General Picture Award, University of Missouri's World Understanding Award and First Prize from the New York Newspaper Guild. In 1996 he was honored with the National French Order of Chevalier des Arts et des Lettres (a Knight in the National French Order of Arts and Letters). In 2016 Jean Pierre was named International Photographer of the Year of the Pingyao Photo Festival in China. In 2020 he received The Lucie Award for Achievement in Photojournalism and The Visa D'Or Award du Figaro Magazine for Lifetime Achievement. Laffont resides in New York with his wife Eliane, his daughter and his two granddaughters. Awards and Honors: 1962: Cross for Military Valor for his humanitarian acts during the Algerian War 1979: First Prize: New York Newspaper Guild, for "Child Labor"; Overseas Press Club: Madeline Dane Ross award, for originating the use of photography to raise awareness of child labor conditions around the world. 1980: World Press: First Prize, General Picture category; University of Missouri, School of Journalism: First Prize, World Understanding Award 1996: French National Order of Merit: named Chevalier de l'Ordre des Arts et des Lettres 2016: International Photographer of the year of The Pingyao Photo Festival; China. 2020: Lucie Award for Achievement in Photojournalism. 2020: Visa D'Or Award du Figaro Magazine for Lifetime Achievement. Bibliography: Contribution to the A Day in the Life Series (HarperCollins): 1983: A day in the life of Hawaii 1984: A day in the life of Canada 1985: A day in the life of Japan 1986: A day in the life of United States 1987: A day in the life of Spain 1987: A day in the life of USSR 1989: A day in the life of China 1990: A day in the life of Italy 1991: A day in the life of Ireland 1992: A day in the life of Hollywood Other Selected Publications: 1986: The Long March (Intercontinental Press); in commemoration of the 50th anniversary of Mao Zedong's historical Long March 1989: Trois Jour en France (Nathan/France) 1992: America Then and Now (Cohen/HarperCollins) 1999: Les 100 photos du Siècle (Editions du Chêne) 2003: America 24/7 in Manhattan (NY State) 2011: The New York Times Magazine: Photographs (Aperture Foundation) 2013: 40 ans de Photojournalisme: Generation Sygma (Editions de La Martinière/France) Monographs: 1976: CB Bible, Porter Bibb (Doubleday) 1981: Women of Iron (Playboy) 2008: Jean-Pierre Laffont Foreign Correspondent (Editions C.D.P/France) 2014: Photographer's Paradise: Turbulent America 1960-1990: (Glitterati) named best picture book by The Lucie Awards 2017: New York City Up and Down: (Glitterati) 2019: Nos Stars en Amèrique Cartes postales de Jean Pierre Laffont: (Editions de La Martinière) For special print requests please contact us directly.
Sarah Sasani
Sarah Sasani
Iran
1985
Sarah Sasani was born in 1985 in Tehran. She is graduated in the research of art and sociology. She has activated photojournalism in domestic and foreign newspapers and newsagents since 2003. She has had four solo exhibitions and has participated in more than fifty domestic and foreign virtual festivals and group exhibitions like Austria, France, American, Italy, Belgium, Georgia, and Germany and she has gained three prestigious national festivals. And also she is a professor in the field of sociology of art and photography at the universities of Art and Sociology. Monotony by Sarah Sasani
Elisabeth Sunday
Elisabeth Sunday
United States
Elisabeth Sunday has been photographing indigenous people across the African continent for the last 26 years. Using a flexible mirror she created for the purpose (and hand carries unaccompanied to some of the most remote and dangerous spots on earth), Sunday has created her own analog process that prefigured Photoshop that she calls "Mirror Photography". Her method of photographing her subjects emphasizes and enhances their grace, elongating the body and the folds of their garments, creating an impressionistic effect one might be used to seeing in painting but which is unexpected in a medium from which we often expect a more literal representation. The effect is closer to that of dance, in which the body has reshaped itself and learned to move in a way that proclaims and exaggerates all its best qualities, while momentarily silencing its flaws, and in which movement itself has an aesthetic, rather than merely practical, purpose. Typically Sunday captures an elongated vertical reflection, rushing and bleeding like a single expressive brush stroke. Although Sunday herself is never visible in the frame, she is as much actor as she is director within the drama of these photographs, as she strives to represent not so much the personal characteristics of her subjects, but an essential gesture that connects a given incarnation with the long history of the soul. In her Anima and Animus series, Sunday mediates on eternal masculine and feminine energies, using warlike Koro men and nomadic Tuareg women as subjects. The Anima women are hidden under flowing garments, slanting to left or right or reaching upward like dark flames against the steady white curve of a dune. The Animus figures rise like tough young trees or spears, rooted somewhere beneath the picture plane. Grace and violence here seem cast together in a solid block, As with so many of Elisabeth Sunday's figures, these seem composed of stone or bone more than living flesh. Elisabeth Sunday has shown in galleries and Museums the world over including the Cleveland Museum of Art, Centre cultural Calouste Gulbenkian, Paris, France, the African American Museum, Los Angeles; International Photography Biennial, Brecsia, Italy, UC Berkeley Art Museum; Salle d' Exposition, Arles, France, Le Maison de la Photographie, Aosta, Italy, Exploratorium Museum, San Francisco, CA Smithsonian Anakostia Museum, Center for African American History and Culture, Washington D.C. The Museum of Fine Arts, Houston, and The Los Angeles County Museum of Art. Her work is included in major collections: The Corcoran Art Gallery, The University Art Museum at Berkeley, The Cantor Art Center at Stanford University, The Los Angeles Museum of Art, The Museum of Fine Art-Houston, Le Bibliothèque Nationale de Paris, France, The San Francisco Museum of Art, and The Eastman Kodak Collection. Her private collectors include Graham Nash, Quincy Jones, Gloria Steinem, Linda Grey, Bill Cosby, Bonnie Raitt and Alice Walker.Source Frank Pictures Gallery
Lello Fargione
Lello Fargione
Italy
Photographer for passion and empathetic traveler, I was born in Sicily where I live and have fun with photography. I continue to photograph, to tell things as they happen, as if I were not there, but at the same time remaining deeply inside the image, a "journey" for the desire to know new cultures and penetrate the most remote and inaccessible places by identifying with situations that I meet, to '' narrate '' through images. I remained, by nature and conviction, a freelance "photographer", who likes to "photograph" to tell stories, not to forget, not to stop "dreaming"... Asia, a woman's life Work, fatigue, the unhealthy environment in which women in Asia live, are the theme of my photographic journey in the Burmese and Vietnamese lands. A theme that has imposed itself with all the drama of the apparently impassive gazes of women who seem to be eternal figures in an exotic and enigmatic mosaic. Often in the shadows, as if to underline an obscure and forgetful role of the past, the gesture is repeated with the automatism forged in the labor of days that have consumed the face and limbs. It is known that once these women enjoyed a very different social status and one cannot help but know that what I see today is the result of a "commercialization" of the society that commodifies individuals. The anguish as the sense of guilt intervenes in a second moment: seeing oneself as a privileged observer of the condition of others. But reviewing and showing beyond glossy aesthetics is also a way (the photographer's only way) of going beyond the observer's impotence.
Alain Schroeder
Alain Schroeder
Belgium
1955
Alain Schroeder is a Belgian photojournalist born in 1955. In 1989 he founded Reporters, a well-known photo agency in Belgium. He has illustrated over thirty books dedicated to China, Iran, the Renaissance, Ancient Rome, the Gardens of Europe, Thailand, Tuscany, Crete, Vietnam, Budapest, Venice, the Abbeys of Europe, Natural Sites of Europe, etc. Belgian book titles include, "Le Carnaval de Binche vu par 30 Photographes", and "Processions de Foi, Les Marches de l'Entre-Sambre-et-Meuse". Publications include National Geographic, Geo, Paris Match,... He has won many international awards including a Nikon Japan award for the Who Will Save the Rohingya series, the TPOTY (Travel Photographer of the Year) award with two series - Living for Death and Kushti, a World Press Photo 1st Prize Sport Stories for the series Kid Jockeys, 2 first prize World Press Photo in 2020 for the series Saving Orangutans, and participated in numerous exhibitions worldwide. He is represented in France by REA. Articles Alain Schroeder's Interview Saving Orangutans Who will save the Rohingyas? Exhibition Kim City Muay Thai Kids All About Photo Competitions All About Photo Awards 2018 AAP Magazine #1: Light AAP Magazine #3: Faces AAP Magazine #6: B&W AAP Magazine #9: Wild All About Photo Awards 2020 AAP Magazine #10: Portrait AAP Magazine #11: Travels All About Photo Awards 2021 AAP Magazine #20: Travels AAP Magazine #22: Streets All About Photo Awards 2022 AAP Magazine #31: Portrait AAP Magazine #32: B&W All About Photo Awards 2024 All About Photo Awards 2025
Richard Dweck
Richard Dweck
United States
Photography has been Richard Dweck's vehicle for expressing what he sees and feels when he moves through the world. He has been through some extraordinarily difficult experiences in life but has been able to use them to see and feel the world more acutely. For him there is no greater pleasure than having someone who is looking at his photograph understand the feelings that he felt when he took that photograph. He also enjoys hearing them express very different feelings and show him things in his own photographs that he might never have seen or felt. The Old City of Jerusalem Last year, for the first time, I photographed at the Western Wall and other sites in the Old City of Jerusalem. The impetus for my travel to this area to photograph was the interplay between my Arabian and Jewish roots combined with my own deep self-reflection following a tragic family loss. When I found that so many people were dressed in black and white it only seemed natural that my photographs should be B&W as well. I shot my pictures from the same level as my subjects (or even from below when that was possible) giving me the sense that I could look into them more deeply and imagine their thoughts. The Gaze shows both the deep reflection of the elder along with the reverence of the child. The child's focus and that of my camera are on the elder. The backdrop is the historic 2000+-year old wall. My landscape and architectural photographs tend to the more abstract, while my portraits are more representational. Nonetheless, geometry and textures still play a big part in portraits. The main focus for me is the emotions that I can capture that can resonate deeply within me and very hopefully with the viewers of my work. I definitely look forward to returning for another emotional and introspective journey there one day.
David Salcedo
David Salcedo
Spain
1981
My maternal grandfather had a grocery store in the town, the paternal grandfather did a thousand jobs throughout Spain, the grandmothers made a living sewing clothes and faced continuous worries. My parents had to emigrate to and they ended up having a bar, where the whole family worked. I, perhaps, should have stayed with the bar, but I chose the path of light. There was no shortage of those who told me that it would be difficult and hard, but no one in my family has had it easy. Why would I be less? Years later I am full of new physical and spiritual scars, which have added to what already existed within me and always defined my way of seeing the world. And it is that I will never be able to escape from what is close to me and is the measure of everything I discover, of the tenderness that they taught me to have in my heart and the silence with which I lived for years. It is in this mixture that my photographs are macerated. The set of these circumstances, nothing special, is what has led me to win several prizes and scholarships, exhibit nationally and internationally, participate in a good number of catalogues, publish several fanzines, collaborate with the Kursala of the University of Cádiz, to publish with the publishing house Ediciones Posibles And it seems that everything was an instant. Statement Next you have Fuchina, a work on the festivals of my parents’ town, Caravaca de la Cross. To do so, I fled from the traditional way of approaching parties with three very clear ideas, also looking for them to be protagonists in a subtle way. The first of the ideas is to do a job where the sound was extracted in the middle of all the noise of some parties with more than 20 music bands and more than 50 brass bands. The second of the concepts is to play with the plans, cuts and compositions to make the viewer feel as if they were inside the festivities. Third is to create a metaphor about the general situation of the town itself with strong light and faded color. The name Fuchina refers to a liquor that decades ago was distilled illegally for parties.
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Latest Interviews

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Exclusive Interview with Carolyn Moore
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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Exclusive Interview with Henk Kosche
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German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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Exclusive Interview with Anastasia Samoylova
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Exclusive Interview with Marijn Fidder
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Exclusive Interview with Josh S. Rose
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Interview with Maureen Ruddy Burkhart
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