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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

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
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(Arthur Fellig) Weegee
(Arthur Fellig) Weegee
Austria/United States
1899 | † 1968
Weegee was the pseudonym of Arthur Fellig (June 12, 1899 – December 26, 1968), a photographer and photojournalist, known for his stark black and white street photography. Weegee worked in the Lower East Side of New York City as a press photographer during the 1930s and '40s, and he developed his signature style by following the city's emergency services and documenting their activity. Much of his work depicted unflinchingly realistic scenes of urban life, crime, injury and death. Weegee published photographic books and also worked in cinema, initially making his own short films and later collaborating with film directors such as Jack Donohue and Stanley Kubrick. Weegee was born Ascher (Usher) Fellig in Z?oczów (now Zolochiv, Ukraine), near Lemberg, Austrian Galicia. His name was changed to Arthur when he emigrated with his family to live in New York in 1909. There he took numerous odd jobs, including working as an itinerant photographer and as an assistant to a commercial photographer. In 1924 he was hired as a dark-room technician by Acme Newspictures (later United Press International Photos). He left, however, in 1935 to become a freelance photographer. He worked at night and competed with the police to be first at the scene of a crime, selling his photographs to tabloids and photographic agencies. His photographs, centered around Manhattan police headquarters, were soon published by the Herald Tribune, World-Telegram, Daily News, New York Post, New York Journal American, Sun, and others.In 1957, after developing diabetes, he moved in with Wilma Wilcox, a Quaker social worker whom he had known since the 1940s, and who cared for him and then cared for his work. He traveled extensively in Europe until 1968, working for the Daily Mirror and on a variety of photography, film, lecture, and book projects. In 1968, Weegee died in New York on December 26, at the age of 69.Weegee can be seen as the American counterpart to Brassaï, who photographed Paris street scenes at night. Weegee’s themes of nudists, circus performers, freaks and street people were later taken up and developed by Diane Arbus in the early 1960s. In 1980 Weegee’s widow, Wilma Wilcox, Sidney Kaplan, Aaron Rose and Larry Silver formed The Weegee Portfolio Incorporated to create an exclusive collection of photographic prints made from Weegee’s original negatives. As a bequest, Wilma Wilcox donated the entire Weegee archive - 16,000 photographs and 7,000 negatives - to the International Center of Photography in New York. This 1993 gift became the source for several exhibitions and books include "Weegee's World" edited Miles Barth (1997) and "Unknown Weegee" edited by Cynthia Young (2006). The first and largest exhibition was the 329-image “Weegee’s World: Life, Death and the Human Drama,” brought forth in 1997. It was followed in 2002 by “Weegee’s Trick Photography,” a show of distorted or otherwise caricatured images, and four years later by “Unknown Weegee,” a survey that emphasized his more benign, post-tabloid photographs. In 2012 ICP opened another Weegee exhibition titled, "Murder is my Business". Also in 2012, exhibition called "Weegee: The Naked City", opened at Multimedia Art Museum, Moscow.Source: Wikipedia
Yousuf Karsh
Yousuf Karsh
Canada
1908 | † 2002
Yousuf Karsh is the most renowned portrait photographer of our time. He has perceptively photographed the statesmen, artists, and literary and scientific figures that have shaped our lives in the 20th century. Known for his ability to transform "the human face into legend," many of the portraits that he created have become virtually the image of the great man or woman they portray, whether Winston Churchill, Ernest Hemingway, Albert Einstein, Georgia O'Keefe or Helen Keller. In other words, "to experience a Karsh photograph is to feel in the presence of history itself." His photographs are in major private and public collections throughout the world, the Museum of Fine Arts in Boston holding the largest collection in the US.Source: Weston Gallery Yousuf Karsh was an Armenian-Canadian photographer and one of the most famous and accomplished portrait photographers of all time. ousuf or Josuf (his given Armenian name was Hovsep)[citation needed] Karsh was born in Mardin, a city in the eastern Ottoman Empire (present Turkey). He grew up during the Armenian Genocide where he wrote, "I saw relatives massacred; my sister died of starvation as we were driven from village to village." At the age of 16, his parents sent Yousuf to live with his uncle George Nakash, a photographer in Sherbrooke, Quebec, Canada. Karsh briefly attended school there and assisted in his uncle’s studio. Nakash saw great potential in his nephew and in 1928 arranged for Karsh to apprentice with portrait photographer John Garo in Boston, Massachusetts, United States. His brother, Malak Karsh, was also a photographer famous for the image of logs floating down the river on the Canadian one dollar bill. Karsh returned to Canada four years later, eager to make his mark. In 1931 he started working with another photographer, John Powls, in his studio on the second floor of the Hardy Arcade at 130 Sparks Street in Ottawa, Ontario, close to Parliament Hill. When Powls retired in 1933, Karsh took over the studio. Karsh's first solo exhibition was in 1936 in the Drawing Room of the Château Laurier hotel. He moved his studio into the hotel in 1973, and it remained there until he retired in 1992. Canadian Prime Minister Mackenzie King discovered Karsh and arranged introductions with visiting dignitaries for portrait sittings. Karsh's work attracted the attention of varied celebrities, but his place in history was sealed on 30 December 1941 when he photographed Winston Churchill, after Churchill gave a speech to Canadian House of Commons in Ottawa. The image of Churchill brought Karsh international prominence and is claimed to be the most reproduced photographic portrait in history. In 1967, he was made an Officer of the Order of Canada and in 1990 was promoted to Companion. Of the 100 most notable people of the century, named by the International Who's Who [2000], Karsh had photographed 51. Karsh was also the only Canadian to make the list. Karsh was a master of studio lights. One of Karsh's distinctive practices was lighting the subject's hands separately. He photographed many of the great and celebrated personalities of his generation. Throughout most of his career he used the 8×10 bellows Calumet (1997.0319) camera, made circa 1940 in Chicago. Journalist George Perry wrote in the British paper The Sunday Timesthat "when the famous start thinking of immortality, they call for Karsh of Ottawa." Karsh had a gift for capturing the essence of his subject in the instant of his portrait. As Karsh wrote of his own work in Karsh Portfolio in 1967, "Within every man and woman a secret is hidden, and as a photographer, it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize." Karsh said "My chief joy is to photograph the great in heart, in mind, and in spirit, whether they be famous or humble." His work is in permanent collections of the National Gallery of Canada, New York's Museum of Modern Art and Metropolitan Museum of Art, George Eastman House International Museum of Photography and Film, Bibliothèque Nationale de France, the National Portrait Gallery in London, the National Portrait Gallery of Australia and many others. Library and Archives Canada holds his complete collection, including negatives, prints and documents. His photographic equipment was donated to the Canada Science and Technology Museum in Ottawa. Karsh published 15 books of his photographs, which include brief descriptions of the sessions, during which he would ask questions and talk with his subjects to relax them as he composed the portrait. Some famous subjects photographed by Karsh were Field Marshal Lord Alanbrooke, Muhammad Ali, Marian Anderson, W. H. Auden, Joan Baez, Zulfiqar Ali Bhutto, Humphrey Bogart, Alexander Calder, Pablo Casals, Fidel Castro, Madame Chiang Kai-Shek, Joan Crawford, Ruth Draper, Albert Einstein, Dwight Eisenhower, Princess Elizabeth, Robert Frost, Clark Gable, Indira Gandhi, Grey Owl, Ernest Hemingway, Audrey Hepburn, Pope John Paul II, Chuck Jones, Carl Jung, Helen Keller and Polly Thompson, Grace Kelly, Jacqueline Kennedy, John F. Kennedy, Peter Lorre, Pandit Nehru, Georgia O'Keeffe, Laurence Olivier, General Pershing, Pablo Picasso, Pope Pius XII, Prince Rainier of Monaco, Paul Robeson, the rock band Rush, Albert Schweitzer, George Bernard Shaw, Jean Sibelius, Pierre Elliott Trudeau, Andy Warhol, Frank Lloyd Wright, and, arguably his most famous portrait subject, Winston Churchill. The story is often told of how Karsh created his famous portrait of Churchill during the early years of World War II. Churchill, the British prime minister, had just addressed the Canadian Parliament and Karsh was there to record one of the century's great leaders. "He was in no mood for portraiture and two minutes were all that he would allow me as he passed from the House of Commons chamber to an anteroom," Karsh wrote in Faces of Our Time. "Two niggardly minutes in which I must try to put on film a man who had already written or inspired a library of books, baffled all his biographers, filled the world with his fame, and me, on this occasion, with dread." Churchill marched into the room scowling, "regarding my camera as he might regard the German enemy." His expression suited Karsh perfectly, but the cigar stuck between his teeth seemed incompatible with such a solemn and formal occasion. "Instinctively, I removed the cigar. At this the Churchillian scowl deepened, the head was thrust forward belligerently, and the hand placed on the hip in an attitude of anger." The image captured Churchill and the Britain of the time perfectly — defiant and unconquerable. Churchill later said to him, "You can even make a roaring lion stand still to be photographed." As such, Karsh titled the photograph, The Roaring Lion. However, Karsh's favourite photograph was the one taken immediately after this one where Churchill's mood had lightened considerably and is shown much in the same pose, but smiling. In the late 1990s Karsh moved to Boston and on July 13, 2002, aged 93, he died at Boston's Brigham and Women's Hospital after complications following surgery. He was interred in Notre Dame Cemetery in Ottawa. Source: Wikipedia
Deborah Bay
Deborah Bay
United States
Deborah Bay is a Houston artist who specializes in constructed studio photography. She has exhibited most recently at Photo London Digital 2020, Foto Relevance (Houston), Texas Contemporary 2018 and 2019 and Photoville Brooklyn. Her work is in the collection of the Museum of Fine Arts Houston, Center for Creative Photography at the University of Arizona in Tucson and Dorsky Museum of Art at State University of New York at New Paltz. LensCulture and the Griffin Museum of Photography highlighted images from her Traveling Light series in on-line features earlier this year, and the British Journal of Photography has published her work on its cover. Her work was recognized in the Texas National 2018, and she was a finalist for Artadia Houston 2015. An active member of the Houston arts community, she has served on the board of the Houston Center for Photography and its Advisory Council. She holds graduate and undergraduate degrees from The University of Texas at Austin. Statement: My work explores the beauty of light and color. It builds on a studio practice that has focused for the past 15 years on constructed, macro photography. The images in the work presented here bring together an eclectic set of influences, ranging from geometric constructivism to color field. After collecting an assortment of prisms and lenses, I became interested in capturing how light and color interact with optical materials - seeming to bounce nonchalantly across surfaces, yet strictly bound by the laws of physics. Lenses and prisms were layered and stacked at angles to capture light wrapping around form. Chromatic geometries emerged from the planes and lines of color created using film gels. In my practice the camera often is a tool for highlighting details of physical phenomena that are overlooked or not easily observed. Particularly intriguing is the mystery created by the juxtaposition of scale - making close-up images of small objects and showing them as prints at many times their actual size. The images were produced in-camera and follow in the lineage of experimental studies exploring the most elemental components of photographic processes: light and lenses.
Michelle Frankfurter
Michelle Frankfurter
United States
1961
Born in Jerusalem, Israel Michelle Frankfurter is a documentary photographer, currently living in Takoma Park, Maryland. A graduate from Syracuse University with a bachelor’s degree in English, Michelle has been recognized, published and exhibited worldwide. Before settling in the Washington, DC area, Frankfurter spent three years living in Nicaragua, where she worked as a stringer for the British news agency, Reuters and with the human rights organization Witness For Peace documenting the effects of the contra war on civilians. In 1995, a long-term project on Haiti earned her two World Press Photo awards. Since 2000, Frankfurter has concentrated on the border region between the United States and Mexico and on themes of migration. She is a 2013 winner of the Aaron Siskind Foundation grant, a 2011 Top 50 Critical Mass winner, a finalist for the 2011 Aftermath Project and the 2012 Foto Evidence Book Award for her project Destino, documenting the journey of Central American migrants across Mexico. Her first book, Destino was published in September 2014 by Foto Evidence. About Destino Meaning both "destination" and "destiny" in Spanish, Destino portrays the perilous journey of undocumented Central American migrants along the network of freight trains lurching inexorably across Mexico, towards the hope of finding work in the United States. It is the odyssey of a generation of exiles across a landscape that is becoming increasingly dangerous, heading towards a precarious future as an option of last resorts. Unlike Mexican migration to the United States that dates back to the 1880's, the unprecedented wave of Central American migration began a full century later, the consequence of bloody civil wars, U.S. Cold War-era intervention in the region and crippling international trade policies. Those regional conflicts left a legacy of drug and gang related violence, a high incidence of domestic abuse, and unrelenting poverty. Migration as an issue is current; the story of migration is timeless. Having grown up on the adventure tales of Jack London and Mark Twain, and then later on Cormac McCarthy's border stories, there is no storyline more compelling to me than one involving a youthful odyssey across a hostile wilderness. With a singularity of purpose and a kind of brazen resilience, migrants traverse deadly terrain, relying mostly on their wits and the occasional kindness of strangers. In documenting a journey both concrete and figurative, I convey the experience of individuals who struggle to control their own destiny when confronted by extreme circumstances, much like the anti-hero protagonists of the adventure tales I grew up reading. About The Island I made five trips to Haiti between 1993 and 1995. During that time, a de facto government held the island nation captive, while an international trade embargo intended to oust the regime made life miserable for Haiti's poor. An American-led military intervention restored exiled president, Jean Bertrand Aristide to power. This series depicts the recycled repression, regional isolation, imprisonment, and liberation throughout Haiti's turbulent history.
Achille Quinet
Achille Quinet
France
1831 | † 1900
Born in 1831, Achille Quinet was a successful photographer who operated a studio at 320 rue St Honoré, Paris from about 1869 to 1879. Although Quinet made photographs of the moments and architecture of Paris as well as a series of views of Italy, he is best known for his landscape, animals and figure studies, many of which were made in or around the town of Barbizon and the forest of Fontainebleau. These photographs, which were likely intended as aids to painters, are generally albumen prints mounted on blue card stock, with the stamp “Étude d’Après Nature’ as well as a red rubber stamp of his name. Some images are mounted on white stock with the blind stamp “A le. Quinet fils.” A member of the Sociéte Française de Photographie from 1876 to 1894, Quinet exhibited his work at the universal exhibition of 1878. Most of Quinet’s work is housed at the Bibliothèque Nationale, Paris, where he deposited his Etudes at the Depôt Légal in 1868, 1875, and 1877. Quinet’s work is occasionally confused with that of his contemporary, Constant-Alexandre Famin. While the pair made photographs with similar subject matter, general stylistic differences distinguish the two. It is possible that Quinet, acting as a publisher or dis- tributor, placed his own stamp on works made by Famin. After 1879, Quinet moved to Cély, near the Forest of Fontainebleau, where he died in 1900
Johan Gerrits
Johan Gerrits
Netherlands
1962
Though we travel the world over to find the beautiful, we must carry it with us or we find it not - Ralph Waldo Emerson I was born in the east of the Netherlands, a green countryside full of nature. My interest for nature was one of the reasons to start 25 years ago with photography. Since then subjects changed from nature, architecture, art into people. Especially the last one takes a big role in my travelphotography. Two of my great passions in life are photography and travelling. I believe that travel broadens one's view of the world, makes you more tolerant, and reflects on our way of living and thinking. Experiencing other cultures, rituals and customs, enrichen your knowledge and deeper understanding of the world around you. By documenting these unique cultures, in which some of them are vanishing very fast. I hope that my work has a merit in preserving their beautiful and cultural diversity. In my photography I try to reveal a person's character, his spirit, his way of showing himself to the world. In doing this I respect their culture, habits and religion as much as possible. I'm not a professional photographer, just an amateur who likes to photograph the beauty of mankind.
Mathilde Pettersen
Mathilde Pettersen
Norway
1976
Mathilde Helene Pettersen, born 1976 in Norway. Photographer and visual artist, lives and work in Kristiansand, south of Norway. Holds a BA in Photography and film from Napier Edinburgh University, Scotland and a MA in Art from the University of Agder, Kristiansand, Norway. Pettersen is a member of Association of Norwegian Visual Artist and society of Fine Art Photographers in Norway. Between 2013 and 2015 she was selected for the Norwegian Journal of Photography #2, a program supporting eight independent photographers in Norway, working on long-term projects and published by Journal, Stockholm (2015). In this publication, she chose to show a selection from her project Searching for Cloudberries, which was featured in Time Magazine/Lightbox and SHOTS magazine and exhibited at the Festival Voies Off in Arles, France (2016) and at the Encuentros Abiertos Festival de La Luz , in Buenos Aires, Argentina (2016) and at the Henie Onstad Art center in Oslo, Norway (2019). Her work I need a kiss before they leave was exhibited at the Musée de l'Elysée in Lausanne, Switzerland (2016), Kristiansand Kunsthall, Norway (2017), the International Photofestival PhotoVisa in Krasnodar, Russia (2017) and is currently on show at the Sørlandets Museum of Art (Jun-Nov 2020) alongside photographers as Swedish Christer Strömholm and Anders Petersen and the Norwegian Tom Sandberg, Dag Alveng and Kåre Kivijärvi. Her first photobook I NEED A KISS BEFORE THEY LEAVE was launched at Paris Photo 2019 at the Grand Palais by the German Kehrer Verlag in Heidelberg. Mathilde Pettersen presents two projects: Searching for Cloudberries (2008-), analogue black and white photographs. My projects revolve around portraiture and self-portraiture, and in their themes touch upon motherhood and family as constellations. So does this project, presently spanning ten years now. It takes shape by depicting a sense of dysfunctionality of the infertile female body - a theme that is often taboo in our society - before it turns and grows in a new direction when discovered not, moving on to contemplate the development of the child and the changes of the body of its mother over time in connection with life cycles in nature. I need a kiss before they leave (2011-), digital colour photographs. I NEED A KISS BEFORE THEY LEAVE is an emotional family portrait, filled with immense joy, but also with a disturbing realization of a wonderfulness that cannot be stored. It reflects upon a human desire to freeze time, to forever savoring those moments which are destined to live on only as distant memories. Photography is of course the artistic technique to actually freeze time and to store a split second forever. In this book, Norwegian photographer Mathilde Helene Pettersen captures an entire parenthood, with all its bright and dark moments. I need a kiss before they leave reflects on becoming and being a mother, on building a family, on the immediate and unpredictable, on strengths and fragilities in life, and sometimes on the overshadowing fear of death and the irreversible. From the text in I NEED A KISS BEFORE THEY LEAVE by Anna-Kaisa Rastenberger: First things first: loving is not for the faint of heart. Loving, day af- ter day, requires the courage to handle the disappointment of quotidian love falling short of the ideal of love. It requires even more courage to extend love to societal structures in need of repair. (...) "This is my story." These are the words used by Mathilde Helene Pettersen at the beginning of her book I need a kiss before they leave. The series, consisting of photographs taken with a camera phone over a period of eight years, is a chronicle of childbirth, motherhood, and family life. Pettersen writes that this was a story she hesitated to tell. Pettersen has spoken about the challenge and dichotomy of com- bining motherhood with the work of a photographer. On the one hand, she leads an ordinary enough, down-to-earth life with her family; on the other, she has a life outside the home, working as a photographer. Even in the Nordic countries, this is no simple equa- tion to balance. Although the principle of gender equality in the workplace is firmly established, or at least acknowledged, it re- mains elusive in practice.
Szymon Brodziak
Szymon Brodziak
Poland
What you see, is who you are - says Szymon Brodziak, the master of black and white photography. The youngest aritist exhibited at the Museum of Photography - Helmut Newton Foundation in Berlin (2015). The best black & white campaign photographer of the world, acclaimed by the jury of FashionTV Photographers Awards, during 2013 Cannes Film Festival. In 2019, Brodziak confrmed his mastery by winning 1st Place in World's Top 10 Black & White Photographers contest curated by OneEyeland. He loves to photograph women. He's inspired mainly by locations, where he brings to life his monochromatic visions. Brodziak received Johnnie Walker Keep Walking Award for constant fulflment of dreams and passion for setting new paths in the search of beauty. In Europe, Brodziak received numerous medals and honourable mentions in various editions of the renowed Prix de la Photographie Paris, both for commercial and personal projects, including the title of Advertising Photographer of the Year (2016). In the USA, he won frst place in Fashion category in two photo competitions: International Photography Awards (2016) and Black and White Spider Awards (2016), which rewards the best monochromatic images from all over the word. His frst photo album ONE had its ofcial premiere in Rome (2014). It presents the frst 10 years of his professional activity. The publication starts with a personal dedication from June Newton, wife to the legendary photographer Helmut Newton. Szymon's new photographic book entitled WHAT YOU SEE IS WHO YOU ARE won a Gold Medal (Book: Cover) and 2 Bronze Medals (Book: Fine Art & Other) at Prix de la Photographie Paris 2019 and also Honorable Mention at 2019 International Photography Awards (USA). The artist's work can be seen and ordered in his own galleries of photography located in Poland and are also available worldwide at Online Shop www.szymonbrodziak.com as well as www.saatchiart.com/brodziak.
B McCormick
B McCormick
United States
B. McCormick’s photographic work explores the intersection of built and natural environments, where man-made structures and organic elements collide to create movement and challenge perceptions of visual depth. Her process often begins with pinhole or other analog film cameras; many images are constructed through layering and multiple exposures, capturing not only what is seen, but what is felt—balance, tension, and the passage of time. With a background in architectural photography and industrial design, McCormick brings a unique appreciation for the tension between structure and chaos. Her creative process—rooted in curiosity, exploration, and a touch of magic—is often as compelling as the final image itself. Her work has been exhibited at the Griffin Museum of Photography, Nude Nite (Orlando/Tampa), the Florida Museum of Photographic Arts, Osceola Arts, Cotuit Center for the Arts, and the Sarasota Art Museum.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
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