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Judi Iranyi
Judi Iranyi
Judi Iranyi

Judi Iranyi

Country: Hungary/United States
Birth: 1943

Judi Iranyi was born in Hungary (1943). After World War II, she and her family lived in a displaced persons camp in Germany for a few years before emigrating to Venezuela, where she lived until she finished high school. She has also lived in Trinidad, Barbados, Germany, and Okinawa before moving to San Francisco in 1971.

Ms. Iranyi became interested in photography in the sixties. She earned a BA degree in Art/Photography from San Francisco State University. Later she received an MA degree in Visual Design from U.C. Berkeley; completed a master!s level museum studies program at John F. Kennedy University; and an MSW Degree in Social Work at San Francisco State University.

Ms. Iranyi has worked as a freelance photographer taking environmental portraits. She was also a staff photographer at the Judah L. Magnes Museum in Berkeley and worked at the San Francisco Fine Arts Museums. She also worked as a California Licensed Clinical Social Worker until her retirement.

After retirement, Ms Iranyi dedicated her time to photography. Her work includes portraits, travel photography, documentary, and street photography. Recently she has shifted her emphasis to botanicals and still life photography.

Three of her life passions are traveling, literature, and photography, which have broadened her view of the world.

Flowers for Klara

On the 40th anniversary of my mother’s death, I decided to create a series of floral bouquets to honor her memory.
She had a difficult life, living during WWII, living in displaced peoples’ camps and two emigrations one to Venezuela and then to Germany where she died in her mid fifties after a long illness.

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Janet Delaney
United States
Janet Delaney’s current photographic work uses a fine art approach to explore the social and political dynamics of city life. Her books include South of Market (MACK 2013), which documents the gentrification of a working-class neighborhood. Public Matters, (MACK 2018) addresses public life in Reagan era San Francisco and Red Eye to New York, (MACK 2021) finds public and private worlds on the stage of 1980s Manhattan. She is currently working on a sequel to South of Market, examining the impact of the arrival of new technology companies on her old neighborhood. Delaney’s awards include a Guggenheim Fellowship in 2020 and three National Endowment for the Arts Grants. Her photographs are in the collections of the San Francisco Museum of Modern Art, the de Young Museum and the High Museum, Atlanta among others. She has shown in museums and galleries locally and internationally. Janet Delaney received her MFA from the San Francisco Art Institute and held a faculty position at the University of California, Berkeley. She lives and works in Berkeley, California. Artist Statement My photographic practice actively engages the art of storytelling. I focus on both large public issues as well as more intimate, prosaic subject matter. I immerse myself fully in a place or a state of being and photograph without assumptions. Back in the studio, I organize these images to construct narratives that reflect my experience. Research is integral to each project, and when needed, I incorporate text to deepen and expand the storyline. Exhibitions offer me the opportunity to play with sequence and scale, while books provide a means to solidify and preserve my ideas. Over the years I’ve worked across various formats, exploring subjects as diverse as foreign wars, my kitchen table, forests, and cities worldwide. Artist Statement for the work submitted Revisiting a place I once called home creates a curious dissonance. During the 1980s I chronicled the early stages of gentrification in the South of Market district of San Francisco. Now, as I revisit my old neighborhood, rechristened SoMa by millennial marketers, I see a skyline bulging with new buildings. My former neighbors are eclipsed by both high-earning technology workers and those without homes whose tents line alleys and broad boulevards. In this new world I often feel as if I am standing in two places at once; the past infuses the present with both longing and confusion. In SoMa Now (working title), I sew together a complex narrative of a city I know well, blending fact and feeling to convey what is lost, what is gained and what remains in this new terrain. Article Exclusive Interview with Janet Delaney about 'Too Many Products, Too Much Pressure!'
Helga Paris
Germany
1938
Helga Steffens, daughter of Gertrud Steffens and typesetter Wilhelm Steffens, was born just over a year before the outbreak of the Second World War in Gollnow, a small town then in the north of Germany. In May 1945 she celebrated her seventh birthday, while the war ended in defeat for Germany. Her father and two brothers were still away, but in the meantime frontier changes mandated by the victorious powers and large scale ethnic cleansing forced Helga's mother to flee with her two daughters. They ended up in Zossen, a small town a little to the south of Berlin. There she was raised by a community of mostly women, many of whom worked. She is introduced to photography by her aunts who take many photographs. In Zossen she went to school and successfully passed her School leaving exams in 1956. After this, till 1960, she studied fashion design at the School of Engineering for the Clothing Industry ("Berlin Ingenieurschule für Bekleidungsindustrie") in Berlin and undertook, still in Berlin, an internship at VEB Treffmodelle. After this she worked as a fashion lecturer and as a commercial artist. In 1960 she starts to take photographs with a 6x6 Flexaret camera. It was during this time that she met the painter Ronald Paris. They were married between 1961 and 1974. Through her husband she was now quickly able to establish contacts in the East German artistic scene of the time. By now she had also acquired a passion for photography. Like many of the German Democratic Republic's leading photographers, Helga Paris is often described as self-taught. She herself believes that much of her photographic passion and skill was acquired from two aunts who were themselves, enthusiastic photographers, constantly taking pictures through the 1940s, 50s, and 60s, which now Paris herself keeps carefully stored in a collection of show boxes adapted for the purpose. Paris began taking photographs seriously around 1967. She was influenced by the work of Edvard Munch, Max Beckmann, Francis Bacon, and Werner Held. Between 1967 and 1968 she worked in the photo laboratory of Walli Baucik. Her first freelance job, in 1969, was to photograph slaughtering at a home in Thüringen; in 1970 she shot fashion photographs for the youth magazine neues leben. In 1972 she joined the National Association of Visual Artists, which was virtually a prerequisite for success in what was now her chosen career. Her professional work is wide-ranging. In 1975 she photographed scenes from productions by Benno Besson at the Berlin Volksbühne ("People's Theatre"). She presented her first personal exhibition in 1978, in Dresden at the Fine Arts Academy. By the 1980s her work was concentrated increasingly on people and streetscapes, initially in Berlin where many of her subjects were neighbours and friends. She encountered greater difficulty when undertaking an equivalent project in Halle where the people she photographed were strangers and reacted with hostility. She then took time to talk to people and ask before photographing them. Under those circumstances, citizens of Halle agreed to be photographed, though there was still reluctance to be photographed with Halle streets as background at a time when a major and long-running redevelopment project scheme involving extensive destruction of old houses was leaving the centre of the city looking badly damaged. Her 1986 exhibition Buildings and Faces: Halle 1983-1985, planned for the city's Marktschlößchen Gallery was cancelled a few days before the scheduled opening date because her pictures gave publicity to the city's misguided building policy. By the time it was cancelled a catalogue and exhibition labels for the photographs had already been printed. Her career as a free-lance photographer survived the changes of 1989/90 which led to the end of the German Democratic Republic, formally in October 1990 with German reunification, and for some commentators and others her photographs from the East German period have gained a wider interest as the period they depict has receded into history. Since 1996 Helga Paris has been a member of the Berlin Academy of Arts. In 2003 her twelve-part exhibition Self images 1981-1988 in the context of the Art in the German Democratic Republic exhibition drew much interest.Source: Wikipedia Buildings and Faces “I’ll take Halle” was Helga Paris’s spontaneous reaction when, at a meeting with colleagues and artists in East Berlin in the early 1980s, fellow photographer Arno Fischer came up with the idea of photographing East Germany systematically as photographers had done in the 1930s and 1940s for the Farm Security Administration on behalf of the US government. Helga Paris rose to the challenge and began to document Halle on her own initiative. The self-taught photographer had previously carried out several photo stories on themes relating to urban and neighborhood life as part of a personal project. She drove from East Berlin to Halle many times between 1983 and 1985. As her daughter lived there at the time, she had developed an affinity to the town. Helga Paris was fascinated by the endangered former beauty of the buildings and considered it her duty to preserve it in pictures before it disappeared completely. She decided to photograph Halle as if it were a “foreign town in a foreign country”. In doing so, she looked at it through the eyes of an explorer, who is inspired and galvanized by a new environment. She started off taking snapshots of urban life, focusing on streets with houses and passers-by. However, the local people, who felt exposed in their “everyday misery”, did not always react favorably. This prompted her to reconsider her approach and eventually to divide the project into portraits of buildings and portraits of people. Helga Paris consciously limited the moment between making contact with her subjects and pressing the shutter to ensure that their gazes were as open as possible. As a result, they seem to be poised in the very second in which they briefly pause for the photographer, but have not yet engaged mentally with the photographic situation. At the time, Halle was primarily putting money into building modern apartments, and the old town center offered a desolate picture with crumbling facades, including those of listed buildings, half-untiled roofs, and ramshackle roads and squares. All this is revealed in Helga Paris’s photographs in high-contrast black-and-white, although it was never her intention to denounce the state of things. However, the SED party leadership found that the picture of the town conveyed in Helga Paris’s images was too negative. As a result, she was barred from opening her exhibition Buildings and Faces at the last minute. Not until 1990, after German reunification, was it allowed to be shown in Halle.Source: Deutsche Börse Photography Foundation
Peter Bogaczewicz
Poland/Canada
1974
Peter Bogaczewicz is a Canadian photographer and an architect currently developing projects in the Middle East. He divides his time between the two disciplines, often blurring the line between them, and uses his photography as a commentary on the built environment and the human community, how both are changing at a time of rapid progress and growing global interconnectedness, and the impact this has on the natural environment. There is no clearer reflection of a society's aspirations than through its collective "footprint" on nature; it is in the relationship of the constructed world to the natural world that a crucially revealing conversation takes place. Examining this dialogue captures Peter's imagination and appears as a common thread throughout his work, inviting the questions: How do we relate to the places we inhabit? And what does it reveal about us? Peter has recently had his photographs of Saudi Arabia published as a monograph by Daylight books and is regularly receiving recognition for his work. Kingdom of Sand and Cement Looking from the outside, the Kingdom of Saudi Arabia appears doubly inaccessible: a seemingly endless inhospitable landscape populated by a traditionalist culture distrustful of outsiders. But looking from the inside reveals a subtler view: the culture, as different as it is, struggles with its identity like other cultures do at a time of growing global interdependencies and pressures to progress. What distinguishes Saudi Arabia in its struggle is that this country has had very little time to adapt. Though its abundance of oil wealth has given it an unprecedented advantage, at the same time, it ironically threatens its way of life. "Kingdom of Sand and Cement" explores the particular challenge Saudi Arabia is faced with as the country transitions from the tribal desert culture to an influential world power. It is a profound change, taking its population from mud buildings to the tallest of skyscrapers in less than a century. And while the whole country rapidly transforms from arid landscapes dotted with settlements, that seem to simply grow out of the ground, to imposing modern interventions, cutting, filling, and monumentalizing dominance over nature and the land, Saudi Arabia finds itself precariously balancing at a crossroads of old and new. The population adjusts, straddling both tradition and modernity, while its changing landscape readies it for more to come. The Series documents this relatively unfamiliar place at a time of its unique turning point. By photographically examining its past and present "markings" on nature—that crucial intersection of the built environment with that of the natural environment—the Series brings to light the country's aspirations tensely juxtaposed with its traditionalist past. The contrasts reveal an image of a place much different from our own, yet a place ultimately not so dissimilar to others in its ambition to progress, and susceptible as any to the risks of rapid and often careless transition. More about the book Kingdom of Sand and Cement
Adolphe Braun
France
1812 | † 1877
Jean Adolphe Braun was a French photographer, best known for his floral still lifes, Parisian street scenes, and grand Alpine landscapes. One of the most influential French photographers of the 19th century, Braun used contemporary innovations in photographic reproduction to market his photographs worldwide. In his later years, he used photographic techniques to reproduce famous works of art, which helped advance the field of art history. Braun was born in Besançon in 1812, the eldest child of Samuel Braun (1785–1877), a police officer, and Marie Antoinette Regard (born 1795). When he was about 10, his family relocated to Mulhouse, a textile manufacturing center in the Alsace region along the Franco-German border. He showed promise as a draftsman, and was sent to Paris in 1828 to study decorative design. In 1834, he married Louis Marie Danet, who he had three children with: Marie, Henri, and Louise. That same year, Adolphe, alongside his brother Charles, opened the first of several unsuccessful design partnerships. After several unsuccessful design ventures in the 1830s, Adolphe Braun published a successful collection of floral designs in 1842. Upon the premature death of his wife 1843, Braun sold his Paris studio and moved back to Mulhouse, where he became chief designer in the studio of Dollfus-Ausset, which provided patterns for textiles. He remarried to Pauline Melanie Petronille Baumann (1816–1885) on 12 December 1843 and had two more children with her; son Paul Gaston and daughter Marguerite. In 1847, he opened his own studio in Dornach, a suburb of Mulhouse. In the early 1850s, Braun began photographing flowers to aid in the design of new floral patterns. Making use of the recently developed collodion process, which allowed for print reproduction of the glass plates, he published over 300 of his photographs in an album, Fleurs photographiées, in 1855. These photographs caught the attention of the Paris art community, and Braun produced a second set for display at the Paris Universal Exposition that same year. In 1857, Adolphe Braun formed a photography company, Braun et Cie, and with the help of his sons, Henri and Gaston, and several employees, set about taking photographs of the Alsatian countryside. These were published in 1859 in L’Alsace photographiée, and several were displayed at the 1859 Salon. By the 1860s, the Braun et Cie studio was operating in a factory-like manner, producing all of its own materials except paper. The studio created thousands of stereoscopic images of the Alpine regions of France, Germany, Switzerland, and Italy. Braun also produced a number of large-format panoramic images of the Alpine countryside, using the pantoscopic camera developed by English inventors John Johnson and John Harrison. Photography historian Naomi Rosenblum described Braun's work as representative of the relationship between art and commercialism in the mid-19th century. His self-sustaining Mulhouse studio helped elevate photography from a craft to a full-scale business enterprise, producing thousands of unique images which were reproduced and marketed throughout Europe and North America. Rosenblum also suggests that Braun's detailed reproductions of works of art in European museums brought these works to art students in North America, providing a major catalyst for the field of art history in the United States. Braun's early photographs were primarily of flowers, originally taken to complement his work as a pattern designer. Subsequent photographs focused on Alpine landscapes, especially lake scenes, and glacier scenes. Unlike many landscape photographers during this period, Braun liked to include people in his scenes. Photography historian Helmut Gernsheim suggested that Braun was one of the most skillful photographers of his era in rendering composition. While not known as a portraitist, he did take portraits of several notable individuals, including Pope Pius IX, Franz Liszt, and the Countess of Castiglione, mistress of Napoleon III. Braun's work has been exhibited at the Metropolitan Museum of Art, The J. Paul Getty Museum, the George Eastman House, and the Musée d'Orsay. His photographs of Parisian street scenes and Alpine landscapes are frequently reproduced in works on the history of photography.Source: Wikipedia Trained as a fabric designer, Adolphe Braun began his photography career in 1853. His photographs of flowers, for a catalog titled Fleurs photographiées, were to be transferred onto printing blocks for wallpaper and fabric designs. It was an extremely successful project for Braun; one album of the photographs was presented to Empress Eugénie of France, and it earned him a medal at the 1855 Paris Exposition Universelle. By the early 1860s, Braun's focus had shifted to the making of topographical views of scenes throughout Europe and, beginning in 1866, to reproductions of works of art. The reproduction of paintings, drawings, lithographs, engravings, and sculpture was an important endeavor in France, and photography provided an accurate record. Braun opened a photography studio that became one of the world's largest publishers of such images. In 1869 Braun's was one of only two photographic firms invited to photograph the opening of the Suez Canal in Egypt.Source: The J. Paul Getty Museum
Sam Heydt
United States
1986
Sam Heydt (born April 20, 1986) is an American social practice and recycled media artist born/raised in New York City. She has lived/worked in Paris, Venice, Amsterdam, Athens, Buenos Aires, Sydney, Reykjavík, Udaipur and Vienna [current]. As a published author, producer and lifelong social activist and environmentalist, Heydt has undertaken a range of altruistic, non­-profit work and anchors her practice in advocacy. Through her unique manner of expression, she illustrates a world exploited beyond use and increasingly reduced to a bottom line. Esteemed as one of the pioneers of the recycled media movement, she works across different media- film, video, installation, photography, sculpture, sound and text and employs a range of materials, often reinventing and trespassing their associative use. Marrying images of destruction with portrayals of the American Dream, her work confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for. Heydt's work has been shown in galleries, museums, art fairs and film festivals worldwide. Statement The edge is closer than we think, but illusion won't free us from reality, even as the sustained narrative of tabloids becomes history and the myth of progress continues to perpetuate inequality. As the natural world is liquidated and substituted with an artificial one, public discourse is being defined by even narrower bandwidths Our time is marked by mass extinction, product fetishism, diminishing resources, and patented seeds. The skeletons of old factories serve as caveats for a world exploited beyond use, a world increasingly reduced to a bottom line. Dissidence is drowned out by the white noise of the media, which holds the social psyche captive in with the empty promises it proposes for the future it truncates. Working across different media- film, video, installation, photography, sculpture, sound and text, Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past, but built on it. Conflating time and place, her layered imagery collides, merges and disrupts logical relationships between occurrences. Through adding and subtracting meaning by combining images of destruction with portrayals of the virtues born from the American Dream, Heydt confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for.
Miguel Rio Branco
Miguel Rio Branco (born 11 December 1946) is a Brazilian photographer, painter, and filmmaker (director and cinematographer). His work has focused on Brazil and included photojournalism, and social and political criticism. Rio Branco is an Associate Member of Magnum Photos. His photographs are included in the collections of the Museum of Modern Art and Metropolitan Museum of Art in New York. Rio Branco was born in Las Palmas, Gran Canaria, in the Canary Islands. His parents were diplomats and he spent his childhood in Portugal, Switzerland, Brazil and the United States. In 1976 he moved to New York City, where he earned a BA, and took a one-month vocational course at the New York Institute of Photography. In 1978, he moved to Rio de Janeiro and studied at the Industrial Design College. He has been an Associate Member of Magnum Photos since 1980. He lives and works in Rio de Janeiro. Rio Branco's Silent Book (1997) is included in Parr and Badger's The Photobook: A History, Volume II.Source: Wikipedia Miguel Rio Branco (born in Las Palmas in 1946) is a Brazilian artist (photographer, painter, filmmaker and creator of multimedia installations) living and working in Rio de Janeiro. In 1966 he studied at the New York Institute of Photography and in 1968 he left to study at the School of Industrial Design in Rio de Janeiro. Between 1970 and 1972, he worked in New York as a director and cinematographer, and in the following years directed several experimental feature and short films. At the same time, he began exhibiting his photographs in 1972. From 1980 he became a correspondent for Magnum Photos and his photographic work was published in numerous magazines (Aperture, Stern, Photo Magazine). Considering the book as an essential medium of expression, he conceived many books including Sudor Dulce Amargo (Fondo de Cultura Económica, Mexico City, 1985), Natka (Fundação Cultural de Curitib, 1996), Silent Book (Cosac & Naify, 1997), Miguel Rio Branco (Aperture, 1998) and Maldicidade (Taschen, 2019). His work has been the subject of numerous solo exhibitions, including Beauty, the Beast at the Art Institute of Boston in 2003; Plaisir de la douleur at the Maison Européenne de la Photographie in Paris in 2005; Solo at Kulturhuset Stockholm in 2011; Miguel Rio Branco: Nada Levarei quando morrer at the Museu de Arte de São Paulo in 2017 and Miguel Rio Branco at the Moreira Salles Institute in São Paulo in 2020. His works can be found in many European and American public and private collections, including: Museu de Arte Moderna do Rio de Janeiro; Museu de Arte de São Paulo; Centre Georges Pompidou, Paris; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Museum of Photographic Arts, San Diego; MoMA, New York.Source: LE BAL
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All About Photo Awards 2026
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