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JB Russell
JB Russell
JB Russell

JB Russell

Country: France/United States
Birth: 1961

Born in Long Beach, California in 1961, J.B. Russell is a Paris-based documentary photographer, filmmaker and educator. After receiving a Bachelor of Science degree in Geology and Geography and working for two years as a geologist, J.B. decided to take a year or two off to pursue a passion for photography and to satisfy a genetic predisposition for wanderlust. Once on the road however, he never looked back. He has worked extensively throughout Europe, Africa, the Middle East, Asia and Latin America focusing on current events, the human consequences of conflict, human rights, the environment and development issues. His work appears regularly in major print and on-line publications worldwide, including: Time, Newsweek, The New York Times, French GEO, Paris Match, Le Monde, Stern, Der Spiegel, Corriere della Sera magazine, The Daily Telegraph, The Guardian, El Mondo magazine and many more.

J.B. collaborates frequently with international humanitarian organizations such as Doctors Without Borders, Save The Children, Mines Advisory Group, The Global Fund and others to produce images, video and written material on critical humanitarian issues for their communication needs.

His work has received numerous accolades, including the Public Prize at the Bayeux War Correspondents Competition, 1st place in the News Picture Story category of the POYi competition, his images have been selected on multiple occasions for the American Photography anthology, he received the Saint Brieuc Photoreporter Grant and his work has been exhibited and frequently featured at Visa Pour L'Image in Perpignan, France, among many other festivals and venues.

J.B.'s career has spanned the transition from analogue to digital photography and the profound changes that the Internet and Social Media have had on journalism and the press. He believes that honest, engaged journalism remains crucial to public information in today's media landscape. J.B produces independent documentary photography and video projects, embracing diverse story-telling forms and platforms. He is a dedicated teacher of photography, teaching and speaking regularly in diverse university programs, workshops and photography courses.

J.B. Russell is member of the Panos Pictures Agency and a core member of the Instagram collective #EverydayClimateChange.

Agency

Panos Pictures

Website

www.jbrussellimages.com

 

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More Great Photographers To Discover

Alberto del Hoyo Mora
Alberto del Hoyo Mora
Spain
1979
Alberto del Hoyo is a Spanish photographer living in Tenerife. He holds an MBA from the Instituto de Empresa Business School and is a graduate in Business Administration and Photography. His own curiosity about the different forms of life has taken him to remote tribal territories in Asia, South America and Africa in search of the distinctive beauty and variety of his people. In 2016, after 2 years of incursions into the Omo Valley of Ethiopia, he founded Pics 4 Pills. Modest fundraising initiative for the people of the Omo Valley Three years later, at the end of 2018 he published the book Mystic Valley. Photographic travel notebook fruit of 4 years of photographic incursions in the Omo Valley. 100% of the revenues from sales are destined to solidarity projects in the different photographed tribal areas. Also in 2018, Alberto presented the Fine Art portrait exhibition with the same name "Mystic Valley", as a complement of the book. The objective is responsible photographic dissemination. Show the beauty of heterogeneity and cultural identity. About Mystic Valley Nadoria is a 13 years old girl of the Suri tribe in Ethiopia, lives in a small mountain village near the border with Sudan. She is the daughter of one of the elders of the tribe. The size of her ear plate indicates the extent of her dowry. "The bigger my ear plate, the higher number of cows my family will get from my marriage". Barduri, is a young man of 17 years of the same Suri tribe in Ethiopia. He has lost vision in his right eye as a result of a wound during the celebration of the "stick fight", ancestral ceremony consisting of an unprotected one-on-one stick fight battle against young members of the neighboring tribes. The fights can be furious and can result in death. A ritual for the transition of young stars to men. Far from feeling sorry Barduri feels pride, he has shown his family that he is a brave man, he has become a man, a warrior of honor. He has won his right in the tribe to be able to choose his wife and that she respect him. From the beginning of history the human race is composed of a large number of cultures, people and tribes. Each one has its own way of life, values and social rituals. The portraits of these people invite our conscience to remember the importance of understanding cultural identities in all their variety. Portraits of the fragility of a female childhood subrogated to warriors of honor. Portraits of his reality. It is vast, silent. Magical. Omo Valley
Cornell Capa
Cornell Capa
United States
1918 | † 2008
Cornell Capa (born Kornél Friedmann; April 10, 1918 – May 23, 2008) was a Hungarian American photographer, member of Magnum Photos, photo curator, and the younger brother of photo-journalist and war photographer Robert Capa. Graduating from Imre Madách Gymnasium in Budapest, he initially intended to study medicine, but instead joined his brother in Paris to pursue photography. Cornell was an ambitious photo enthusiast who founded the International Center of Photography in New York in 1974 with help from Micha Bar-Am after a stint of working for both Life magazine and Magnum Photos. Born as Kornél Friedmann in Budapest, he moved, aged 18, to Paris to work with his elder brother Robert Capa, a photo-journalist. In 1937, Cornell Capa moved to New York City to work in the Life magazine darkroom.[4] After serving in the U.S. Air Force, Capa became a Life staff photographer in 1946. The many covers that Capa shot for the magazine included portraits of television personality Jack Paar, painter Grandma Moses, and Clark Gable. In 1953 he visited Venezuela to make a photo-report of Caracas, on this trip he had the opportunity to photograph the artist Armando Reverón. In May 1954, his brother Robert Capa was killed by a landmine, while covering the final years of the First Indochina War. Cornell Capa joined Magnum Photos, the photo agency co-founded by Robert, the same year. For Magnum, Cornell Capa covered the Soviet Union, Israeli Six-Day War, and American politicians. Beginning in 1967, Capa mounted a series of exhibits and books entitled The Concerned Photographer. The exhibits led to his establishment in 1974 of the International Center of Photography in New York City. Capa served for many years as the director of the Center. Capa has published several collections of his photographs including JFK for President, a series of photographs of the 1960 presidential campaign that he took for Life magazine. Capa also produced a book documenting the first 100 days of the Kennedy presidency, with fellow Magnum photographers including Henri Cartier-Bresson and Elliott Erwitt. Capa died in New York City on May 23, 2008, of natural causes at the age of 90.Source: Wikipedia Cornell Capa (originally Cornell Friedmann) was born in Budapest and moved to Paris in 1936 to join his brother, Robert, who had escaped from the increasingly anti-Semitic climate of Hungary in 1930. Although he had intended to study medicine, Cornell was drawn to photography through his brother and began making prints for him, as well as for Henri Cartier-Bresson and Chim (David Seymour). This experience encouraged him to become a professional photojournalist, and in 1937 he moved to New York to pursue a career. After he had worked in the darkrooms of the Pix agency and LIFE for a few years, his first photo story was published in Picture Post in 1939. During World War II, Capa worked for the US Army Air Corps Photo-Intelligence Unit and the Army Air Corps's public relations department. In 1946, he became a staff photographer at LIFE, based mainly in the American Midwest, and covered some three hundred assignments over the next three years. He was the magazine's resident photographer in England for two years, after which he returned to the United States, to produced some of his most well-known photo essays, on subjects such as Adlai Stevenson's presidential campaign and the education of mentally retarded children. Upon Robert's death in 1954, Capa left LIFE to continue his borther's work at Magnum, the international cooperative photography agency co-founded in 1947 by Robert, Henri Cartier-Bresson, Chim (David Seymour), and George Rodger. Over the next twenty years, Capa photographed many important stories for Magnum, including the activities of the Perón government in Argentina; the Democratic National Conventions of 1956, 1960 and 1968; and John F. Kennedy's first hundred days in office. Capa's photographic production slowed in the mid-1970s as he devoted himself more to the care and promotion of other photographers' work through his International Fund for Concerned Photography. In 1964, he organized the exhibition The Concerned Photographer, which led to the establishment of the International Center of Photography, an organization dedicated to the support of photography as a means of communication and creative expression, and to the preservation of photographic archives as a vital component of twentieth-century history. Capa received ICP's Lifetime Achievement Award in 1995. Capa served as ICP's Director Emeritus until his death in 2008.Source: International Center of Photography In Mr. Capa’s nearly 30 years as a photojournalist, the professional code to which he steadfastly adhered is best summed up by the title of his 1968 book “The Concerned Photographer.” He used the phrase often to describe any photographer who was passionately dedicated to doing work that contributed to the understanding and well-being of humanity and who produced “images in which genuine human feeling predominates over commercial cynicism or disinterested formalism.” The subjects of greatest interest to Capa as a photographer were politics and social justice. He covered both presidential campaigns of Adlai Stevenson in the 1950s and also became a good friend of Stevenson. He covered John F. Kennedy’s successful presidential run in 1960, and then spearheaded a project in which he and nine fellow Magnum photographers documented the young president’s first hundred days, resulting in the book “Let Us Begin: The First One Hundred Days of the Kennedy Administration.” (He got to know the Kennedys well; Jacqueline Kennedy Onassis would become one of the first trustees of the I.C.P.) In Argentina, Mr. Capa documented the increasingly repressive tactics of the Peron regime and then the revolution that overthrew it. In Israel, he covered the 1967 Six Day-War. The vast number of picture essays he produced on assignment ranged in subject from Christian missionaries in the jungles of Latin America to the Russian Orthodox Church in Soviet Russia during the cold war, the elite Queen’s Guards in England and the education of mentally retarded children in New England. His work conformed to all the visual hallmarks of Life magazine photography: clear subject matter, strong composition, bold graphic impact and at times even a touch of wit. In his 1959 essay about the Ford Motor Company, for example, one picture presents a bird’s-eye view of 7,000 engineers lined up in rows behind the first compact car all of them were involved in developing: a single Ford Falcon. “I am not an artist, and I never intended to be one,” he wrote in the 1992 book Cornell Capa: Photographs. “I hope I have made some good photographs, but what I really hope is that I have done some good photo stories with memorable images that make a point, and, perhaps, even make a difference.”Source: The New-York Times
Marc Gordon
Marc Gordon
United States
Marc Gordon is a photographer who focuses on unposed portraiture and photo documentary. He was trained at the International Center for Photography in New York City and studied street photography with Harvey Stein. He spent several years doing advertising photography at Kripalu, a yoga retreat center in the Berkshires, starting in 2009. Afterwards he turned to documentary and portraiture. All of his photographs try to capture unposed expressive moments, and to show people as they are without interpretation. A documentary series on the Gay Pride Parades in New York City has appeared in L'Oeil de la Photographie and was featured on the Social Documentary Network in late 2020. In addition to documentary and portraiture, Marc also explores landscape photography. As in portraiture, he tries to avoid interpretation and seeks instead to reveal Nature's complex patterns. He currently lives in New Mexico and will exhibit a series of landscapes at the Abiquiu Inn as soon as it is safe again to gather indoors. Marc was trained as a research mathematician and worked for many years on quantitative trading strategies before becoming a photographer. Joy and Confrontation These photos attempt to capture the spirit of the Gay Pride parades in New York City in the years since gay marriage was legalized in the United States. The collection begins with portraits of people encountered in the streets around the parades. Their joyful celebration is challenged by Christian demonstrators carrying offensive and provocative signs who came to condemn homosexuality and warn of divine retribution. Reactions range from mockery to dancing, heated argument, lewd gestures, outrage, and anger. I am grateful to have spent time with these young gay people and to have had the chance to photograph them. For any questions, you can contact Marc Gordon at marcgor@msn.com.
Julio Bittencourt
Julio Bittencourt
Brazil
1980
After living in New York for six years, Julio returned to Brazil in 2000 and started working at the newspaper Valor Economico in Sao Paulo as a photographer and assistant photo editor. In 2003 he moved to Mozambique where he worked for SOICO Communication Group. Since 2006 Julio has been working as an independent photographer. Julio's projects have been exhibited in galleries and museums worldwide and his work published in magazines such as GEO, Stern, TIME, Le Monde, The Wall Street Journal, C Photo, The Guardian, The New Yorker, Esquire, French Photo, Los Angeles Times, and Leica World Magazine, among others. In 2008 he published his first book, “In a window of Prestes Maia 911 Building”, the culmination of a three year project featuring the residents of a squatted building in Sao Paulo. Julio's work resides in several public and private collections.
Mathieu Forget
Mathieu Forget
France
1989
Mathieu Forget, also known as Forgetmat, is a Paris-born movement artist, dancer, photographer, and director whose innovative work captures the essence of dance in mesmerizing visuals. A former tennis player, he channels his passion for freedom of expression into art that challenges conventional perceptions of the world. Known as the "Flying Man," Mathieu has gained recognition for his ability to freeze moments of seemingly gravity-defying movement through his photography and videos. His work blurs the boundaries between art forms, mixing dance, architecture, and visual storytelling in a unique way. By sharing his creations on social media, he has democratized his art, turning the world into his gallery.. Deeply inspired by architecture, lines, and colors, Mathieu transforms everyday spaces into poetic landscapes, creating breathtaking visual experiences that play with balance, form, and movement. He has collaborated with a diverse range of artists, athletes, and global brands, continually pushing creative boundaries.. Most recently, Mathieu partnered with the Paris 2024 Olympic Games, working alongside athletes to bring his signature levitation artistry to the world of sports, capturing dynamic moments that seem to defy the laws of physics.
Rubén Salgado Escudero
Rubén Salgado Escudero
Spain
Rubén Salgado Escudero was born in Madrid, Spain. He lived in the United States throughout his teenage years while his mother worked as a photojournalist in Washington D.C. After university he moved to Berlin, Germany, where he worked as a 3D character animator in the video-game industry for ten years. In 2013 he decided to change paths and moved to Myanmar, following his passion for photography. His work blends artistic and documentary with the aim to tell stories in an original, non-classic way to raise awareness about social and environmental issues. Rubén's works have been widely exhibited and sold in more than over 20 cities across the world including New York, London, Tokyo and at the “Rencontres d'Arles” festival in France. He is a member of 'The Photo Society', a community of National Geographic Magazine photographers. His projects have been published in most major international publications, including National Geographic Magazine, TIME, and Geo. In 2019 he became a National Geographic Explorer with his long term project 'Solar Portraits' which addresses the issue of access to electricity and the impact of solar technology around the world. He has won various international awards including the Sony World Photography Award two years in a row and the POY Latam (Picture of the Year) two times.
Horst P. Horst
Horst P. Horst
Germany/United States
1906 | † 1999
Horst P. Horst (born Horst Paul Albert Bohrmann), was a German-American fashion photographer. The younger of two sons, Horst was born in Weißenfels-an-der-Saale, Germany, to Klara (Schönbrodt) and Max Bohrmann. His father was a successful merchant. In his teens, he met dancer Evan Weidemann at the home of his aunt, and this aroused his interest in avant-garde art. In the late 1920s, Horst studied at Hamburg Kunstgewerbeschule, leaving there in 1930 to go to Paris to study under the architect Le Corbusier. While in Paris, he befriended many people in the art community and attended many galleries. In 1930 he met Vogue photographer Baron George Hoyningen-Huene, a half-Baltic, half-American nobleman, and became his photographic assistant, occasional model, and lover. He traveled to England with him that winter. While there, they visited photographer Cecil Beaton, who was working for the British edition of Vogue. In 1931, Horst began his association with Vogue, publishing his first photograph in the French edition of Vogue in December of that year. It was a full-page advertisement showing a model in black velvet holding a Klytia scent bottle. His first exhibition took place at La Plume d'Or in Paris in 1932. It was reviewed by Janet Flanner in The New Yorker, and this review, which appeared after the exhibition ended, made Horst instantly prominent. Horst made a portrait of Bette Davis the same year, the first in a series of public figures he would photograph during his career. Within two years, he had photographed Noël Coward, Yvonne Printemps, Lisa Fonssagrives, Count Luchino Visconti di Madrone, Duke Fulco di Verdura, Baron Nicolas de Gunzburg, Princess Natalia Pavlovna Paley, Daisy Fellowes, Princess Marina of Greece and Denmark, Cole Porter, Elsa Schiaparelli, and others like Eve Curie. Horst rented an apartment in New York City in 1937, and while residing there met Coco Chanel, whom Horst called "the queen of the whole thing". He would photograph her fashions for three decades. He met Valentine Lawford, British diplomat in 1938, and they lived together until Lawford's death in 1991. Horst adopted a son, Richard J. Horst, whom they raised together. In 1941, Horst applied for United States citizenship. In 1942, he passed an Army physical, and joined the Army on July 2, 1943. On October 21, he received his United States citizenship as Horst P. Horst. He became an Army photographer, with much of his work printed in the forces' magazine Belvoir Castle. In 1945, he photographed United States President Harry S. Truman, with whom he became friends, and he photographed every First Lady in the post-war period at the invitation of the White House. In 1947, Horst moved into his house in Oyster Bay, New York. He designed the white stucco-clad building himself, the design inspired by the houses that he had seen in Tunisia during his relationship with Hoyningen-Huene. Horst is best known for his photographs of women and fashion, but is also recognized for his photographs of interior architecture, still lifes, especially ones including plants, and environmental portraits. One of the great iconic photos of the Twentieth-Century is "The Mainbocher Corset" with its erotically charged mystery, captured by Horst in Vogue’s Paris studio in 1939. Designers like Donna Karan continue to use the timeless beauty of "The Mainbocher Corset" as an inspiration for their outerwear collections today. His work frequently reflects his interest in surrealism and his regard of the ancient Greek ideal of physical beauty. Lighting is more complex than one thinks. There appears to be only one source of light. But there were actually reflectors and other spotlights. I really don’t know how I did it. I would not be able to repeat it. -- Horst P. Horst, on his 1939 photograph Mainbocher Corset His method of work typically entailed careful preparation for the shoot, with the lighting and studio props (of which he used many) arranged in advance. His instructions to models are remembered as being brief and to the point. His published work uses lighting to pick out the subject; he frequently used four spotlights, often one of them pointing down from the ceiling. Only rarely do his photos include shadows falling on the background of the set. Horst rarely, if ever, used filters. While most of his work is in black & white, much of his color photography includes largely monochromatic settings to set off a colorful fashion. Horst's color photography did include documentation of society interior design, well noted in the volume Horst Interiors. He photographed a number of interiors designed by Robert Denning and Vincent Fourcade of Denning & Fourcade and often visited their homes in Manhattan and Long Island. After making the photograph, Horst generally left it up to others to develop, print, crop, and edit his work. One of his most famous portraits is of Marlene Dietrich, taken in 1942. She protested the lighting that he had selected and arranged, but he used it anyway. Dietrich liked the results and subsequently used a photo from the session in her own publicity. In the 1960s, encouraged by Vogue editor Diana Vreeland, Horst began a series of photos illustrating the lifestyle of international high society which included people like: Consuelo Vanderbilt, Marella Agnelli, Gloria Guinness, Baroness Pauline de Rothschild and Baron Philippe de Rothschild, Helen of Greece and Denmark, Baroness Geoffroy de Waldner, Princess Tatiana of Sayn-Wittgenstein-Berleburg, Lee Radziwill, Duke of Windsor and Duchess of Windsor, Peregrine Eliot, 10th Earl of St Germans and Lady Jacquetta Eliot, Countess of St Germans, Antenor Patiño, Oscar de la Renta and Françoise de Langlade, Desmond Guinness and Princess Henriette Marie-Gabrielle von Urach, Andy Warhol, Nancy Lancaster, Yves Saint Laurent, Doris Duke, Emilio Pucci, Cy Twombly, Billy Baldwin, Jacqueline Kennedy Onassis, Amanda Burden, Paloma Picasso and Comtesse Jacqueline de Ribes. The articles were written by the photographer's longtime companion, Valentine Lawford, a former English diplomat. From this point until nearly the time of his death, Horst spent most of his time traveling and photographing. In the mid-1970s, he began working for House & Garden magazine as well as for Vogue. Horst's last photograph for British Vogue was in 1991 with Princess Michael of Kent, shown against a background of tapestry and wearing a tiara belonging to her mother-in-law, Princess Marina, who he had photographed in 1934. He died at his home in Palm Beach Gardens, Florida at 93 years of age.Source: Wikipedia I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal. -- Horst P. Horst
Jingyi Zhang
Jingyi Zhang
China
2001
Jingyi Zhang is a New York– and Beijing-based artist who earned her M.A. in Film and Media Studies (Emergent Media track) from Columbia University. Her practice spans photography, moving images, and interactive design, with a particular focus on metaphors embedded in natural objects. Her work has been exhibited internationally in the United States, China, Japan, and Brazil, at venues including Yachang Art Center, Yan Art Gallery, Moon Gallery & Studio, Brooklyn Art Cave, The Peripheral Experiment, and Flowing Space Gallery. Zhang has received multiple honors, including the Young Talent Award at the 5th International Photo Festival Olten (IPFO), Photoville4600,shortlisted for the Visual Art Open 2025 (VAO), the Third Place in the All About Photo Contest and AAP Magazine #50 “Shapes”, and the Merit Prize in the “Abstract” Photography Competition organized by the National Photographic Society. AAP Magazine AAP Magazine 50 Shapes
Serena Dzenis
Serena Dzenis
Australia
1984
Serena Dzenis is a lens-based artist from Australia who resides in Iceland. She uses her work to tell stories about science, conservation, environmental issues and the future of mankind. Serena’s photographs depart from the traditional, with a focus on capturing the otherworldliness that is sometimes associated with nature and human constructions on our own planet. The emphasis of her art is on storytelling within the landscape – connecting with the land and exploring the outcomes of human desires while immersing oneself in the rhythms and dangers associated with the living presence of this world. 2021 ± II: Utopia Broadcasting Do you think that the first space colony created by mankind will happen during your lifetime? Technology has advanced so quickly over the past few years. In the overall scheme of things, we’re just a flash in the pan and yet we’ve done so much to change our planet. Humankind is leaving a profound legacy on Earth, exploiting its resources to turn it into the sanctuary that we want it to be or perhaps farewelling a paradise that we’ve already lost. ‘2021 ± II: Utopia Broadcasting’ encapsulates everything about human construction, sheer curiosity, consumerism, as well as the wonders and dangers associated with science. The overall aim of this project is to utilise existing structures within the Icelandic landscape to transport the viewer’s imagination to another world that exists outside of time. In doing so, the hope is to invoke conversation around themes of futurism and dreams for a better life amidst the darker side of human ideals.
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Call for Entries
AAP Magazine #54 Nature
Publish your work in AAP Magazine and win $1,000 Cash Prizes
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