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Sirli Raitma
Sirli Raitma
Sirli Raitma

Sirli Raitma

Country: Estonia
Birth: 1975

Sirli Raitma is a London based photographer. She was born and grew up in Suure-Jaani in Estonia. Sirli's images span portraiture, landscapes and interiors, but portraiture - especially involving ambiguity via costume or displacement - is her heartland.

Project - Eha

EHA is a series of portraits of my mother, portrayed in a series of unusual situations, poses and attire. Eha was born in Estonia in 1950. Widowed, suffering from epilepsy and lacking great command of English, Eha stayed tightly involved in our lives. In 2015 Eha began to suffer from depression. Life became bleaker. Something had to be done. I came up with a plan to give her something new to focus on, beyond her new procession of doctor's appointments and medications. The 'EHA' project was born.

'Eha revealed herself to be a natural model, happy to play along with my increasingly imaginative visual fantasies. The 'EHA' project has had an effect on both of us. It is encouraging to see that the results for us are also having a resonance for others. The project has featured in UK and Estonian magazines. The feedback from readers has been fantastic and is consistent it that it has prompted many to look at their own family situations and how they treat each other.'

Websites

www.sirliraitma.com

www.instagram.com/sirliraitma

 

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
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More Great Photographers To Discover

Alice Boughton
Alice Boughton
United States
1866 | † 1943
Alice Boughton (14 May 1866 - 21 June 1943) was an early 20th-century American photographer known for her photographs of many literary and theatrical figures of her time. She was a Fellow of Alfred Stieglitz's Photo-Secession, a circle of photographers whose artistic efforts succeeded in raising photography to a fine art form. Alice Boughton was born in Brooklyn, New York, on 14 May 1866. Her parents were Frances Ayres and William H. Boughton, a lawyer in New York. As educational opportunities were made more available in the 19th-century, women artists became part of professional enterprises, including founding their own art associations. Artwork made by women was considered to be inferior, and to help overcome that stereotype women became "increasingly vocal and confident" in promoting women's work, and thus became part of the emerging image of the educated, modern and freer "New Woman". Artists then, "played crucial roles in representing the New Woman, both by drawing images of the icon and exemplyfying this emerging type through their own lives." In the 1880s, Boughton began studying art and photography at the Pratt School of Art and Design. It was there that she met fellow student Gertrude Käsebier, with whom she later studied in Paris. Käsebier also employed her an assistant in her studio, most likely at the same time Boughton was studying at Pratt. In 1890, she opened her own portrait studio on East 23rd Street in New York, which she maintained for the next forty years. In 1904, she sent a letter to William Butler Yeats that listed a studio address on Madison Avenue, indicating that she established or used more than one studio for at least a brief period. Around 1901, Boughton studied art in Rome and photography in Paris, where she worked in Käsebier's summer studio. She won an honorable mention for her work at the Turin International Decorative and Fine Arts Exhibition in 1902. It is not known when she met Alfred Stieglitz, but it is clear he knew of and admired her work by 1902 when he included two of her works in the inaugural exhibition at his Little Galleries of the Photo-Secession in New York City. Four years later, in 1906, Boughton was appointed by Stieglitz as a Fellow of the Photo-Secession. The following year Stieglitz gave her, along with fellow photographers C. Yarnall Abbot and William B. Dyer, an exhibition at the Little Galleries. In 1909 she had six of her photographs and an essay called "Photography, A Medium of Expression" published in Stieglitz's journal Camera Work (No 26, April, 1909). During this same period, her photographs were included in major exhibitions around the world, including shows in London, Paris, Vienna, The Hague and New York. Boughton became one of the most distinguished portrait photographers of New York, although she did many landscapes in this country and Europe including the famous Rockefeller estate Kykuit at Pocantico Hills, New York. She produced studies of children, as well as female nudes in allegorical or natural settings. Among her more famous works are portraits of Eugene O'Neill, Albert Pinkham Ryder, George Arliss and Robert Louis Stevenson. Her portrait of Robert Louis Stevenson was an inspiration for John Singer Sargent's own portrait of the writer. From at least 1920 until her death, Boughton shared her residences with artist and art teacher Ida C. Haskell (1861-1932). Haskell is known to have been an instructor at Pratt while Käsebier and Boughton studied there. When Boughton traveled to Europe in 1926, Haskell, her partner, accompanied her on the trip. In 1931, Boughton closed her studio and discarded thousands of prints. She moved permanently to the home in Brookhaven, Long Island, that she shared with Haskell. Boughton died of pneumonia on 21 June 1943. Her works are in the permanent collections of the Metropolitan Museum of Art, the British National Portrait Gallery, the U.S. National Portrait Gallery, the George Eastman House and other important museums.Source: Wikipedia
E. J. Bellocq
E. J. Bellocq
United States
1873 | † 1949
Ernest Joseph Bellocq was an American professional photographer who worked in New Orleans during the early 20th century. Bellocq is remembered for his haunting photographs of the prostitutes of Storyville, New Orleans' legalized red-light district. These have inspired novels, poems and films. Bellocq was born into a wealthy family of French créole origins in the French Quarter of New Orleans. He became known locally as an amateur photographer before setting himself up as a professional, making his living mostly by taking photographic records of landmarks and of ships and machinery for local companies. However, he also took personal photographs of the hidden side of local life, notably the opium dens in Chinatown and the prostitutes of Storyville. These were only known to a small number of his acquaintances. He had been something of a dandy in his early days, while he lived alone in the latter part of his life and acquired a reputation for eccentricity and unfriendliness. According to acquaintances from that period, he showed little interest in anything other than photography. Bellocq died in 1949, and was buried in Saint Louis Cemetery No. 3 in New Orleans. After his death, most of his negatives and prints were destroyed. However, the Storyville negatives were later found. After many years, they were purchased by a young photographer, Lee Friedlander. In 1970, a show of Friedlander's posthumous prints on gold tone printing out paper from Bellocq's 8" x 10" glass negatives were mounted by curator John Szarkowski at the Museum of Modern Art in Manhattan. A selection of the photographs were also published concurrently in the book, Storyville Portraits. These photographs were immediately acclaimed for their unique poignancy and beauty. A more extensive collection of Friedlander's prints, entitled Bellocq: Photographs from Storyville, was published with an introduction by Susan Sontag in 1996. In recent times, a significant number of prints from Bellocq's own studio have come to light. They are typical professional photographs of the day, such as portraits, copy work for the Louisiana State Museum, and local views, yet few if any Storyville portraits printed by Bellocq's hand exist. A number of early posthumous prints from Bellocq's negatives by photographer Dan Leyrer have also surfaced. The Storyville photographs All the photographs are portraits of women. Some are nude, some dressed, others posed as if acting a mysterious narrative. Many of the negatives were badly damaged, in part deliberately, which encouraged speculation. Many of the faces had been scraped out; whether this was done by Bellocq, his Jesuit priest brother who inherited them after E. J.'s death or someone else is unknown. Bellocq is the most likely candidate, since the damage was done while the emulsion was still wet. In a few photographs the women wore masks. Some prints made by Bellocq have since surfaced. These are far more conventional than the full-negative prints made by Friedlander. The Storyville photographs not only serve as a record of the prostitutes, but also the interiors of the businesses that housed them.
Nicolas Castermans
Nicolas Castermans
France
1991
My name is Nicolas Castermans. I was born in the French Alps, in a little countryside village on the border with Switzerland. I turned 31 years old last June (2022). At the age of 21, I went abroad. I did a Masters degree in International Business in China, where a real passion for traveling was born in me. I spent every spare moment that I had, with an amazing group of friends, discovering this huge country and South-East Asia. I explored this continent for about 3 years and this is where I lived my first real adventures, like Vietnam on motorbike, or traveling 14,000 km from Hong Kong to France, via the Trans-Siberian train. During this trip, I had the chance to meet Izabela, a wonderful Polish traveler, who made me the honor of becoming my wife 5 years ago. Together, we decided to go to South America, and after a year in Peru, we set up our own travel agency there. While developing this activity and guiding our first clients, I started to photograph and document what I was experiencing. Slowly, photography became a real passion ! We’ve been now on the continent for about 6 years. I can’t stop being fascinated by the diversity of cultures and landscapes in the Andes. Since February 2021, we’ve embarked on a motorcycle trip in Colombia that has taken us to Northern Argentina so far, while keeping organizing/guiding trips for our travel agency. I’ve also developed Photo Tours on the continent that I lead myself. Who knows where all these adventures will take us in the near future...
Cody Cobb
Cody Cobb
United States
1984
Cody Cobb (b. 1984 in Shreveport, Louisiana) is a photographer based in Seattle, Washington. His photographs aim to capture brief moments of stillness from the chaos of nature. For weeks at a time, Cobb wanders the American West alone in order to fully immerse himself in seemingly untouched wilderness. This isolation allows for more sensitive observations of both the external landscape as well as the internal experience of solitude. Through subtle arrangements of light and geometry, the illusion of structure appears as a mystical visage. These portraits of the Earth's surface are an attempt to capture the emotion of the land as much as the topography. Cody Cobb was named one of PDN's 30 emerging photographers to watch in 2018 and is a part of Photolucida's Critical Mass Top 50. Cody's work has also appeared in publications such as The California Sunday Magazine, Aint-Bad Magazine, MADE Quarterly and 'Cascadia' by Another Place Press. "While American landscape photography has been historically tinged with a tendency to capture, stake claim, or make the land a souvenir for the rest of the world to see, Cobb's practice is humbler. For Cobb, it's not about conquering the wild and majestic; instead, he submits to a wilderness larger than us all." - Jon Feinstein for Photograph Magazine (Sept/Oct 2018) Article: West
Milos Nejezchleb
Milos Nejezchleb
Czech Republic
1978
The Czech photographer Miloš Nejezchleb was born in 1978. He lives in the Czech Republic and has got three children. He has only been involved in conceptual photography since 2016; however, he has already won several prestigious international awards. He is the absolute winner of the Fine Art Photography Award in London (2021), where he won the FINE ART PHOTOGRAHER OF THE YEAR title. He is the winner of the Malta International Photo Award (2020), two-time gold medalist in the Trierenberg Super Circuit competition in Linz and he is also, among others, silver medalist in IPA 2021 - International Photography Award. The most characteristic features of his photographs are noticeably colorful elements with a clear focus on the art of photography. Miloš often chooses current social topics, which he processes as stories using photographic series. These stories are narrated by people. He works on such series on his own and ensures the entire Art direction. He himself designs styling, looks for locations and carries out post-production. Besides conceptual art, where he points out currently discussed topics, Miloš has 2long-term thematic photographic cycles which document stories of real people. The most famous of them is photographic cycle "Stronger", in which Milos takes photos of people who have gone through hard times in their lives, and thanks to this experience they have become stronger personalities. Milos is at the beginning of his photographic career. He was fascinated by art photography when he bought his first camera. It happened before the birth of his first daughter. He is currently working on other production-intensive projects.
Carol Foote
Carol Foote
Australia
1950
"I’ve always loved documentary and street photography and over the last few years I've been lucky enough to combine my love of photography with travel to places that have been on my bucket list for a long time. India is one of those places and it has never failed to disappoint. It’s so incredibly diverse and the people are welcoming and very friendly. My greatest joy is just to wonder the streets, or just to sit and watch the passing parade. So when I spot an interesting face I leap into action and ask if I can take a photo. I’m rarely refused and have had so many unforgettable interactions with people, which is very rewarding. "Faces of India" is just a small representation of all the wonderful and fascinating people that I have met."
Max van der Wal
Max van der Wal
Netherlands
Max van der Wal has been educated as a sound artist at the Royal Conservatory in The Hague, Netherlands and afterwards has broadened his spectrum of work by researching computer graphics and analogue film processes. During his research he has dived deeply into systematic thinking, subjective experience and process. There has always been an underlying need to expose systems by following them extensively or mistreating them. He has taken various notions from the sonic world into the visual domain in computer graphics as well as analogue photography. Inspired by texts and works of John Cage, van der Wal utilises a variety of processes which lie beyond his control, hereby challenging the notion of perfection in art and life itself. Rather than focusing on preconceived ideals of what a work should look or sound like, he switches the intention towards the unknown and the experimental. The artistic expression is found in the moments in which he intervenes into the processes, imposing a human perspective onto a mindless system. The objects displayed in the frame are no longer the focus of the work, but rather the processes and their unexpected outcome.
Miles Aldridge
Miles Aldridge
United KIngdom
1964
Miles Aldridge rose to prominence in the mid-nineties with his arresting, highly stylised photographs with references to film noir, art history and pop culture. An acclaimed colourist, he renders elaborate mise-en-scènes in a palette of vibrant acidic hues. These glamorous, frequently eroticised images probe society's idealised notions of domestic bliss where sinister undercurrents swirl beneath a flawless surface. Aldridge has worked prolifically for more than twenty-five years, and today he remains one of the few photographers still shooting predominately on film. His creative output encompasses large-scale c-type prints, Polaroids, screenprints, photogravures and drawings. Born in London in 1964, the son of famed art director and illustrator Alan Aldridge, his interest in photography began at an early age when he was given a Nikon F camera by his father. He went on to study graphic design at Central Saint Martins, graduating with a BA in 1987. Aldridge initially worked as an illustrator and music video director, before turning his attention to photography. In 1996 he began working with Franca Sozzani, the legendary editor-in-chief of Vogue Italia, and their boundary-pushing collaboration would continue for twenty years. In addition to the many international editions of Vogue, Aldridge's images have featured regularly in prestigious titles including Harper's Bazaar, Numéro, W, The New York Times Magazine and The New Yorker. Aldridge develops each new photographic narrative by rendering his initial thoughts in ink or pencil sketches with washes of watercolour and pastel. These drawings and storyboards are an essential early stage in his creative process. He believes that 'fiction and theatricality can be more truthful than documenting reality' and translates his sketches into meticulously arranged compositions to create images reminiscent of film stills: frames snatched from a broader story. Aldridge notes that many of his favourite moments in cinema are, as he describes, "closeups of a woman's face thinking", and he shares Hitchcock's ability to create powerful moments of suspense, turning viewers into voyeurs. In Aldridge's Chromo Thriller (2012) there is a palpable resonance with David Lynch's neo-noir mystery Blue Velvet, where immaculate façades hide darkly strange stories. As one author has noted: "Aldridge's female protagonists recall the glamour and splendour of Isabella Rossellini's character whilst at the same time remaining suggestive of something more sinister." Only rarely does he allow the real world to encroach upon the imagined realm. Through his lens, even reality appears artificial. In the series Capital Gains (2007) and Open Tour (2008) the cities of Washington DC and Paris look cleaner and sleeker than ever before. In The Last Range of Colours (2007), a lone figure in a children's playground evokes both the Technicolor splendour of The Wizard of Oz and the haunting dreamscape of a Giorgio de Chirico painting. A recurring theme throughout Aldridge's oeuvre is the false promise of luxury. Psychedelic interiors are furnished with the trappings of mid-century suburban comfort: gleaming kitchen appliances, candy-coloured telephones and well-groomed pets denote success. The work conflates historic and modern motifs and makes subtle reference to the art historical canon. The project Immaculée (2007) points to Catholic depictions of female saints in ecstasy, whilst his portraits of Lily Cole (2005) and Maisie Williams (2017) draw inspiration from Northern Renaissance masters such as Albrecht Dürer and Hans Holbein. Pop Art tropes feature predominantly: Coca-Cola logos (3D, 2010; A Family Portrait #14, 2011), soup cans and tomato ketchup bottles (A Drop of Red #2, 2001; First Impressions, 2006) all form a striking part of his visual lexicon. His fascination with art history led Aldridge to undertake projects with several significant contemporary artists including Maurizio Cattelan, Gilbert & George and Harland Miller. For the project (after Cattelan) (2016), he was invited by Cattelan to respond to the Italian artist's exhibition, Not Afraid of Love, in the grand neoclassical rooms of the Monnaie de Paris. The resulting series of c-type photographs depicts statuesque nudes dominating Cattelan's hyperreal sculptures in a series of absurdist tableaux. A second series, titled Love Always and Love All Ways after Gilbert & George (2016), was made with the British duo at their London townhouse. Drawing on the conventions of Victorian melodrama, Aldridge devised a series centred around the story of an enigmatic young visitor staying at the house for the weekend. In a further nod to Victoriana, the images were printed using the nineteenth-century photogravure process, whereby an etched copper plate produces highly detailed intaglio prints. The monotone prints were augmented with blocks of bold colour and hand-painted details to create a contemporary aesthetic. His most recent collaboration was with Harland Miller, known for his paintings of imaginary book covers that were partly inspired by Alan Aldridge's 1960s designs for Penguin paperbacks. In a satisfying symmetry, Aldridge transformed Miller's paintings into real books, used as props in his photoshoot. The resulting screenprints evoke the grainy colour supplements of Aldridge's youth and were published by Poligrafa, Barcelona's renowned fine art publisher, who launched them at the 2017 edition of Art Basel Miami Beach. Poligrafa went on to publish the subsequent screenprint series New Utopias, which they exhibited at the 2018 edition of Art Basel. Most recently, Tan Lines, one of Aldridge's largest screenprints to date, was unveiled by Poligrafa at the 2019 edition of The Armory Show, New York. Aldridge's major museum exhibitions include his upcoming retrospective Virgin Mary. Supermarkets. Popcorn. Photographs 1999 - 2020 at Fotografiska, New York, which opened 7th May 2021 having first appeared at Fotografiska Museum, Stockholm (2020-2021), solo shows at The Lumiere Brothers Photography Centre, Moscow (2019) and OCA, São Paulo (2015) and I Only Want You to Love Me at Somerset House, London (2013). In 2014, he was commissioned by Tate Britain to create a photographic installation in response to Mark Gertler's 1916 painting Merry-Go-Round. London's National Portrait Gallery houses a large collection of Aldridge's portraits and his work is held in prestigious museums and institutions around the world including the Victoria and Albert Museum and British Museum in London, the Fondation Carmignac and the Palais Galliera in Paris, the Davis Museum at Wellesley College, Massachusetts and the International Center of Photography in New York. -- Susanna Brown Curator of Photography Victoria and Albert MuseumSource: milesaldridge.com
Nick Brandt
Nick Brandt
United Kingdom
1964
Nick Brandt is an English photographer whose themes always relate to the disappearing natural world, before much of it is destroyed by mankind. From 2001 to 2018, he has photographed in Africa. In his trilogy, On This Earth, A Shadow Falls Across The Ravaged Land (2001-2012), he established a style of portrait photography of animals in the wild similar to that of the photography of humans in studio setting, shot on medium format film, attempting to portray animals as sentient creatures not so different from us. In Inherit the Dust (2016), in a series of panoramas, Brandt recorded the impact of man in places where animals used to roam, but no longer do. In each location, Brandt erected a life-size panel of one of his unreleased animal portrait photographs, placing the displaced animals on sites of explosive urban development, new factories, wastelands and quarries. This Empty World (2019) addresses the escalating destruction of the natural world at the hands of humans, showing a world where, overwhelmed by runaway development, there is no longer space for animals to survive. The people in the photos also often helplessly swept along by the relentless tide of 'progress'. Each image is a combination of two moments in time, captured weeks apart, almost all from the exact same locked-off camera position: A partial set is built and lit. Weeks follow whilst the wild animals in the area become comfortable enough to enter the frame. Once the animals are captured on camera, the full sets are built. A second sequence is then photographed with a cast of people drawn from local communities and beyond. Brandt has had solo gallery and museum shows around the world, including New York, London, Berlin, Stockholm, Paris and Los Angeles. Born and raised in England, he now lives in the southern Californian mountains. He is co-founder of Big Life Foundation, fighting to protect the animals and ecosystem of a large area of Kenya and Tanzania. On this Earth: The first book in the trilogy, On This Earth (Chronicle Books, 2005) constitutes 66 photos taken 2000-2004, with introductions by the conservationist and primatologist Jane Goodall and the author Alice Sebold. The photographs in this book are a unadulterated vision of an African paradise, deliberately contrasting with what is to follow in the subsequent books. Elephant with Exploding Dust, Amboseli 2004, the photo on the book's cover, has since become one of Brandt's best-known images. Critical response to the book, heralded Brandt's photographic achievement. Black and White magazine called his photos "heartbreakingly beautiful". A Shadow Falls: The second book in the trilogy, A Shadow Falls, (Abrams, 2009) features 58 photographs taken 2005-2008. It is generally regarded to be superior to "On This Earth". In additional introductions, philosopher Peter Singer, author of the groundbreaking Animal Liberation, explains why Brandt's photographs speak to an increasing human moral conscience about our treatment of animals. The photography critic Vicki Goldberg places Brandt's work in the history of the medium. As the title of the book implies, this book, although replete with images of ethereal beauty and poetry, is a more melancholic interpretation of the world he photographs. Indeed, critic Vicki Goldberg writes: " A Shadow Falls, taken in its entirely, is a love story without a happily ever after." The photos in the book are deliberately sequenced: the opening images are of an unspoiled lush green world, filled with animals and water ("Wildebeest Arc, Masai Mara 2006" ). As the book progresses, the photos become gradually more stark, until towards the end, the trees are dead, the water gone, the animals are vastly reduced in numbers, until the book closes with the final ambiguous image, of a lone, abandoned ostrich egg on a parched lake bed. "Abandoned Ostrich Egg, Amboseli 2007". In addition the Artist's Edition book, entitled, On this Earth, a Shadow Falls, (Abrams Books/Big Life Editions) was published in 2010, combining the best 90 photos from the first two books, in a larger volume with much superior printing to the first two books. Across The Ravaged Land: The completion of Nick Brandt’s trilogy: “On This Earth, A Shadow Falls, Across The Ravaged Land.” Release date, September 3, 2013 (Abrams Books, 2013), documents the disappearing natural world and animals of East Africa. This is the third and final volume of Nick Brandt's work which reveals the darker side of his vision of East Africa’s animal kingdom and the juxtaposition of mankind. The trilogy marks the last decade of a stunning world of the beauty of East Africa’s Serengeti, Marsai Mara, Amboseli, and ends with a dark and well-known unhappy ending. “Across The Ravaged Land” introduces humans in his photography for the first time exhibiting the cost of poachers, killing for profit. One such example is Ranger with Tusks of Killed Elephant, Amboseli 2011. This photograph features one of the rangers employed by Big Life Foundation, the Foundation that Nick Brandt started in 2010. The ranger holds the tusks of an elephant killed by poachers in the years prior to the Foundation's inception. Brandt captures the trophies in these epic landscapes and the images of perfectly preserved creatures calcified by the salts of the Rift Valley soda lake. In both instances, the creatures appear in an ethereal animated state seemingly posing for their portraits. Big Life Foundation: In September 2010, in urgent response to the escalation of poaching in Africa due to increased demand from the Far East, Nick Brandt founded the non-profit organization called Big Life Foundation, dedicated to the conservation of Africa's wildlife and ecosystems. With one of the most spectacular elephant populations in Africa being rapidly diminished by poachers, the Amboseli ecosystem, which straddles both Kenya and Tanzania, became the Foundation's large-scale pilot project. Headed up in Kenya by renowned conservationist Richard Bonham, multiple fully equipped teams of anti-poaching rangers have been placed in newly built outposts in the critical areas throughout the 2-million-acre (8,100 km2) + area, resulting in a dramatically reduced incidence of killing and poaching of wildlife in the ecosystem. Source: Wikipedia Must Read Articles Exclusive Interview with Nick Brandt Big Life Foundation This Empty World, Inherit The Dust
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