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Annette LeMay Burke
Annette LeMay Burke
Annette LeMay Burke

Annette LeMay Burke

Country: United States
Birth: 1964

Annette LeMay Burke (b. 1964) is a photographic artist and Northern California native who lives in the heart of Silicon Valley. Numerous family road trips throughout California and the West honed her eye for observing the landscape. By eight years old, she had her own Instamatic camera and graduated to a Minolta X-700 as a teen. While earning a BA in Earth Science from the University of California at Berkeley, she took her first darkroom class. After a career in high-tech, and studying design, Annette has now merged her interests. Her artistic practice focuses on how we interact with the natural world and the landscapes constructed by the artifacts of technology.

Annette's first book, Fauxliage (Daylight Books, Spring 2021), documents the proliferation of disguised cell phone towers in the American West and how new technologies are modifying our landscapes with idiosyncratic results. Her work has been exhibited at institutions such as Center for Photographic Arts, Colorado Photographic Arts Center, Griffin Museum of Photography, Texas Photographic Society, The Center for Fine Art Photography, and Photographic Center Northwest. In 2017, she was a finalist for Photolucida's Critical Mass.


Fauxliage - Disguised Cell Phone Towers of the American West
Fauxliage documents the proliferation of disguised cell phone towers in the American West. For me, the fake foliage of the trees draws more attention than camouflage. The often-farcical tower disguises belie the equipment's covert ability to collect all the phone calls and digital information passing through them, to be bought and sold by advertisers and stored by the NSA.

From the very start, cell towers were considered eyesores. Plastic leaves were attached in an attempt to hide the visual pollution. Over time, the disguises have evolved from primitive palms and evergreens into more elaborate costumes. The towers now masquerade as flagpoles, crosses, water towers, and cacti. Over time, as our demand for five bars of connectivity has increased, the charade has remained.

I was initially drawn to the towers' whimsical appearances. The more I photographed, the more disconcerted I felt that technology was clandestinely modifying our environment. I explore how this manufactured nature is imposing a contrived aesthetic in our neighborhoods. My photographs expose the towers' idiosyncratic disguises, highlight the variety of forms, and show how ubiquitous they are in our daily lives. Their appearance is now an inescapable part of the iconic western road trip and the eight states I visited for this project.

As the fifth generation (5G) of cellular technology continues to roll out, the cell tower terrain will be changing. 5G utilizes smaller equipment that is easier to hide - think fat streetlight poles. Perhaps elaborately disguised 'fauxliage' towers will begin disappearing and be considered an anachronism of the early 21st century. The decorated towers could join drive-up photo kiosks, phone booths, news stands, and drive-in movie theaters as architectural relics of the past.

More about Fauxliage
More about Memory Building

Websites

atelierlemay.com

@atelierlemay

 

Inspiring Portfolios

Anna Biret
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Shinji Ichikawa
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More Great Photographers To Discover

David Bailey
David Bailey
United Kingdom
1938
David Royston Bailey CBE (born 2 January 1938) is an English fashion and portrait photographer. David Bailey was born at Whipps Cross University Hospital in Leytonstone, to Herbert Bailey, a tailor's cutter, and his wife, Gladys a machinist. From the age of three he lived in East Ham. Bailey developed a love of natural history, and this led him into photography. Suffering from undiagnosed dyslexia, he experienced problems at school. He attended a private school, Clark's College in Ilford, where he says they taught him less than the more basic council school. As well as dyslexia he also has the motor skill disorder dyspraxia (developmental coordination disorder). In one school year, he claims he only attended 33 times. He left school on his fifteenth birthday, to become a copy boy at the Fleet Street offices of the Yorkshire Post. He raced through a series of dead-end jobs, before his call up for National Service in 1956, serving with the Royal Air Force in Singapore in 1957. The appropriation of his trumpet forced him to consider other creative outlets, and he bought a Rolleiflex camera. He was demobbed in August 1958, and determined to pursue a career in photography, he bought a Canon rangefinder camera. Unable to obtain a place at the London College of Printing because of his school record, he became a second assistant to David Ollins, in Charlotte Mews. He earned £3 10s (£3.50) a week, and acted as studio dogsbody. He was delighted to be called to an interview with photographer John French. In 1959, Bailey became a photographic assistant at the John French studio, and in May 1960, he was a photographer for John Cole's Studio Five, before being contracted as a fashion photographer for British Vogue magazine later that year. He also undertook a large amount of freelance work. Along with Terence Donovan and Brian Duffy, Bailey captured and helped create the 'Swinging London' of the 1960s: a culture of fashion and celebrity chic. The three photographers socialized with actors, musicians and royalty, and found themselves elevated to celebrity status. Together, they were the first real celebrity photographers, named by Norman Parkinson "the Black Trinity". The film Blowup (1966), directed by Michelangelo Antonioni, depicts the life of a London fashion photographer who is played by David Hemmings, whose character was inspired by Bailey. The "Swinging London" scene was aptly reflected in his Box of Pin-Ups (1964): a box of poster-prints of 1960s celebrities including Terence Stamp, The Beatles, Mick Jagger, Jean Shrimpton, PJ Proby, Cecil Beaton, Rudolf Nureyev and East End gangsters, the Kray twins. The Box was an unusual and unique commercial release. It reflected the changing status of the photographer that one could sell a collection of prints in this way. Strong objection to the presence of the Krays by fellow photographer, Lord Snowdon, was the major reason no American edition of the "Box" was released, and that a second British edition was not issued. The record sale for a copy of 'Box of Pin-Ups' is reported as "north of £20,000". At Vogue Bailey was shooting covers within months, and, at the height of his productivity, he shot 800 pages of Vogue editorial in one year. Penelope Tree, a former girlfriend, described him as "the king lion on the Savannah: incredibly attractive, with a dangerous vibe. He was the electricity, the brightest, most powerful, most talented, most energetic force at the magazine". American Vogue's creative director Grace Coddington, then a model herself, said "It was the Sixties, it was a raving time, and Bailey was unbelievably good-looking. He was everything that you wanted him to be – like the Beatles but accessible – and when he went on the market everyone went in. We were all killing ourselves to be his model, although he hooked up with Jean Shrimpton pretty quickly". Of model Jean Shrimpton, Bailey said: "She was magic and the camera loved her too. In a way she was the cheapest model in the world – you only needed to shoot half a roll of film and then you had it. She had the knack of having her hand in the right place, she knew where the light was, she was just a natural." Since 1966, Bailey has also directed several television commercials and documentaries. From 1968 to 1971 he directed and produced TV documentaries titled Beaton, Warhol and Visconti. As well as fashion photography, Bailey photographed album sleeve art for musicians including The Rolling Stones and Marianne Faithfull. One of Bailey's most famous works depicts the Rolling Stones including Brian Jones, who drowned in 1969 while under the influence of drink and drugs. He is seen standing slightly apart from the rest of the group. Bailey was hired in 1970 by Island Records' Chris Blackwell to shoot publicity photos of Cat Stevens for his upcoming album Tea for the Tillerman. Stevens, who is now known as Yusuf Islam maintains that he disliked having his photo on the cover of his albums, as had previously been the case, although he allowed Bailey's photographs to be placed on the inner sleeve of the album. In 1972, rock singer Alice Cooper was photographed by Bailey for Vogue magazine, almost naked apart from a snake. Cooper used Bailey the following year to shoot for the group's chart-topping 'Billion Dollar Babies' album. The shoot included a baby wearing shocking eye makeup and, supposedly, one billion dollars in cash requiring the shoot to be under armed guard. In 1976, Bailey published Ritz Newspaper together with David Litchfield. In 1985, Bailey was photographing stars at the Live Aid concert at Wembley Stadium. As he recalled later: "The atmosphere on the day was great. At one point I got a tap on my shoulder and spun round. Suddenly there was a big tongue down my throat! It was Freddie Mercury." In October 2020 Bailey's Memoir "Look Again" in co-operation with author James Fox was published by Macmillan Books a review on his life and work.Source: Wikipedia David Bailey is an English fashion photographer best known for his images of celebrities, models, and musicians. Though he is also known for his photography book NWI (1982), which documented the process of gentrification in the London neighborhoods of Primrose Hill and Camden. Born on January 2, 1938 in London, United Kingdom, Bailey dropped out of high school to serve in the Royal Air Force where he developed an interest in the photography of Henri Cartier-Bresson. Returning to England, Bailey began working as the fashion photographer John French’s assistant. Over the course of the 1960s and 70s, the artist gained attention from the press after a string of high-profile marriages to Jean Shrimpton, Catherine Deneuve, and Marie Helvin. In 1965, he published his first photography book Box of Pin-Ups, a collection of black-and-white images portraying Mick Jagger, The Beatles, Twiggy, and Andy Warhol, along with several other celebrity figures. Bailey has gone on to receive the title of Commander of the Order of the British Empire from Queen Elizabeth II, and in 2016 a Lifetime Achievement award from the International Center of Photography in New York. The artist’s photographs are held in the collections of the National Portrait Gallery and the Victoria and Albert Museum in London. Bailey currently lives and works in London, United Kingdom.Source: Artnet
Xetobyte
Xetobyte
Italy
1990
Xetobyte is a 20 year old Italy student who creates Surreal Artworks. All of his photo manipulations where the darkness is dominating, rather than brightness.
Dora Maar
Dora Maar
France
1907 | † 1997
Henriette Theodora Markovitch, also known as Dora Maar, was a French photographer, painter, and poet who lived from November 22, 1907 until July 16, 1997. Dora Maar had an important role in the life of the famed artist Pablo Picasso, serving as his love partner. Picasso featured her in various paintings, including Portrait of Dora Maar and Dora Maar au Chat. She was the only daughter of Croatian architect Josip Marković, also known as Joseph Markovitch, who studied at Zagreb and Vienna before arriving in Paris in 1896. Her mother was Louise-Julie Voisin (1877–1942), a Cognac native raised in the Catholic religion. The family moved to Buenos Aires in 1910, where the father earned many commissions, including one for Austria-Hungary's embassy. Despite his success, he was "the only architect who did not make a fortune in Buenos Aires." Nonetheless, his accomplishments were recognized, and Emperor Francis Joseph I awarded him a decoration. In 1926, the family went back to Paris. Under the alias Dora Maar, she studied at the Central Union of Decorative Arts and the School of Photography. She also registered at the École des Beaux-Arts and the Académie Julian, both of which provide equal instruction to men and women. Dora Maar actively engaged in André Lhote's workshop, where she met Henri Cartier-Bresson. During her time at the École des Beaux-Arts, Maar encountered the fellow female surrealist Jacqueline Lamba. Reflecting on their connection, Maar expressed, "I was closely linked with Jacqueline. She asked me, 'where are those famous surrealists?' and I told her about cafe de la Place Blanche." Subsequently, Jacqueline started frequenting the café, eventually leading to her meeting André Breton, whom she would later marry. Dora Maar left the workshop and traveled alone from Paris to Barcelona and then to London. In London, she took images portraying the effects of the economic crisis that followed the Wall Street Crash of 1929 in the United States. She returned to Paris and, with the help of her father, opened another factory at 29 rue d'Astorg in the 8th arrondissement. In 1935, she met Pablo Picasso and became his companion and muse. She photographed the last phases of Picasso's colossal masterpiece, Guernica, in his workshop at the Grands Augustins. She also acted as a model for his artwork Monument à Apollinaire, which pays respect to the late poet Guillaume Apollinaire. Maar's earliest known images were from the early 1920s, when she used a Rolleiflex camera on a cargo ship destined for the Cape Verde Islands. In the early 1930s, she opened a photographic studio on rue Campagne-Première in conjunction with Pierre Kefer, a photographer and designer best known for his work on Jean Epstein's 1928 film The Fall of the House of Usher. Maar and Kefer worked together at the studio, largely on commercial photography for ads and fashion magazines. During this time, her father gave financial assistance as she faced the obstacles of establishing herself and earning a living. The studio rose to prominence, displaying fashion, advertising, and nude photography, and achieved tremendous success. Within the studio, Maar crossed paths with the photographer Brassaï, with whom she shared the darkroom. Brassaï once remarked on her "bright eyes and an attentive gaze, a disturbing stare at times." Dora Maar's work in commercial and fashion photography was heavily influenced by Surrealism, as evidenced by her extensive use of mirrors and harsh play with shadows. She felt that art should transmit the essence of reality by connecting with intuitions or ideas, rather than simply copying the visual qualities of nature. Notably, Dora Maar met Louis-Victor Emmanuel Sougez, a photographer who worked in advertising, archeology, and as the artistic director of the daily L'Illustration. She saw Sougez as a mentor during this time. In 1932, she had an affair with filmmaker Louis Chavance. Dora Maar joined the "October group," which formed around Jacques Prévert and Max Morise following their expulsion from surrealism. Her first publication was in the magazine Art et Métiers Graphiques in 1932, and she had her first solo show at the Galerie Vanderberg in Paris. The gelatin silver pieces from Dora Maar's surrealist era remain highly coveted by enthusiasts, especially works like Portrait of Ubu (1936), located at 29 rue d'Astorg. These black and white compositions include collages, photomontages, and superimpositions. The photograph features the central character from Alfred Jarry's renowned series of plays, Ubu Roi. Initially showcased at the Exposition Surréaliste d'objets at the Galerie Charles Ratton in Paris and later at the International Surrealist Exhibition in London in 1936, the piece gained notable acclaim. Additionally, Dora Maar participated in Participates in Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York during the same year. During her surrealist phase, Dora Maar found resonance with the political ideologies of the left, leading her to actively engage in political activities. Following the fascist demonstrations on February 6, 1934, in Paris, she, along with René Lefeuvre and Jacques Soustelle, supported by Simone Weil and Georges Bataille, signed the tract "Appeal to the Struggle," initiated by André Breton. Much of her artistic output during this period was strongly influenced by the leftist politics of the time, often portraying individuals thrust into poverty by the Great Depression. Dora Maar was involved in various leftist groups, including the "Masses," an ultra-leftist association where she first encountered Georges Bataille, as well as the Union of Intellectuals Against Fascism, an anti-fascist organization. She also participated in a radical collective of left-wing actors and writers known as October. She actively engaged in various Surrealist circles, frequently joining demonstrations, convocations, and café discussions. Dora Maar was a signatory of numerous manifestos, among them "When Surrealists were Right," penned in August 1935, addressing the Congress of Paris that had convened in March of the same year. In 1935, she captured a photograph of the fashion illustrator and designer Christian Bérard. Described by writer and critic Michael Kimmelman as "wry and mischievous, with only his head perceived above the fountain, as if he were John the Baptist on a silver platter." During the 1980s, Dora Maar created several photograms. Her final years were spent in her apartment on Rue de Savoie, located on the Left Bank of Paris. She passed away on July 16, 1997, at the age of 89. She was laid to rest in the Bois-Tardieu cemetery in Clamart. Posthumously, her experiments with photograms and darkroom photography were discovered.
Federico Borobio
Federico Borobio
Argentina
1961
I was born and currently reside in the city of Buenos Aires, Argentina. Since I was young I understood that I wanted to have many lives, that one life would not be enough to satisfy my desire to experience different realities. I was a lawyer, journalist, audiovisual producer, co-director of an alternative cultural space and a short film festival, cultural manager, teacher and, for more than eight years now, my obsession is to go out with my camera to let myself be surprised by people, places, situations, serendipities and that kind of beautifully unpredictable things. I love walking the streets, they are my jungle. I enjoy observing their dynamics and details, talking to people, learning about their lives, strengthening bonds, and that permeates my work. I see everything transforming in front of me in combinations of people, lights, colors, shadows. Besides, I always felt like a fish in water among the crowds, whether at a sporting event, a popular festival or a protest demonstration. That energy lifts me up. If I have to define genres, I could say that I do street, documentary and social photography, although I don't care about these kinds of labels. I wander, I interact, I search and search for myself, that's all. At this stage, in this life, what interests me most is to continue transforming myself through these experiences and evolving along with my photography. AAP Magazine AAP Magazine 36 Street
Thibault Belouis
Thibault Belouis
France
1992
After earning his degree in Graphic Design from the school of art direction and interior architecture Penninghen in Paris in 2015, Thibault Belouis worked as a iconographer for production companies specializing in photography and commissioned films. In 2018, he joined the production company Passion Pictures (Paris) as an art director. This international company, renowned for its documentaries and animated fi lms, has been recognized multiple times with Academy Awards. His professional and artistic focus is now on photographic, video, and sound works, exploring the existence of the world around him. He practices photography spontaneously, ranging from landscapes to street photography, aiming above all to capture a certain delicacy through a contemplative and slightly offbeat perspective. The relationship between reality and the image has always fascinated him. In June 2023, he decided to dedicate himself fully to his artistic sensibility, exploring photography, video, and sound. He then created the photographic series Magnetic Walk, a visual noir tinged with surrealism. That same year, his artistic commitment led him to travel across the Americas for one year, during which he produced Dias Tras Días, a series fi nalist for the Prix Bergger for Black and White Analog Photography 2025. His work was exhibited in November at an exhibition organized by Mathilde Virty in Paris. In 2026, he will participate in the KIOSKO residency program in Santa Cruz, Bolivia, to develop a project exploring the connection between memory and wild nature. Awarded Photographer of the Week - Week 04, 2026
Lorenzo Formicola
Lorenzo Formicola
Italy
1990
My Name is Lorenzo Formicola, I was born in Italy. After completing my degree in photography in Rome, I worked as an assistant for different photographers including Mario Testino, Peter Lindbergh and Craig McDean.My work is clean, with bright lighting, and shows my youthful visions and sensitivity to textures.
Yoong Wah Alex Wong
Yoong Wah Alex Wong
Malaysia
Dr. Yoong Wah Alex Wong grew up in Kuala Lumpur, Malaysia. He obtained Ph.D. from Bournemouth University, United Kingdom, MFA from Savannah College of Art and Design, Georgia, United States, BA from the Limkokwing University of Creative Technology, Malaysia. Since January 2003, he is appointed as a faculty member at Sabanci University, Istanbul, Turkey. He traveled to more than 60 countries, and he has been active in photography for the past 22 years. He has exhibited and showcased his artworks at various galleries and museums worldwide. He gave practical photography, video, and computer animation seminars and workshops at various acclaimed international academic institutions. Yoong Wah Alex Wong is a versatile and well equipped photographer and videographer, who takes his audience on magical and mysterious journey, through landscapes that are shrouded in mist and fog at the borderlands. His research in photography, video and cinematography works focus on borderlands, climate change, human and nature interrelationship issues. Wong's photographs are always memorable, can be surrealistic moment, and display resonance and meanings that are timeless. The cinematic influence in Wong's photographs is unmistakable and many of his photographs appear as if they are stills from an epic journey.
Sol Hill
Sol Hill
United States
1971
Sol Hill was born in Albuquerque, NM in 1971, to artist parents who founded the first contemporary art gallery in Santa Fe. His early memories were of being with his parents in their respective studios and of being in their gallery in Santa Fe. As a child the mysterious objects and paintings that pervaded the gallery intrigued him. Contemporary art works were prevalent both in the gallery and at home. Looking at those artworks felt like observing some secret alchemical language that Hill wished to learn. Growing up, Hill lived all across the United States, and in Jamaica and Germany. He majored in International Affairs and German at Lewis & Clark College in Portland, OR and at Maximilian Ludwig Universität in Munich, Germany. He also studied printmaking in college and then became deeply involved with photography while in Germany. He later returned to Santa Fe and founded Zen Stone Furnishings with his wife, a paper artist from Brazil. Together they designed and manufactured hand crafted home furnishings from stone, twigs, copper and handmade paper. After an intense medical crisis, Hill decided to dedicate himself to fine art. He went on to study photography at the Brooks Institute in Santa Barbara, where he received an MFA in 2010. Hill travels regularly and often to Brazil to visit his wife’s family. Travel has powerfully affected his vision as an artist. Although Hill uses some of the latest digital photographic equipment and embraces digital photography, he finds that he is drawn to the kind of liberation found in embracing the mysterious and unfamiliar rather than that which is crisply defined and well known.About Token Feminine:The mannequin is a token feminine used to impart cultural conventions of the idealized female image In this body of work I examine mannequins in storefront windows as symbols of consumer culture. I see them as emblems upon which the desire and fantasy of sex and fashion are draped and from which complex valuations of body image are ingested. The mannequin is a token feminine presence used to impart cultural conventions of the idealized female image. I dissipate these literal mannequin pictures by interrupting the expected information and accepting the digital noise, which are undesirable artifacts produced by false exposure, inherent to the process of capturing digital images. This allows me to explore the nature of the boundary between the reverie of the token feminine and the reality of the commercial icon.About Urban Noise:I seek stillness within the modern day information overload through the act of unconventional street photography. Urban Noise combines an exploration of the aesthetic and conceptual value of digital noise in photography with a contemplative study of the contemporary urban environment. Digital noise is a reviled artifact inherent to digital imaging. I challenge the notion that this artifact is inherently worthless by using it to render photographs into contemporary visual tropes. It is my tool to address the digital nature of the contemporary world. Digital noise is false exposure produced by energies other than light, namely heat, electrical current and “cosmic noise.” Cosmic noise is the term for invisible wavelength energies comprised in part of man-made signals from our built and technological environment mixed with the electro magnetic energy produced by human bodies. The resulting noise from these interfering energies transforms my photographs. The contemporary urban environment is flooded with so much extraneous information that we necessarily turn most of it into background noise to survive. There is so much conflicting information competing for our attention that I am intrigued by how we sort out what is worthy of our attention, from meaningless background noise. I seek my own stillness within the overwhelming cacophony of modern day information overload through the act of unconventional street photography.
Eszter Halasi
Eszter Halasi
Hungary
I am Eszter Halasi, a self-taught photographer from Hungary currently residing in England. With a passion for capturing meaningful moments, I specialize in portraits of children and families, and the ethnic group lifestyle. My goal is to challenge stereotypes and promote understanding through my images. Throughout my journey, I have received recognition for my work, including a bronze prize in the Budapest Photo Awards and honorable mentions in International Competitions. I continually seek opportunities for growth. I achieved second place in the Hungarian Press Photo, Portrait and Human Portrait category in 2021. I has been shortlisted on : Portrait of Britain (2022) and ( 2023), Global Peace Photo Award (2023), International Women in Photo Award 2023, Finalist at the BCN-DH International Photo Festival 2023 My photographs have been featured in online publications and exhibited at festivals, showcasing the diverse narratives I strive to capture. Through my lens, I aim to evoke empathy, challenge perceptions, and celebrate the beauty of life. As I continue to explore the art of photography, I am dedicated to telling compelling stories and making a positive impact through my images. I hope my work is a visual journey into the essence of human experiences. Whoever believes in the miracle of Csatka It will happen to them Every year around Mary’s Day, the Csatka Pilgrimage is held - this is when Roma families from all over the Carpathian Basin who believe in the mystery of the Csatka Holy Well travel to the village in Komárom-Esztergom county. . This year I visited the Csatka Pilgrimage for the first time, which I had only heard of before, and it became clear to me on the spot that it is a duty for a photographer of Roma origin to take pictures. This event still brings families together. Many meet their relatives once a year, who live far away. They settle down in the meadow next to the church, cook, chat, walk down to the wonderful spring, pray, light a candle. Joy, happiness and quiet humility permeate the whole pilgrimage - I tried to capture this in the pictures. Károly Eötvös, a renowned jurist and equally famous storyteller of the turn of the century, said that the Csatka pilgrimage began in 1867. The Catholic Church did not officially recognize Csatka as a place of pilgrimage, only as a place of worship. The pilgrimage is also a real social event in the life of the gypsies, besides religion: many baptize their children here, but marriages are also common, and business deals are made in the tents and tables set up on the nearby hilltop. Many poured the healing water of the holy well into empty bottles, fewer into smaller ones, and before or after they all visited the Virgin Mary chapel, which József Csöbönyei built in 1862 in the middle of the beautiful valley, because the mother of the Son of God appeared to the hermit. at this place.
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Robert Mack is a California-based visual artist, photographer, and filmmaker. His fine art photography and films have been exhibited widely in the United States and Europe, with major shows at the Baltimore Museum of Art and the Reiss-Engelhorn Museum in Mannheim, Germany. Both institutions hold his work in their permanent collections. Working across different media, Mack has built a career exploring the complexities of human presence and representation. In 1981, while living in Baltimore, he produced The Perkins Project: Not Guilty by Reason of Insanity, a rare photographic and film study inside Maryland’s hospital for the criminally insane. These stark yet compassionate black-and-white portraits remain one of his most powerful and controversial bodies of work.
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