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Tom Chambers
Tom Chambers
Tom Chambers

Tom Chambers

Country: United States
Birth: 1955

Photographer Tom Chambers was raised in the Amish farm country of Lancaster, Pennsylvania. Tom completed a B.F.A. in 1985 from The Ringling School of Art, Sarasota, Florida majoring in graphic design with an emphasis in photography. Since 1998 Tom has exhibited photomontage images from ten photographic series both nationally and internationally in twenty three solo exhibitions and over seventy group exhibitions and art fairs. Tom’s work has been published in multiple publications and books and has received fellowships from the Virginia Museum of Fine Arts and the Virginia Commission for the Arts.

Statement
Through photomontage I present unspoken stories which illustrate fleeting moments in time and which are intended to evoke a mood in the viewer. These mythical illustrations might address the fragility of childhood or the delicate transition experienced by a child passing into adolescence and then adulthood. Others express the tension in the uncertain coexistence between man and his environment, a delicate balance too often ignored and damaged. Each photomontage is carefully constructed, using both images that have been planned and those that unexpectedly enhance the story. With digital photography I desire to move beyond documentation of the present, and rather seek to fuse reality and fantasy in musing about possibilities of the future.

Galleries

Photo-Eye Gallery

Gilman Contemporary

Snap! Orlando

Website

www.tomchambersphoto.com

 

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More Great Photographers To Discover

Jean-Francois Jonvelle
Jean-Francois Jonvelle
France
1943 | † 2002
Jean-François Jonvelle, born on October 3, 1943, in Cavaillon was a French photographer of fashion, glamor and portraiture. Work on the release of 20 ans magazine and then work on Dim, Dam, Dom, Vogue, Stern, Gala, Elle. In the 1960s, Jonvelle was assistant to Richard Avedon. During his career, he made many portraits of women, often his friends: natural young people, often naked, unconcerned. Unlike other fashion and glamor photographers, who offer a provocative woman, Jean-François Jonvelle's performance is much softer, more natural, more jovial but equally sensual. He died at the age of 58 years of terminal cancer, 15 days after it was detected on January 16, 2002, in Paris.Source: Wikipedia Jean-François Jonvelle was snatched by the hand of death with a suddenness to match the photographs that were his life. Just as that life was dedicated to capturing these stolen moments, so death followed suit, carrying him off in the midst of life. A tumor was discovered in early January, a final farewell just a fortnight later. He was gone in a flash. As I turn the pages of my friend’s last book my eyes mist over. My tears dissolve Jonvelle’s photographs into the soft focus of a David Hamilton. Jonvelle’s work is often described as being – in the time-honored formula – ‘sexy but not vulgar’. I prefer his own description of what he sought out: ‘la poésie du quotidien’, ‘the poetry of the everyday’. Photographs freeze moments of truth, all you have to do is choose the ones that do it best. "I tell myself that the present and the future don’t exist", he also used to say. "Everyone, every day, creates their own past." The quality that makes his images more moving than the rest is their vulnerability. Jonvelle taught me one crucial lesson: in photography, as in literature, what counts is feeling. Eroticism and tenderness are not sworn enemies. A downy arm, the frail nape of a neck, an uptilted breast, the curve of a back beneath the sheets, damp hair, closed eyelids, the trace of a kiss on the neck all these can be arousing. Jonvelle’s women are fresh and natural because they are unaware of our gaze. Jonvelle makes adoring voyeurs of us all. He shows us why heterosexuality can be so painful: everywhere, in every house and every bathroom, paradise lurks. Paradise delicately removes her T-shirt, brushes her teeth, buttocks pert, the curve of her breasts taut, timeless. Suddenly paradise parts her legs in silence, biting her fingernails as she looks you straight in the eye, teasing you as she waits for you on the sheets. Jonvelle is in paradise now, but for him nothing has changed: he was already there in his lifetime. As I gaze in wonder, the way I always do, at these images, so far removed from the familiar clichés, my thoughts turn to the beautiful women he immortalized. Photographs fix the fleeting, immortalize the ephemeral. Many of the women Jonvelle photographed are now old or dead, but – thanks to this photographer who is now also dead – their perfection will never fade. Every one of Jonvelle’s photographs is a declaration of love. One day, at my request, he photographed Delphine Vallette, the mother of my daughter. I wanted to give this brunette whom I loved a portrait. Never have I felt such a cuckold – though in the most erotic of ways. Beauty is an evanescent mystery that some artists have the ability to capture. As I look again at these wonderful images, I’m reminded of the title of that American comedy Drop Dead Gorgeous. Jonvelle’s work as a whole is not an ode to femininity; the story it tells is of the battle to vanquish death by means of the celebration of desire. All these shoulders caught by surprise, these half-seen breasts, these finely- arched insteps, these flawless backs, this sensual solitude, this calm between two storms, all these beautiful women who don’t give a damn are simply doors softly opened, through which we may catch a glimpse of eternal life. -- Frédéric Beigbeder Jean-François Jonvelle was born in 1943 in Cavaillon, south of France. Soon he will sell famous melons to buy Hasselblad. Its inspirations will come from the painting of Balthus, Bacon, of Schiele, but the true influence comes from films from Mankiewicz, Lubitsch, Fritz Lang, Orson Welles, Arthur PEN, Minnelli and more recently of Terry Gillian of which it acknowledges to have seen eleven times the film Brazil; Finally its preferred film: Jules and Jim of François Truffaut. In 1959, it is the photographer George Glasberg who initiates him with photography while making him make the turn of France of the cathedrals. It is a photographic revelation which will leave it never again. At the age of 20 he becomes the assistant of the American photographer Richard Avedon. After this enriching experiment he becomes his own 'Master' whose favorite subject will be the woman. Her mom and her small sister of whom he always was very near will be her 'first agreeing victims'. Then come the first 'muse' and accomplice, Tina Sportolaro whom he meets in 1982 and with which he carries out some of his more beautiful images. Will be then Béatrice, Myriam and many others.Source: The Eye of Photography
Shannon Taggart
Shannon Taggart
United States
Shannon Taggart is an artist and author based in St. Paul, MN. In a past life, she contributed to printed publications including TIME, Newsweek, New York Times Magazine, Discover, New York, Wall Street Journal and Reader’s Digest. Her work has been exhibited internationally and recognized by PDN, Nikon, Magnum Photos + Inge Morath Foundation, American Photography, International Photography Awards and the Alexia Foundation for World Peace. Her first monograph, SÉANCE (Fulgur Press), was published in 2019. Currently, she is working on an illustrated book about The Society for Research on Rapport and Telekinesis (SORRAT), one of the most exotic cases within the history of psychical research.Source: www.shannontaggart.com As a teenager, photographer Shannon Taggart was introduced to the world of spiritualism after a medium told her cousin details about her grandfather’s death that proved to be true. The reading had taken place at the Lily Dale Assembly in New York, the world’s largest spiritualist community. Curious but with reservations, Taggart headed to Lily Dale to delve into the history of spiritualism thinking she would learn what all the tricks of the trade were, but she didn’t end up getting the explanations she thought she would. Instead, she discovered a mysterious world she began to document with her camera. She certainly wasn’t the first photographer to do this, as spiritualism and spiritualist photography have long been connected. Both surfaced in the mid-1800s in Rochester, N.Y.,—home of Kodak. At the time, spiritualists naturally gravitated toward this new technology in hopes of recording what they had been experiencing. One of the most well-known spiritualist portraits of this era purports to show the ghost of President Abraham Lincoln with his hand placed nonchalantly on the shoulder of his wife, Mary Todd Lincoln. When Taggart first began taking photos at Lily Dale, she remained an observer. After the first year, she became involved as a student and a participant while continuing her photography. Although at first she had a hard time understanding spiritualism, Taggart was curious and said she has since experienced numerous mysterious experiences that have helped her tap into her own creative process. One of these inexplicable events occurred during one of her first visits to the Lily Dale Museum. Taggart said that a large purple orb appeared on the shoulder of a woman she was photographing, but she wasn’t shooting into the sun. “When I brought a copy back for her, she calmly said, ‘Oh, that’s Bob,’ her deceased husband. She was thrilled with the picture,” Taggart said. Taggart was also interested in physical mediumship, which claims to involve perceptible manifestations—such as loud raps or voices—and is practiced outside the New York community. While at Lily Dale, she met a medium who suggested she visit England, where, along with other parts of the United Kingdom and Europe, a “new age of physical mediumship” was happening. Taggart said one of the strangest things she witnessed happened during the mediumship of Gordon Garforth, a deep trance and physical medium in Stansted, England. Garforth told Taggart that his hands enlarge during his séances. About 20 minutes into one, Garforth’s wife, who operates as his “spirit control,” said that the spirits were going to work with his hands. While seated under a dim red light, Garforth held out his hand to Taggart. “Unbelievably to me, it seemed to effortlessly stretch, and the entire hand became large, instantly. I gasped and yelled ‘Oh my God!’ ” Taggart remembered. She said that the 30 other people in the room also reacted with amazement; she worried the experience was merely “hypnotic” and that her camera, set to one-second exposures, wouldn’t capture the growth. “The photographs made seem to confirm a distorted large hand … I was able to sit with Gordon on two additional occasions and I saw the same thing,” Taggart said. While some of her experiences struck Taggart as downright supernatural, some of her images were more straightforward, including her photo of bent spoons. It may not come as a surprise to learn the spiritualists bend them with their hands as a sort of symbolic connection to what they believe to be possible. “It is taught as an exercise of the power of the mind, a physical example of our ability to do things that seem impossible,” said Taggart of her most asked-about image.Source: Slate
Zakaria Wakrim
Zakaria Wakrim
Morocco
1988
Zakaria Wakrim, born in 1988, lives and works between Spain and Morocco. His early photoworks were quite experimental, willing to explore perceptual human boundaries using all sort of experimental means. After being catalogued as one of the "Emerging Artists" in his homeland, he started applying his experimental means to create a deep reflexion around the concepts of Change and Identity. The result consists in layers of visual stories that have a narrative and a conceptual side. His visual research is constant; he believes that the photographic language is organic.His photo series are willing to occupy the narrative field, stories that give sense to local identity. The fast sense of change that is happening in North Africa blurs the frontiers between the old and the new. The intersection is hard to state as the old is easily forgotten and scavenged by the new. Documenting the sense of change, becomes a way to understand it better, in order to deal with identity as a starting point for culture.
Jon Kolkin
Jon Kolkin
United States
Jon Kolkin has rapidly drawn the attention of the art world due to his ability to look at his subject matter from a very fresh, original and unique vantage point. He is known for his minimalist style, stripping away all distractions and focusing on the sole of his subject matter. Each body of work typically contains numerous plots and subplots, often with a socially relevant underlying theme. Like many artists before him, Jon has had a love affair with both the arts and the sciences. He was first introduced to photography as a young boy working in his father’s darkroom. He expanded his artistic horizons, becoming a nationally recognized clarinetist who toured Europe with the National Youth Symphony. These passions, combined with his fascination with the sciences, resulted in Jon’s decision to pursue a major in chemistry at Emory University with a minor in the Arts. After college he received a degree in Medicine. However, he never abandoned his love for the arts, taking photography courses at night while simultaneously completing his residency in Orthopedics. He is the only professional photographer from the Southeastern United States to serve on the faculty of both the Santa Fe and Maine Media Workshops. Jon is also a trained health coach who is nationally recognized as a guest speaker and educator on topics related to finding wisdom and a healthy balance within our lives.
Orna Naor
Orna Naor
Israel
1960
My name is Orna Naor, a street and documentary photographer from Tel Aviv. In my work, I focus on human moments and gestures, touches, and looks. I shot around the world; Everywhere I try to show the faces of people, wherever they are; whether it's about different ceremonies, different cultures, and places, in everyday life and on holidays - human faces are revealed. At the same time as street photography, I focused in recent years on documentary series photography. In all these projects, my goal is one - to regain humanity to humanity. And if one picture touches one person - I'm glad. My works are shown in exhibitions in Israel and around the world (Local Testimony, Tel Aviv Sea, Israel Photography Festival, Miami Street Festival, Streets Sans Frontieres, London Street Festival, EinZweiBlicke, and others) and were published in a variety of magazines and newspapers ("Haaretz" blog, L'Arch Magazine, Lens Magazine, 50 shades of black, and others)
Benjamin Barakat
Benjamin Barakat
Lebanon/United Kingdom
1987
Benjamin Barakat is a Lebanese/English astrophotographer born in England in 1987. He hosts seminars, workshops & photography expeditions internationally around the world teaching others about the night sky and how to capture it. He is based out of Switzerland where he is also a researcher at the highest observatory in Europe the Sphinx Observatory on top of Jungfraujoch at 3571m above sea level. He began photography in 2018 and since then has won many awards and competitions around the world. In 2021 & 2022 he was titled Milky Way Photographer of the year! His work has been featured by National Geographic, CNN, BBC, Forbes, Guardian, Vice and many more. Benjamin's main focus has been in the Middle East, venturing to places others dare not to go. He wants to raise awareness and share the beauty of the middle eastern landscapes and night skies.
Martin Munkácsi
Martin Munkácsi
Hungary
1896 | † 1963
Martin Munkácsi (born Mermelstein Márton; Kolozsvár, Hungary, May 18, 1896; died July 13, 1963, New York, NY) was a Hungarian photographer who worked in Germany (1928–34) and the United States, where he was based in New York City. Munkácsi was a newspaper writer and photographer in Hungary, specializing in sports. At the time, sports action photography could only be done in bright light outdoors. Munkácsi's innovation was to make sports photographs as meticulously composed action photographs, which required both artistic and technical skill. Munkácsi's legendary big break was to happen upon a fatal brawl, which he photographed. Those photos affected the outcome of the trial of the accused killer, and gave Munkácsi considerable notoriety. That notoriety helped him get a job in Berlin in 1928, for the Berliner Illustrirte Zeitung, where his first published photo was a race car splashing its way through a puddle. He also worked for the fashion magazine Die Dame. More than just sports and fashion, he photographed Berliners, rich and poor, in all their activities. He traveled to Turkey, Sicily, Egypt, London, New York, and famously Liberia, for photo spreads in the Berliner Illustrirte Zeitung. The speed of the modern age and the excitement of new photographic viewpoints enthralled him, especially flying. There are aerial photographs; there are air-to-air photographs of a flying school for women; there are photographs from a Zeppelin, including the ones on his trip to Brazil, where he crosses over a boat whose passengers wave to the airship above. On March 21, 1933, he photographed the fateful Day of Potsdam, when the aged President Paul von Hindenburg handed Germany over to Adolf Hitler. On assignment for the Berliner Illustrirte Zeitung, he photographed Hitler's inner circle, although he was a Jewish foreigner. In 1934, the Nazis nationalized the Berliner Illustrirte Zeitung, fired its Jewish editor-in-chief, Kurt Korff, and replaced its innovative photography with pictures of German troops. Munkácsi left for New York, where he signed on, for a substantial $100,000, with Harper's Bazaar, a top fashion magazine. In a change from usual practice, he often left the studio to shoot outdoors, on the beach, on farms and fields, at an airport. He produced one of the first articles in a popular magazine to be illustrated with nude photographs. His portraits include Katharine Hepburn, Leslie Howard, Jean Harlow, Joan Crawford, Jane Russell, Louis Armstrong, and the definitive dance photograph of Fred Astaire. Munkácsi died in poverty and controversy. Several universities and museums declined to accept his archives, and they were scattered around the world. Berlin's Ullstein Archives and Hamburg's F. C. Gundlach collection are home to two of the largest collections of Munkácsi's work.Source: Wikipedia
Bernard Benavides
Bernard Benavides
Spain
1980
Bernard Benavides (Barcelona, 1980), photographer, licensed by the Gris Art School Barcelona, in 2011, has developed his professional and artistic career through his passion for travel and photography. Always interested in the remote cultures of distant countries, with which he establishes a personal and close link to meet in person, to experience the day to day of the ethnic group, its culture, its rituals and its particular landscapes and lost paradises. This has marked the pulse of his travels and allowed him to perceive each face and each landscape uniquely. He is an avid traveler who takes the opportunity to escape and travel the world with his camera and backpack. He likes the most complicated challenges and trips. Since different events occur in the interests of today's world, his preference is always social photography. He believes that it is not the experience itself, but the meaning that he gives to the experience. His professional and artistic career began at the age of thirteen. Having personally experienced the Civil War of El Salvador for three years, it marked the rest of his life and had an important influence on the decision to direct his career to photojournalism. In 2011, due to personal and professional stability gained from the cultural exchanges experienced in his previous trips, as well as for the discovery of new places such as Kano, Nigeria, he adopted a different and more critical outlook when discovering and documenting the ethnic political conflict between Christians and Muslims. Nigeria was a country where he developed a high degree of personal and professional learning. His long trips through Central Asia, South East Asia, America, Australia, and currently a two-year trip through Africa, have led him to enjoy and document with his lens, the native peoples and especially the fascination of living with tribes.
María Tuleda
María Tuleda
Spain
Nurse by profession, I discovered photography by chance a little over a decade ago and since then I have dedicated part of my free time to taking photos. Self-taught, I conceive photography as an instrument to create, tell and transmit, but above all to feel. I do not follow norms or rules, and I confess to being more interested in suggesting than in the photographic technique itself. There's something nostalgic and beautiful about decadence, and maybe that's why almost all of my shots end up having a certain decadent feel to them. I have no idea why I make the images I make, I guess we look with a camera as we are, or one day we were. My photos are simply a visual diary, they show what I see, and how I felt. Photography allows me to return to that childlike curiosity, which makes me want to explore not only in the world, but within myself. When they ask me what I want to express with my photos or my way of creating them, the answer is simple: Provoke, simply provoke some sensation. A few years ago I decided to show my images on social networks, opening up a range of opportunities to disseminate my work, but if I have to choose a medium where I can express myself through photography, it is the photobook. Being able to create a visual narrative, with a set of photos between sheets of paper inside a book, has been a wonderful experience, yes, I confess, photobooks have me fascinated. On many occasions I don't know why some of the images I make exist. And honestly, I don't care to know. The birds What do birds represent in artistic photography? It is a simple filler in the composition, with the purpose of making it more attractive and attracting the viewer, or for the author, it has a meaning. The answer may be a little of both. It is easy to find the presence of symbols in creative or artistic photography, including birds. Jennifer Ackerman, a bird scholar, after spending time observing them, came to the conclusion that birds remember, think, feel, give gifts and love. And they also fly, and that is what makes them so special, that is what arouses so much interest and at the same time envy: the ability to fly. The author of the wonderful novel "Rebecca", Daphne du Maurier, is also the author of the story about "The Birds" in the Alfred Hitchcock film. Horror story where roles are exchanged, giving way to the revolution of the birds, and they are the ones who keep humans locked up, imprisoned and caged in their homes. Leonardo da Vinci's obsession with understanding the flight of birds led him to make a study and treatise on flight while painting the Mona Lisa. Some of the discoveries he made anticipated the foundations of modern aeronautics. Hundreds of birds fly over the Prado Museum of various species, a recent study reveals that there are nearly 700 paintings that illustrate frozen birds through the brushes of artists such as Rubens, Hieronymus Bosch or Goya. It is evident that birds have always aroused a lot of interest throughout history, and without a doubt they have been and are sources of inspiration, not only in art. But really, in artistic photography, what do they symbolize? The Mexican photographer and lady of symbols, Graciela Iturbide, is clear: "Birds are the eyes that help me fly." She claims that she loves them and for her they represent freedom. I share Graciela's considerations about the concepts she attributes to birds for her creations. I have no idea why they are so present in my work, why I go out into the world with my camera, sometimes, even with the sole intention of looking for them and photographing them. When they ask me what I want to express with their presence, I feel perplexed for not having a clear answer. I wish I could give you an exact answer about the important message behind this work. Birds, above all for me, are symbols of vision and freedom perfectly outlined in the process of the concept of creation, and at the same time, a metaphor alluding to an infinite number of things. My photos are simply a visual diary. They show what I see or what I saw, and how I felt. Photography allows me to return to that childlike curiosity, which makes me want to explore not only in the world, but within myself. On many occasions I don't know why some of the images I make exist. And honestly, I don't care to know. For others, the presence of birds perhaps blurs the composition, or they are representations that are too disturbing or tedious, and therefore contrary to what I intend to provoke, but perhaps that disparate vision that photography provokes is not part of its magic.
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Call for Entries
AAP Magazine #55 Women
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