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Darin Back
Darin Back
Darin Back

Darin Back

Country: United States

Darin Back is mostly known by his stark black and white portraits he's been shooting since 1992. He started his career in the early 1990's after a small photography trade school, he left early to work as an assistant. He spent two years assisting in Minneapolis, a modeling season (1991-1992) in Miami assisting photographers for German Vogue, Italian Vogue. Eventually he went west to Los Angeles (1993-1995) to assist with Greg Gorman, Dewey Nicks for a few years. After working on his first advertising commercial he met Lori Goldstein, the stylist for photographer Annie Leibovitz. After a few assignments with Annie, he headed back to Minnesota for 12 years (2001-2013). During that time he was represented by Redux Pictures from 2009-2014. Darin headed east and north to Maine (2013-14), lived in a train caboose for a year, trying to find some much needed rest and inspiration. He finally made his way back home to Florida where he continues to shoot portraits, live on the beach and travel.

He won 2nd place in the "Single Series Image" published April 1, 2020 in Lensculture

Websites

www.darinbackphoto.com

www.instagram.com/dback

 

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Nando Morales
Nando Morales
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Amateur photographer addict and seduced by nature, trying to one day be able to devote myself 100% and not have it as a hobby. Started in the world of photography, when I was very young and my sister gave me my first film camera. From that moment I do not remember having been without a camera in my hands until today. I feel good and happy especially doing landscapes and wildlife photography and enjoying the environment in which I am. Always that I can, travel around the world and meeting good friends. In each photo I try to convey the experience I feel when I'm behind the camera.
Tatsuo Suzuki
Tatsuo Suzuki
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Born in 1965 in Tokyo. Living in Yokohama,nearby Tokyo today. Started shooting in 2008. Mainly shooting Tokyo streets,also recently shoot portraits in Tokyo Streets. My aim to shoot the street is to show how the world is beautiful,interesting,wonderful and sometimes cruel. By means of photography and through my own eyes with my gear. I'm so happy and glad when someone feels some emotion when they see my shots. This year, June 2020, my first book has been published from STEIDL. 'Friction / Tokyo Street' Selected Awards 2015 LensCulture Street Photography Awards Finalist Miami Street Photography Contest Finalist ND Awards Photography Contest 1st Place (Street Category) 2016 San Francisco Street photo contest Finalist LensCulture Street Photography Awards Finalist ND Awards 2016 Street Category 1st Place Steidl Book Award Japan Winner 2017 The Fence 2017 Street Category Winner The Independent Photographer Competition Winner / May Theme Portrait London Street Photography Festival 2nd Place,Series Category LensCulture Street Photography Awards Finalist 2018 Head on portrait prize finalist
Martin Usborne
Martin Usborne
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Martin Usborne is primarily a portrait and fine art photographer who has had his work published in publications such as The British Journal of Photography, time.com, The Guardian and Das Magazin, as well as being shown in major galleries both in the UK and US. He has recently completed a two-year personal project entitled The Silence of Dogs in Cars. The images are to be published as a large, hand bound, beautifully printed photography book in October this year.
Shelby Lee Adams
Shelby Lee Adams
United States
1950
Shelby Lee Adams is an American environmental portrait photographer and artist best known for his images of Appalachian family life. Adams has photographed Appalachian families since the mid-1970s. He had first encountered the poor families of the Appalachian mountains as a child, travelling around the area with his uncle, who was a doctor. His work has been published in three monographs: Appalachian Portraits (1993), Appalachian Legacy (1998), and Appalachian Lives (2003). Adams was the subject of a documentary film by Jennifer Baichwal in 2002 - The True Meaning of Pictures: Shelby Lee Adams's Appalachia. This was shown at the Toronto International Film Festival, and at the Sundance Festival in 2003. The film critiques and defends Adams' method in photographing Appalachian people for his previously published books.Source: Wikipedia Born in Kentucky in the town of Hazard, and later living with his grandparents in Hot Spot, Shelby Lee Adams discovered photography and the arts in high school. It was during this time that the Peace Corps sent a film crew to his town to document the poverty of Appalachia, which sparked Adams' interest in the documentary style. He attended the Cleveland Institute of Art, where in his sophomore year he was exposed to the photographs of the Farm Security Administration. These pictures document the debilitating effects of the Depression in the South during the 1930s. Adams was able to relate to the images and the subjects, inspiring him to make the pictures for which he is now best known, his photographs of the people and culture of Appalachia. He began this project in 1973 and although he has done editorial work for publications like Fortune, GQ, New York Magazine, and the New York Times, he primarily focuses on portraits of the people of Appalachia. Shelby Lee Adams works primarily in black and white. He began with a 35mm camera and then switched to a 4x5. His crisp, poignant images show the people of Appalachia in their simple environments, revealing both the heroic and grotesque side to secluded mountain life. Adams photographs his subjects with an emphasis on the unpretty beauty of their immediate surroundings and their worn faces and clothes, their rudimentary living conditions starkly contrasted against the backdrop of a sublime landscape. But they are not depicted as victims; they confront the camera proudly and matter-of-factly. Shelby Lee Adams considers his subjects his friends, which no doubt lends a level of comfort to the shooting sessions, as they face his large camera. In his most recent work, Adams documents the infiltration of progress and media into the folkways of the Appalachian people, capturing the displacement of an agrarian economy. Drawn to the attractions of pop culture and modern life, the Appalachian people are losing interest in living off the land. Adams' work has received a great deal of recognition. He is the recipient of a survey grant and photography fellowship from the National Endowment for the Arts (1978, 1992), along with an artist support grant four years running from the Polaroid Corporation (1989-92). His photographs are held in the permanent collections of many museums, including the Museum of Modern Art and the Whitney Museum of American Art, both in New York, the Art Institute of Chicago, the Smithsonian American Art Museum in Washington, D.C., the Harvard Fogg Museum in Cambridge, and the Victoria and Albert Museum in London.Source: International Center of Photography
Flip Schulke
Flip Schulke
United States
1930 | † 2008
Flip Schulke was an American photographer, born Graeme Phillips Schulke. He grew up in New Ulm, Minnesota. Schulke's nickname "Flip" came about from his interest in gymnastics. He graduated from Macalester College, then moved to Miami. He taught briefly at the University of Miami, then began working as a freelance photographer. He worked for Life , and covered a variety of events, including the Cuban revolution. In 1962, he visited and photographed the Berlin Wall. Schulke began photographing the civil rights movement in the American south as early as 1956. He formed a bond with civil rights activist Martin Luther King, Jr. after an all-night conversation in 1958, and began photographing him. King invited Schulke to photograph secret planning meetings of the Southern Christian Leadership Conference, though not all of the activists trusted him being there. He also photographed the 1963 March on Washington and the 1965 Selma to Montgomery March. 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They think about drama. You've got to know where to point your camera. -- Flip Schulke When the Berlin Wall came down, thousands of people from around the world converged to celebrate the end of over 40 years of a divided Europe. Among them was American photojournalist Flip Schulke, who had visited the wall many times since it was erected in 1961 in an attempt to document what he described as "man's physical ability to build a bastion between himself and his own dignity, if he tries hard enough". As he mingled with the crowd, he heard on their lips not a German protest song, but the famous American civil rights anthem "We shall overcome". It was a song he knew well. As a photojournalist in the 1950s and 1960s, Schulke captured many significant moments in the nation's struggle for civil rights in the 1960s, such as the marches to end segregation from Selma to Montgomery, Alabama, and Martin Luther King's funeral in 1968. After the Berlin Wall went up in 1961, Schulke brought his civil rights experiences with him as he attempted to capture the wall's symbolic and physical power. "This is the wall that fear built," Schulke wrote in notes during his visit to the wall in 1962. "This was the wall where hate stood guard, and men stooped much lower than angels. On one side it was bright and clean from the sun of freedom. (On) the other dark and bitter - the rot of slavery." Comprised of bricks, mortar, steel wire and jagged glass fragments to deter climbers, the wall both appalled and shocked Schulke, who described it as having a "jerry built" look. "It just can't be real," he noted, adding that the wall was a "monument to human misery" that "splits the world in half like a melon". He recalled how on the western side German children played tag in the shadows of tank traps while on the other side children stood "dull-eyed and pinch-faced in darkened doorways - wondering how one learns to laugh". 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Schulke saw both the wall and the civil rights movement as part of "a greater conflict over universal human freedoms," says Truman, who became the archivist of Schulke's photo collection after the photographer's death in 2008. "Similarities always exist in the artist's eyes." Schulke was far from alone in seeing the parallels between division in America and in Berlin. Even before the famous "Ich bin ein Berliner" speech by President John F Kennedy, his brother Robert Kennedy came to Berlin as US Attorney General in February 1962. "For a hundred years, despite out protestations of equality, we had, as you know, a wall of our own - a wall of segregation erected against Negroes," Kennedy said. "That wall is coming down."Source: BBC
Colin Jones
Colin Jones
United Kingdom
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Colin Jones is an English ballet dancer-turned-photographer and prolific photojournalist of post-war Britain. Jones documented facets of social history as diverse as the vanishing industrial working lives of the North East coalfields, Grafters, delinquent Afro-Caribbean youth in London, The Black House, hedonistic 1960s Swinging London with pictures of The Who early in their career, the 1963 race riots in Alabama, Soviet Leningrad, and remnants of a rural Britain now lost to history. Jones was born in 1936. He experienced a war childhood; his father, a Poplar, East End printer, went away as a soldier on the Burma campaign. Jones' family was evacuated to Essex and he attended a succession of thirteen schools whilst struggling with dyslexia, before the age of sixteen, when he took up ballet lessons. In 1960 Jones was called up for national service and served in the Queen's Royal Regiment. Fresh out of the army, Colin joined the Royal Opera House, later moving to the Touring Royal Ballet and embarked on a nine-month world tour. Jones met, and for four years was married to, the great ballerina Lynn Seymour. Whilst on tour and running an errand for Dame Margot Fonteyn, he purchased his first camera, a Leica 3C rangefinder, in 1958 and started taking photographs of the dancers and backstage life during the Australian leg of the circuit. Jones admired the available-light backstage photography of Michael Peto, a Hungarian émigré, who agreed to mentor him. Colin Jones took advantage of the ballet company's travel to photograph extensively in the streets of Tokyo, Hong Kong and the Gorbals, Glasgow in 1961. Driving with fellow dancers from Newcastle to Sunderland that year, he saw, north of Birmingham, coal searchers on the spoil-heaps. In 1962, having changed his career to become a photographer for The Observer he returned to produce a series of photographs recording the vanishing industrial working poor and mining communities in the North East of England, later publishing the essay as the book Grafters. At The Observer he worked alongside photographers Philip Jones Griffiths and Don McCullin. He worked in Fleet Street for several years before turning freelance. Commissioned assignments took him to New York City in 1962; Liverpool docks in 1963; the race riots in Birmingham, Alabama, USA, where he made portraits of both 'Bull' Connor, and Dr Martin Luther King in 1963; Leningrad, USSR in 1964. In 1966 he photographed the British rock band The Who at the beginning of their career, and Pete Townshend, then Mick Jagger in 1967. He travelled to the Philippines in 1969 where he photographed the sex trade. He portrayed significant dancers, including Rudolph Nureyev for several publications. Jones’ work has been published in major publications including Life, National Geographic, Geo and Nova as well as many supplements for major broadsheet newspapers, most prominently The Times, who dubbed Jones "The George Orwell of British photography". In his later career he covered assignments around the world, including Jamaica in 1978; the indigenes of the New Hebrides and Zaire in 1980; Tom Waits in New York, 1981; San Blas Islands in 1982; Ireland in 1984; Xian, China in 1985; Ladakh in northern India 1994 and Bunker Hill, Kansas in 1996. Solo exhibitions have been devoted to his work: The Black House: Colin Jones at The Photographers' Gallery in London, 4 May – 4 June 1977 as well as at many other galleries. Martin Harrison’s Young Meteors associated Jones with other important British photographers including Don McCullin and Terence Donovan. In 2013 the Victoria and Albert Museum acquired three of Jones' historic photographs from The Black House series, along with a photograph by Dennis Morris depicting the original Black House associated with Michael X, both acquired as part of Staying Power, a five year partnership between the V&A and Black Cultural Archives, preserving black British experience from the 1950s to the 1990s through photographs and oral histories. The Arts Council also purchased his work.Source: Wikipedia The art of photography remains so fascinating because of the individuals who arrive from unexpected places and take the medium through a lifetime of changes. The career of Colin Jones has a startling trajectory. He was born in 1936, in time to be a war child, a father away as a soldier, and 13 different schools. An element of chance, as well as talent, led to a scholarship at the Royal Ballet School. The moment that defined Jones's later life occurred as he was driving with fellow-dancers from Newcastle to Sunderland one day in 1961. Travelling north of Birmingham and seeing the winding gear of coalmines had always excited Jones, who was steeped in the books of George Orwell, but now he saw the extraordinary drama of spoil-heaps swarming with coal searchers - an epic of reality and survival. Colin Jones is one of the most celebrated and prolific photographers of post-war Britain. He has documented facets of social history over the years as diverse as the vanishing industrial working lives of the Northeast (Grafters), delinquent Afro-Caribbean youth in London (The Black House), and most recently, the high-octane hedonism of Swinging London with his famous pictures of The Who early in their career. His work has been published in every major publication with any regard for the image and photography. Such as Life, and National Geographic, as well as many supplements for the major broadsheets. He has had solo exhibitions at the National Gallery of Art in Washington DC and at the Photographers Gallery in London, as well as at many other venues internationally.Source: Michael Hoppen Gallery
Marco Di Marco
Marco Di Marco
Italy
1987
Marco Di Marco is a Sicilian visual journalist and photographer based in Reykjavík, Iceland. He began documenting the eruptions of Mount Etna in 2011 for local news agencies and has been interested in the dialogue between people and active volcanoes ever since. After relocating to Iceland in 2018, he started working as a freelance contributor for The Associated Press, covering volcanic eruptions and other major events on the island. With an academic background in geology and volcanology from the University of Catania and years of fieldwork on Etna and in Iceland, he combines scientific understanding with a reporter’s eye to build clear visual stories about life on unstable areas. Artist Statement: I photograph volcanoes and the landscapes and communities shaped by them. I did not move to Iceland only for the views. What keeps me here is the feeling that the ground is still a work in progress. Eruptions, gas and road closures are part of the daily routine, not only big news moments. My background is in earth sciences and guiding, so I tend to think about how a place works before I think about how it looks in a frame. I often visit the same locations many times, before, during and after an eruption. Some days I work for news outlets, other days I work slowly on long term projects or with small groups of photographers. The approach is similar. I try to show what it is like to live with a landscape that can change fast, instead of treating nature as a distant spectacle. In the end, my pictures are a mix of documentation and personal experience. They are about an island that is always active, but also about the people and life that keeps adapting to it. AAP Magazine AAP Magazine 54 Nature
Julie-Anne Davies
Julie-Anne Davies
Canada
Julie-Anne’s earliest memories consist of lying on the carpet of her childhood home scouring through the pages of her father’s prolific National Geographic collection. Her mind was shaped at a young age by visuals of exotic far off lands, cultures completely unlike her own and wild creatures her imagination barely yet had the capacity to comprehend. On her 10th birthday she received her first camera and recalls a distinct sense of ‘knowing’ from that moment that photography was going to play a central and defining role in her life. In love with her rural home in the mountains of Western Canada, but unable to suppress her nomad heart, Julie-Anne has spent the past several decades traveling the world, often with her two young children in tow. She leads cultural photography tours for UK based Wild Images and is an expedition photographer and ‘Adventure Specialist’ (yes, this is her real job title) for the world’s largest outdoor female adventure company, Wild Women Expeditions. Her heart is drawn to remote and challenging to access corners of the world and in particular to regions where lives are still intricately and intrinsically tied to the land on which they depend. The human condition and how it is shaped by its relationship to nature drives an endless curiosity in Julie-Anne and forms the backbone of her photography work. Fascinated by cultural, religious and ethnic diversity, she is often driven by a sense of urgency to document within these remote parts of our planet ‘what still is’ before it becomes ‘what was’. In doing so, she hopes to play her part in contributing to a visual archive of the beautiful but rapidly vanishing cultural diversity among humanity. She is a five time exhibitor in the prestigious Atlas of Humanity project, an ethnographic showcase of the world’s diverse cultures in Paris, Milan and New York and has been featured in many international publications. At home, her energy is spent, other than with family, in photographing the stunning Canadian landscape and most recently shifting towards documenting our changing natural environment through film and storytelling. Wild Images Photo Tours Wild Women Expeditions
Alireza Sahebi
Alireza Sahebi
Iran
1994
Alireza Sahebi is an Iranian portrait photographer born in 1994. He became interested in photography as a teenager and when he started working in a photography studio. He then continued his studies in the field of visual communication at the University of Art and Architecture. He chose portrait photography because of his interest in exploring and recognizing the spirits and inner thoughts of human beings. He continues to photograph using different genres because it is a unique language with many dialects and it allows him to communicate with people around the world. Statement Have you heard a sound louder than the sound of your eyes? The eyes are alive٫ they understand٫ they talk٫ they fall in love٫ the eyes are all the existence and non-existence of people. The eyes have an identity card, and if they have the opportunity, they will ruthlessly expel all their presence and absence. I found photography as a way to discover and express the inner selves of human beings and I tried to find a non-verbal, universal and meaningful language and I did not find it except in my eyes
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Call for Entries
AAP Magazine #55 Women
Publish your work in our printed magazine and win $1,000 cash prizes
© Ilaria Miani
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