Born cross-eyed, corrective surgery left me with no depth perception. Being stereo-blind and lacking stereopsis (the ability to see in 3D), I developed a different way of seeing things, and measuring spaces, layers and distances that I use in my photography. I’ve taken my handicap and turned it into an advantage. I studied photography and received a BFA from San Francisco Art Institute and MFA from the School of the Art Institute of Chicago. After getting my BFA, I started exhibiting and selling my work. I landed three galleries representing my work. As a result my work is in the collections of the Dallas Museum of Art, Seattle Art Museum, Museo Nacional de Antropologia- Mexico, Amon Carter Museum of American Art, The Art Institute of Chicago, and numerous private collections. The Amon Carter Museum of American Art included me in the exhibition Exploring Sight: Young Photographers in the 1970s. I was also included in the Macmillan Biographical Encyclopedia of Photographic Artists & Innovators. I took an extended leave of absence from exhibiting but not photographing. Now I’m bringing the years of images and recent work back into the fine art photography world.
Julio Bittencourt was born in 1980 in Brazil and grew up between Sao Paulo and New York. His projects have been exhibited in galleries and museums in several countries and his work published in magazines such as Foam Magazine, GEO, Stern, TIME, Le Monde, The Wall Street Journal, C Photo, The Guardian, The New Yorker, Esquire, French Photo, Financial Times, Los Angeles Times, and Leica World Magazine, among others. He is the author of three books: “In a window of Prestes Maia 911 Building”, “Ramos” and “Dead Sea”.
Keith Carter is an internationally respected author, educator, and workshop leader. He has published 13 books of his expressive images. Thirteen monographs of his work have been published, as well as two documentary films: Keith Carter: The Artist Series, Ted Forbes and A Certain Alchemy, Anthropy Arts. A fifty-year retrospective book was released fall of 2019 from University of Texas Press. In addition, he has been described as a “Poet of the Ordinary” by the Los Angeles Times (1994) and received the Texas Medal of Arts in 2009.
His work has been featured on the nationally televised program CBS Sunday Morning and he is the recipient of the Lange-Taylor Prize from the Center for Documentary Studies at Duke University. Mr. Carter’s work is included in numerous private and public collections including the Art Institute of Chicago, the National Portrait Gallery, the Smithsonian American Art Museum, the San Francisco Museum of Modern Art, the J. Paul Getty Museum, the Museum of Fine Arts, Houston, the George Eastman House, and the Wittliff Collections at Texas State University.
Evgenia Arbugaeva was born in 1985 in the town of Tiksi, located on the shore the Laptev Sea in the Republic of Yakutia in Russia. In her personal work she often looks into her homeland – the Arctic, discovering and capturing the remote worlds and people who inhabit them. Evgenia is a National Geographic Society Storytelling Fellow, a recipient of the ICP Infinity Award, Leica Oskar Barnack Award. Her work has been exhibited internationally and appeared in publications such as National Geographic, Time and The New Yorker magazines among others. She lives in London, UK.
Caffery has been making photographs of the people and culture of her native Louisiana for over 30 years. Past projects include documentation of sugarcane field and mill workers, alligator hunting, and family portraits in Louisiana, as well as photographs of rural Mexico and Portugal. She will soon publish a new book documenting prostitution in Mexico. Caffery’s work has been included in solo exhibitions at the Smithsonian Institution’s National Museum of American History, Cleveland Museum of Art, Museum of Photographic Arts in San Diego, Chicago’s Museum of Contemporary Photography, and the Gitterman Gallery, New York.
She has received numerous awards including a Guggenheim Fellowship (2005), the first Lou Stoumen Prize (1996), and the Louisiana Governor’s Art Award (1990). Her work is included in the permanent collections of many museums, including the Smithsonian Institution, Whitney Museum of American Art, the Museum of Modern Art, the Metropolitan Museum of Art, and the New Orleans Museum of Art. Caffery has published several highly praised books, including Polly, The Shadows, and Carry Me Home.
Evelyn Bencicovais a visual creative specialising in photography and art direction. Informed by her background in fine art and new media studies (University for Applied Arts, Vienna), Bencicova’s practice combines academic research with an interest in contemporary culture to create a unique aesthetic space in which the conceptual meets the visual. Evelyn’s work is never quite what first appears to be. Her photographs depict meticulously controlled compositions characterised by an aesthetic sterility, tinged with poetic undertones of timeless desire and longing. Evelyn constructs compelling narrative scenarios that blur the lines between reality, memory and imagination, “fictions based on truth”. Her disturbingly beautiful visual language set within curiously symbolic environments, allow for a deep exploration of the themes that take her works far beyond what they reveal at first glance. While her career started with applied photography, since 2019 the practice shifted towards more immersive and experimental forms of story-telling, through collaborative projects using digital 3D techniques and virtual reality.
Andrea Giacobbe attended the Bournemouth & Poole College of Art and Design, presently Arts University Bournemouth.
Editorial credits include Dazed&Confused, TheNewYorkTimesMagazine, AMagazineCuratedBy, TheFace, RayGun, Spin, Arena, Flaunt, Citizen K, MarieClaire, Donna, Detour, Cube, Dedicate, Wad, Soup and Photo.
Advertising credits include Nike and Diesel.
Film work is comprised of award-winning music videos, commercials and short films.
Was part of the group exhibition “Archeology of Elegance 1980-2000 : twenty years of fashion photography” at Deichtorhallen, in Hamburg.
Book publications include “The Impossible Image” (Mark Sanders – Phaidon Press, 2000) and “Archeology of Elegance” (Marion de Beaupre – Rizzoli, 2002).
Quite unconsciously, a body/landscape motif entered my photographs, a result of living on islands in Greece during a year’s fellowship twenty years ago. I loved to watch the light change hourly on the mountains that joined the sea like giant birds gliding into water. As my photographic vocabulary evolved during that year, those fascinating surroundings rematerialized within my water nudes. Thus began an inspirational dialogue with nature, continued first in Greece and then on Cape Cod, where my settings grew to include woods and dunes. The infrared images, shot in those new environments, further explore harmonious resonances, as the body takes on the character of dune or atmosphere.
My desire to photograph nudes was born of the water, of a passion for being in and meditating upon still waters. Wanting to make statements about human nature as I had before in portraits and street pictures, I sought a way to photograph people in water to create images of a psychological, dreamlike, and emotive nature. When I began the Nudes in Water series in 1975, I felt that water, the source of all life, should display an equivalent density to flesh, invoking a cauldron of creation and a visceral visual connection between body and nature. These motivations were to become the foundation for all photographs that followed.
Between 1981 and 1988, before resuming the Nudes in Water on Cape Cod, I worked on several other series of nudes. My first experiments with the figure in color used 4×5 and 8×10 Polaroid prints and melded multiple exposures of flesh into literal and imaginery layers. Then, Fusion Forms, a series of black and white multiple exposure solarizations, recombined body forms into surreal sculptures. Interior Nudes, elemental figure studies taken indoors between 1983 and 1986, led to later series of abstract nudes.
In 1986, inspired by the play of light on the southwestern desert, where the colors of sandstone suggest flesh, I began photographing the land directly. I think of these landscapes as studies for my nudes. In 1991, in a series titled Canyon Nudes, the figure reappears as reflections in puddles which merge with clay or rock to form geodes, frescos, or shards of life. Fusing sunlight and bluer shade, these images exist within a surreal color world. But the most constant pulse in my photography is the black and white figure in nature, represented in this exhibition catalog.
A surrealistic sensibility plays in and out of these images—we are so often driven by forces beyond our awareness. Transformation, paradox, and the simultaneity of conscious and unconscious worlds are evoked throughout these pages. They appear in a nude’s white flesh becoming black flesh, in a body’s back becoming the texture of the rock nearby, in underwater and abovewater worlds coexisting, in a human form appearing amphibious, or in water transforming into opaque blackness. Often there is a tension between overtones of life and death.
In her experimental fashion and fine art photography, Elizaveta Porodina travels through time and space, extracting the underlying emotions in her entrancing productions. The Moscow born studied clinical psychologist plays with melancholic symbolism, sets connotations, sometimes ambiguous, sometimes honest and obvious – her range widely varying between cinematic, fashion and almost documentary imagery. Whether in dramatic black and white or vividly colored artworks, the Munich based photographer is a master of dark romanticism.
Photographer and digital artist, based in Oslo, Norway, Daria Endresen draws her inspiration from her most intimate, personal stories. Observant and sensitive, Daria creates surreal dream scapes, drowned in icy atmosphere and laden with pain and mystery.
Her works have been featured in numerous publications and art books in Europe and overseas, and she took part in many shows across the world, among others in Norway, Sweden, France, Germany, England, Poland, Italy, Portugal, Turkey, and the United States.
“I am a dead fish in a cyanide sea. I like boys that look like girls and girls that look like aliens”.
Heinz Hajek-Halke (1898–1983) was a German experimental photographer.
Hajek-Halke began with his first photo experiments in 1924, and was hired one year later by the news agency Presse-Photo (where he worked together with Willy Ruge). He also briefly cooperated with Yva (Else Neuländer). In 1933 Hajek-Halke was required by Goebbel’s Propaganda Ministry to fake documentaries. He escaped, however, the grip of the Nazi party and moved as Heinz Halke to Lake Constance. There, he created scientific image series in the field of small animal biology. These were macro shots, which he made with an extremely large format camera. He also explored techniques of chemical and light manipulation in distortions and enlargements of his small subjects.
In 1937, Hajek-Halke travelled to Brazil where he produced, amongst others, a documentary about a snake farm. After his return to Germany, in 1939, he was conscripted by the German army and worked as an aerial and company photographer for the Dornier aircraft enterprises in Friedrichshafen on Lake Constance. After a short time as a French prisoner of war, Hajek-Halke started his own snake farm and made a living selling the snake venom to the pharmaceutical industry.
There is something wonderful about a great photograph of life on the street. I think it’s because we humans are naturally nosy. We like to stare, absorb the details and imagine the facts, but on the street, we don’t have permission to stare. All we get is a glimpse. The great thing about a street photograph is that we have permission to stare.
In 2017 I started to experiment with motion-blurred street photography – the sort where the camera is fixed in place and the subjects are moving. I was using motion-blur to eliminate the very detail that we like to stare at in a street photograph, but I reasoned that the resulting images would have a look and feel closer to the glimpse we might get of strangers on the street. My theory was that, with less detail, there would be more room for the viewers imagination to wander – more imagination space. The great thing about theories is that they drive us to experiment and when we experiment, we learn.
The first thing I learnt was that to simulate a glimpse I needed just the right amount of motion-blur to eliminate just the right amount of detail. I was taking close-up images of pedestrians with a wide-angle lens. I found that a shutter speed of 1/6 second created photographs with a strong glimpse-like impression of the subject. The resulting images led to another discovery. When we walk some parts of us move more rapidly than other parts. One leg, for example, will be stationary while the other is in full swing. Motion-blur, which is produced by the camera’s technology, renders human movement in graceful arcs and soft brush strokes. It produces an image that is more poem-like than the detailed essay of a straight street photograph. Motion-blur renders the poetry of motion.
A poem does not have to be factual. Sometimes there is more truth in fiction than in out-of-context facts. Some of the photographs in One-Sixth of a Second are single shots. Others are combinations of two or more images from a sequence of exposures. Their compositions offer the imagination space of a poem, at least that is my intent.
All of the photographs in the series One-Sixth of a Second were taken in Chicago. That’s where I live.
I was born in Russia in 1995. I graduated from the University of Culture and Art in Moscow for a photography course. I also studied at the Academy of fine arts in Florence. I am also a finalist and winner of many international photography competitions and awards. For me, photography is a convenient and universal language. There are things I don’t want to talk about, because I find it difficult to find words in Russian, Tatar, English, Italian, and the plastic language comes to the rescue, the language of photography, which I know better than others.
In 1979, as a member of a youth association, I had to choose an activity for the upcoming session. Naturally interested in science and experimentation, photography seemed a very fascinating activity since I could have access to a dark room and improve my knowledge in that particular field, I then discovered that photography was an endless source of learning. We were a group of audacious youngsters who wanted to learn. However, since the resources were limited to the few books left in the lab, we still managed to get by with the trial and error method and personally, it is still an integral part of the photographer’s work even today.
Our working methods of the time did not really have a technical framework and limits, the technical words and the specific methods of creation were totally unknown to us, the only known basis was the essential, how to finish a roll and how to finish a photo purely for black and white imaging.
Personally, even in those years, I did not like to depict things as they were and especially in street photography where the imaging must follow strict rules. This naivety and candor allowed us to be creative to the point of creating overlays that could be used in a dark room. A plate of glass over the paper and various translucent materials were added on the glass as long as the light could pass through, not to mention our motley techniques for dodging, burning, sabattier effect, multiple exposure and so. And that’s how my fascination with textures and post-production started
With my images I tell about me and my inner darks.
I am a photographer and visual artist from Germany. Mainly I work with self-portraiture, with different cameras and techniques, analog and digital. I am creating collages, mixing painting with photography and sometimes write little texts as an addition to my images.
My primary focus is on subjective and personal documentary, conceptual and fine art photography.
In various series and projects I deal with personal questions about identity, reality, perception and various forms of remembering.
In the process I am expressing mostly internal processes: The aching, disturbed and traumatized parts of life and identity are of particular importance for me in my work.
My visual language is associatively, lyrical and reduced and always with a spotlight on the personal, emotional and psychological meaning of an image
I’m born in 1982 in Poland. I’m philologist and a computer graphic artist. Presently, I’m a joint owner of an advertising agency. Since March 2008 I’m also a member of an Association of Polish Art Photographers, and from 1 january 2011 member of Royal Photographic Society.Visual art interested me always; it shows more than words can ever do. Throughout the years, I have been looking for different artistic ways of expressing myself. What I do is my passion and I am simply crazy about it. This passion, emotions, distaste to the unreal and plastic world are deep down in me. It is understanding myself; it is understanding other people; it is something unspoken of; it is a taboo. It is love to freedom that I have not known yet.. My usual sources of inspiration are day-to-day life and literature. M work and my art expresses who I am and therefore, I have a very emotional about it. I use regular photos, as well as different processing software programs for my graphic works.
There is such a thing as an irregular rhythm syndrome, where the heartbeat is inconsistent; it races, slows down or flutters. There are times when the heart skips a beat, others when it frantically chases the following one to the point of breathlessness, swarming, oscillating. Somewhere between a hollowness and a fullness, the needle of our internal compass is marking out a route of truth and justice, away from the illusions of the ego and drawing us towards our instinctive selves, towards the human nature that dwells in the nature of this world and the world of nature that dwells within the human.
Mia makes this journey in reverse, from the outside moving inwards, in an ascending motion that brings the unconscious to the surface. With every step she takes, with every skipped or hastily recovered heartbeat, she seems to walk along footpaths inside a dream. And then, the mist dividing imagination and reality clears, becoming penetrable like butter meeting a blade, nullifying boundaries and distances, allowing the experience of the Whole and the One. Mia. In Italian “mine”, belonging to me. Because when one belongs to her own, it is herself that she wants to return to
Mario Cravo Neto was born in Salvador, Bahia in 1947. The son of Mario Cravo Junior, a well-known Brazilian sculptor, Crave Neto (grandson) started creating art at an early age. Initially interested in sculpture, Crave Neto turned his attention to photography in the late sixties. At the age of twenty, Cravo Neto moved to New York for two years to take classes at the Art Students League and set up a photo studio. It was this experience in New York that solidified his love for photography.
Shortly after returning home to Brazil, Crave Neto was in a car accident that left him bedridden for a full year. Having worked as as street photographer in New York, he suddenly found himself unable to walk, and in need of a new way of working. Forced to re-evaluate his photography, he set up lights and began shooting in the studio, which he continues to do today.
Combining spiritual, mystical and religious elements — eggs, birds, animals, fish and bones — with nude torsos, Cravo Neto creates sensual images which unite man and nature, the erotic and the spiritual. His images reveal a psychological portrait of the Indigenous, Portuguese and African communities that co-exist in Bahia today. Often evoking a ritual look, Cravo Neto’s photographs invite the viewer to wander through black spaces, to linger on specific objects that are both elegant and primitive.
One of this most renown images features a man with two fish slung over his shoulder, reminiscent of a market scene, yet layered with sexual and religious overtones; a man facing the camera, his chin thrown back, holding a large white bird over his care chest in an act of sacrifice; the wrinkled forehead of a man whose eyes are covered by the tails of two tiny white birds, obscuring his eyesight but not his vision.
Eikoh Hosoe is a contemporary Japanese photographer who explores macabre aspects of human psychology. Often depicting seppuku fantasies and erotic images of the male body, his models included the famed author Yukio Mishima. “To me photography can be simultaneously both a record and a mirror or window of self-expression,” the artist said. “The camera is generally assumed to be unable to depict that which is not visible to the eye and yet, the photographer who wields it well can depict what lies unseen in his memory.” Born on March 18, 1933 in Yamagata Prefecture, Japan, he grew up amidst the devastation wrought by World War II. Hosoe went on to study at the Tokyo College of Photography where he met the avant-garde artist “/artists/ei-q/”>Ei-Q. In 1969, Hosoe’s most acclaimed series of photographs was published in his book Kamaitachi. The subject of the book references a folktale about a supernatural weasel which slices off human skin with sickle-like claws and teeth. In 2010, Hosoe was awarded the title of Japanese Person of Cultural Merit. He currently lives and works in Tokyo, Japan. Today, his photographs are held in the collections of The Museum of Modern Art in New York, the Stedelijk Museum in Amsterdam, and the Victoria and Albert Museum in London.