After studying painting and graphic design at Cooper Union and Yale, Jay Maisel began his career in photography in 1954. While his portfolio includes the likes of Marilyn Monroe and Miles Davis, he is perhaps best known for capturing the light, color, and gesture found in everyday life. Some of his commercial accomplishments include five Sports Illustrated swimsuit covers, the first two covers of New York Magazine, the cover of Miles Davis’ Kind of Blue (the best-selling jazz album of all time), twelve years of advertising with United Technologies, and awards from such organizations as International Center for Photography, American Society of Media Photographers, Art Directors Club, Professional Photographers of America, and The Cooper Union. Since he stopped taking on commercial work in the late ’90s, Jay has continued to focus on his personal work. He has developed a reputation as a giving and inspiring teacher as a result of extensive lecturing and photography workshops throughout the country. He also continues to sell prints, which can be found in private, corporate, and museum collections.
Garry Winogrand was a street photographer from the Bronx, New York, known for his portrayal of American life, and its social issues, in the mid-20th century. Though he photographed in Los Angeles and elsewhere, Winogrand was essentially a New York photographer. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at Museum of Modern Art in New York in 1967 and had solo exhibitions there in 1969, 1977 and 1988. He supported himself by working as a freelance photojournalist and advertising photographer in the 1950s and 1960s, and taught photography in the 1970s. His photographs featured in photography magazines including Popular Photography, Eros, Contemporary Photographer and Photography Annual. Photography curator, historian, and critic John Szarkowski called Winogrand the central photographer of his generation. Critic Sean O’Hagan, writing in The Guardian in 2014, said “In the 1960s and 70s, he defined street photography as an attitude as well as a style – and it has laboured in his shadow ever since, so definitive are his photographs of New York.” Phil Coomes, writing for BBC News in 2013, said “For those of us interested in street photography there are a few names that stand out and one of those is Garry Winogrand, whose pictures of New York in the 1960s are a photographic lesson in every frame.” At the time of his death Winogrand’s late work remained undeveloped, with about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and about 3,000 rolls only realised as far as contact sheets being made.
Enrico Natali was born in 1933 in Utica, New York. He grew up and attended public schools in Carthage, a village located in the foothills of the Adirondack Mountains. In 1951 he developed an interest in photography while a cadet at the United States Coast Guard Academy. He left the academy in 1954 and shortly thereafter went to work for New York illustrator/photographer Anton Bruehl. In 1960 he made a series of photographs of people in the New York City subway. These photographs significantly transcended his previous work and convinced him that photography was his vocation and America his subject. The work from this project recently resulted in the publication, New York City Subway, 1960 (Nazraeli Press, 2012). From the 1960’s on he lived and photographed in various parts of the country, including New Orleans, Chicago and Detroit. Natali’s Detroit photographs were published in book form in 2013, titled Detroit, 1968 (Foggy Notion Books). In 1971 he was awarded a Guggenheim Fellowship and during this period he also produced a series of portraits published as New American People (Morgan & Morgan, New York, 1972). In the following years he traveled extensively in the United States, making a series of photographs that, together with the work of photographer Mark Sandrof, was published under the title American Landscapes (Panopticon Press, Boston, 1991). In the late 1960s he began a meditation practice that eventually became his primary focus and culminated in his abandoning photography and devoting himself to that practice while raising a family and building a home in the wilds of California’s Los Padres National Forest. In 1990 he and his wife, Nadia, started a Zen meditation center that is now called the Blue Heron Center for Integral Studies. In the year 2000 his 15-year-old son, Andrei, suggested that they go on a photography trip that, together with the new digital technology, reawakened his interest in photographing. The following year he began the project Just Looking.
Francesc Català-Roca (Valls, 1922 – Barcelona, 1998) se formó con su padre, Pere Català Pic, uno de los principales representantes de la vanguardia fotográfica catalana. Aún niño, su familia se trasladó a vivir a Barcelona, de modo que ahí se inició como profesional de la fotografía, primero con su padre y después, en 1948, como profesional independiente. Trabajó de reportero fotográfico de actualidad en revistas como Destino y Revista. Interesado también en el cine, en 1952 hizo el documental sobre la Sagrada Familia Piedras Vivas (desaparecido), que fue galardonado ese mismo año con el primer premio del Festival de Ancona (Italia). Su participación en publicaciones de temática documental también comenzó con esta obra de Gaudí. Es el caso de La Sagrada Família (Barcelona, 1952), con texto de Cèsar Martinell. Posteriormente publicó Gaudí dissenyador (Blume, Barcelona, 1978) y Gaudí (Polígrafa, Barcelona, 1983), con texto de Ignasi de Solà-Morales.
Francesc Català-Roca recibió diversos premios y distinciones a lo largo de su carrera profesional. En 1988, su ciudad natal celebró la exposición Gaudí (Institut d’Estudis Vallencs, Valls), donde sus imágenes reflejaron un personal modo de ver la obra del arquitecto.
Enrico Natali was born in Utica, New York and raised in the town of Carthage at the edge of the Adirondack Mountains. In 1951 he entered the United States Coast Guard Academy, where he developed an interest in photography. Leaving the academy in 1954 he moved to New York and began working as an apprentice to photographer Anton Bruehl. In 1960, Natali began photographing in New York’s subways, taking black and white candid shots of people on the trains and waiting in the underground stations. Echoing the photographs of Walker Evans, who covertly photographed New York subway riders in the late 1930s, and anticipating the work of artists like Bruce Davidson, who made his first lengthy color series in the New York subway in the early 1980s, Natali’s photographs contribute to a growing body of photographs that look closely at the subway as a crucial site of modern urban life. The Subway photographs were Natali’s first major series, and according to the artist they prompted him to adopt photography as a vocation and to take America, broadly considered, as the central subject of his work. In the following years Natali lived in different parts of the United States, working either as a freelance or a commercial studio photographer. in 1971, Natali had also started a new series, American Landscapes, supported by a John Simon Guggenheim Memorial Fellowship. The following year he published the book New American People, which collects selections of the photographs he had taken in these various locations. In the mid-1970s Natali stopped making photographs entirely and in 1980 he purchased land in Los Padres National Forest in California, relocating there with his wife and children. In 1990 he and his wife founded a Zen meditation center, which is still in operation today. Natali began to take photographs again in 2001, working in color and using a digital camera.
Sam Wolson is an award winning immersive film director, photographer, and Pulitzer Center Grantee, with partners including National Geographic, The New York Times and The New Yorker. His projects have premiered at festivals across the globe, including at Sundance, SXSW and CPH:DOX. In 2021 he premiered his new VR documentary film Reeducated, in partnership with The New Yorker, the Pulitzer Center, Eyebeam and ONA. The multi-part immersive project is the most ambitious immersive interactive feature that The New Yorker created to date. Reeducated went on to win a Special Jury Recognition for Immersive Journalism in the Virtual Cinema Competition at SXSW. In 2019 and 2020 he was awarded a Knight Foundation grant in for his immersive documentary film projects. In 2017, he co-directed the VR film “We Who Remain”, which was the first character-driven VR film shot in an active war zone — in the Nuba mountains of Sudan. It premiered at SXSW, won best VR film at SIFF and was a co-production between Emblematic Group, The New York Times, AJ+, and ARTE.
Jacobs was born in Waltham, Massachusetts. Reaching his majority, he joined the Merchant Marines and traveled the world for a period of years. After leaving the Merchant Marines, he moved to New York where he married his first wife, Kit, and began his career as a photographer by taking pictures for a commercial real estate firm. With his first 35mm camera, he also began taking candid shots of New Yorkers and of New York and began going to magazine offices, offering to work for practically nothing, according to his third wife, Gloria, who was at the time of their meeting a Fortune magazine researcher. His particular talent was in catching his subjects at their most revealing moments. He became a photographer for Time, Inc. and was soon traveling as a photographer throughout South America as well as the United States, taking pictures for Life, National Geographic, U.S. Camera and Fortune.
‘Nights on Beyoglu’ is an epic work by Timurtas Onan. In his hands, the subject assumes a timeless expression of the human condition while being located now, in lstanbul in Beyoglu and at night. Timurtas is an artist in the great tradition of art. This is a complete and complex work like a l7th century triptych and, as always, he treats his subject with a sensitive understanding, respect and affection, mixed, at times, with humour. He is never, ever cynical. These images of life, taken after dark and until] dawn when the people of this human theatre return to their homes -lodgings, llats, rooms or card- board patches on the street, have a vividness that carries us to the heart of life in this vibrant part of contemporary Istanbul. The work sings to the colours. sounds and images of the street and the often marginal people he touches with his camera. He uses this as a painter would use his brush and palet and I am reminded of Heronimous Bosch, Goya or Toulouse- Lautrec. We see the street vendors of many sorts, the old men, the lovers, the disposessed and others seeking the distractions of the night; the lights of the shops and the cacophony of sounds from Classical music tumbling out of a shop to those other sounds belonging to the street. Here in its exaggerated forms is humanity found in its many colours; passing images in the life of this ancient city.
Se formó con su padre, Pere Català Pic, uno de los principales representantes de la vanguardia fotográfica catalana. Aún niño, su familia se trasladó a vivir a Barcelona, de modo que ahí se inició como profesional de la fotografía, primero con su padre y después, en 1948, como profesional independiente. Trabajó de reportero fotográfico de actualidad en revistas como Destino y Revista. Interesado también en el cine, en 1952 hizo el documental sobre la Sagrada Familia Piedras Vivas (desaparecido), que fue galardonado ese mismo año con el primer premio del Festival de Ancona (Italia). Su participación en publicaciones de temática documental también comenzó con esta obra de Gaudí. Es el caso de La Sagrada Família (Barcelona, 1952), con texto de Cèsar Martinell. Posteriormente publicó Gaudí dissenyador (Blume, Barcelona, 1978) y Gaudí (Polígrafa, Barcelona, 1983), con texto de Ignasi de Solà-Morales. Francesc Català-Roca recibió diversos premios y distinciones a lo largo de su carrera profesional. En 1988, su ciudad natal celebró la exposición Gaudí (Institut d’Estudis Vallencs, Valls), donde sus imágenes reflejaron un personal modo de ver la obra del arquitecto.
Timurtas Onanwas born and brought up in Istanbul. Becoming involved in photography in 1980 he has worked as a professional photographer for the past 25 years.
Through this period he has participated in, organised and attended many photographic events, taking part in and holding exhibitions of his work both at home in Turkey and abroad and also acting as a jury member for national and international photographic competitions.
His work has involved international photographic projects, the creation of documentary films on socially relevant issues and he is particularly well known for his distinctive projects on Istanbul. His work as an artist can be seen in many public and private collections in Turkey and abroad. At the present time he is holding photo workshops; curating various exhibitions, and working on new photographic projects.
Tošo Dabacwas a Croatian photographer of international renown. Although his work was often exhibited and prized abroad, Dabac spent nearly his entire working career in Zagreb. While he worked on many different kinds of publications throughout his career, he is primarily notable for his black-and-white photographs of Zagreb street life during the Great Depression era.
The reason for photographing poor streets is that I love them. Empty, the streets have their own kind of beauty, a kind of decaying splendor and always great atmosphere – whether romantic on a hazy winter day, or listless when the summer is hot; sometimes it is forbidding; or it may be warm and friendly on a sunny spring weekend when the street is swarming with children playing, or adults walking through or standing gossiping. I remember my excitement when I turned the corner into Southam Street, a street I have since returned to again and again.
James Jowerswas an American street photographer. Jowers began receiving training in photography and darkroom techniques while serving in the United States Army. While working the night shift as a porter at St. Luke’s Hospital, he would spend his free time during the day roaming the streets of his Lower East Side neighborhood and the rest of Manhattan, capturing a gritty, funny, and idiosyncratic view of the city.
Fred Stein was born on July 3, 1909 in Dresden, Germany. As a teenager he was deeply interested in politics and became an early anti-Nazi activist. The threat of Fascism grew more and more dangerous and after the SS began making inquiries about him, Stein fled to Paris in 1933.
IIn the midst of upheaval, gathering war, and personal penury, Stein began taking photographs. He was a pioneer of the small, hand-held camera, and with the Leica which he and his wife had purchased as a joint wedding present, he went into the streets to photograph scenes of life in Paris. He saw hope and beauty where most people would only see despair. He also became acquainted with and photographed some of the leading personalities of Europe.
He worked unobtrusively and quickly, valuing the freedom to capture the telling moment that reveals the subject in its own light, not as incidental material for photographic interpretation. He preferred natural or minimal lighting, and avoided elaborate setups as well as dramatic effects. He did not retouch or manipulate the negative. Having a deep commitment to social equality and a concern for his fellow man, he became a member of the Photo League. Though portraits were his main income-generating work and he photographed many people on commission, he generally worked without assignment, shooting people and scenes that interested him. He would then offer his work to publishers and photo editors of magazines, newspapers, and books.
Stein died in 1967 at the age of 58. His portraits and reportage had appeared in newspapers, magazines, and books throughout the world.
Aarons’s photographs are notable for their liveliness, informality, and emotional warmth. He excelled at street photography: casual documentary images of urban life. “My basic approach to street portraits was to avoid intruding on the scene,’. He began taking photographs while an undergraduate at the City College of New York.
“I knew that the dynamics of people whose social relationships involved their neighbors and the streets could be a source of creativity,”.
He gravitated to Boston’s old West End, before urban renewal demolished much of the neighborhood, and then to the North End. He visited with his camera, a double-lens Rolleiflex, on late afternoons and weekends.
“In 1947, I began to take black-and-white photographs with the aim to document Boston, its streets and its people, while also developing my own style. I resolved to capture the day-to-day life experiences of the people, avoiding scenes of poverty.”
Among photographers who influenced him were Sid Grossman, with whom he briefly studied, Lisette Model, and Henri Cartier-Bresson.
Born in Germany to a family of scholars,Genthewas a recent Ph.D. in classical philology when he came to the United States in 1895 to work for two years as a tutor. On his days off, he walked the streets of Chinatown in San Francisco, where he began to photograph. After publishing some of these images in local magazines, Genthe decided to open his own studio, specializing in portraits of prominent locals and visiting celebrities. Genthe’s work and studio were destroyed in the 1906 San Francisco earthquake and resulting fire–save for the Chinatown images that had been stored in a bank vault. He published those early images in the 1909 book Pictures of Old Chinatown. After the fire, Genthe re-established his studio in San Francisco and in 1908 spent six months photographing in Japan. In 1911 he moved to New York, where he continued to work as a successful portrait and pioneering dance photographer. With New York as his new home base, Genthe also traveled and photographed throughout Europe and the United States
Hijo del escultor Mário CravoJúnior. Realizó estudios de fotografía en Berlín y en 1966 regresó a Brasil entrando como ayudante de Fulvio Roiter. Vivió en Nueva York entre 1968 y 1970, donde estudió en la Art Student League con el escultor Jack Krueger. Participó en la Bienal Internacional de São Paulo en 1971, 1973, 1975, 1977 y 1983 y recibió diversos premios nacionales de fotografía. En 1975 trabajó como director de fotografía en la película titulada A Lenda de Ubirajara del director André Luis Oliveira.4
Su obra hace referencias a su ciudad natal y se encuentra en las colecciones de diversos museos como el Museo de Arte Moderno de Nueva York, el Museo de Arte Moderno de Río de Janeiro, el Museo Centro de Arte Reina Sofía de Madrid y el Museo Stedelijk de Ámsterdam. En ella emplea con frecuencia la técnica de la fotografía en blanco y negro y cuenta con reportajes sobre la religión del candomblé. Una exposición retrospectiva de su obra, llamada Mitos y Ritos, se realizó en Madrid en 2015, incluyendo algunos de sus vídeos.
Colaboró con las revistas Popular Photography y Cámara 35 y publicó once libros, entre ellos A cidade de Bahia en 1980. Ese año fue reconocido como “Mejor Fotógrafo del Año” por la Sociedad de Críticos fotográficos de Brasil.
Murió a causa de un cáncer de piel.