Françoise Huguier

From fashion photography to photo reporting, from fugitive moments to photographic set up, Françoise Huguier keeps the same pronounced graphic look and the same humour. Passionate with trips and the meeting of territories and their inhabitants, she brings us in Africa with her first book : “Sur les traces de l’Afrique fantôme”, followed by “Secrètes” in which she succeeded to share the privacy of African women. Then she heads into Europe, in 1993, she kept a log of a lonesome trip to Siberia. She won a World Press prize for this work. “En route pour Behring” was published by Editions Maeght. In 2001, she worked several years in Saint-Petersburg about communal apartments. This work resulted in a book, “Kommounalki ” (Actes Sud, 2008) and a documentary film “Kommunalka”, screened in Cannes. Asia is also one of her favourite destinations. After discovering Japan in the 80s, she returned on her childhood’s footsteps, when she was a Viêt Minh prisoner in Cambodia.

The book “J’avais huit ans”, which tells this story, was published by Actes Sud in 2005. The journey goes on in South East Asia with “Vertical/Horizontal” in 2012 from Singapore to Bangkok via Kuala Lumpur. She illustrates the evolution of postmodern societies in Indonesia (with the hijabistas), in Malaysia (with the KPOP movement) and in South Korea (Virtual Seoul). Curator of the Mois de la Photo in 2008, Françoise Huguier is then artistic director for the 2nd Luang Prabang International Image Biennial in Laos (2010), and for Photoquai Biennial 2011– organized by the Quai Branly Museum. In 2014, a retrospective of her work is presented at the Maison Européenne de la Photographie. Françoise Huguier regularly exhibits her work all over the world : New York, Moscow, Seoul, Sao Paulo, Johannesburg, Lausanne, Berlin, London, Madrid, Bogota, Valencia, etc. In 2018, Reporters Without Borders celebrates her whole career in the album “100 photos for press freedom”.

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Rogelio Cuellar

Rogelio Cuéllar nació en la Ciudad de México en 1950. Se inició como fotógrafo en 1967. Los últimos 30 años su interés ha abarcado básicamente el retrato de creadores contemporáneos de México y algunos países en las disciplinas de literatura, artes plásticas, teatro y música. Actualmente ha integrado un acervo de negativos correspondientes a más de mil personajes nacidos entre 1900 y 1980.
Trabaja la fotografía de autor en la que destaca la atención en el paisaje humano, ya sea en atmósferas urbanas o rurales en los diferentes estados de la República Mexicana. Para esta temática se nutre de los constantes viajes que realiza a los estados.
Otro de sus temas es el desnudo fotográfico, tanto masculino como femenino, trabajo que desarrolla en estudio y en exteriores con luz natural. De esta vertiente de su quehacer se han expuesto cerca de 300 fotografías en diferentes exposiciones individuales y colectivas en México y en diversas ciudades del mundo.
Realiza sobre todo la fotografía en blanco y negro controlando todas las fases del proceso en forma personal. Estos ámbitos de su interés los desarrolla en forma cotidiana, haciendo tomas fotográficas, trabajo de revelado, clasificación, edición, amplificado e impresión en técnicas de laboratorio en cuarto oscuro. Esto lo caracteriza como un fotógrafo tradicional, sello que vuelve singular su ejercicio profesional.
A partir de las becas del Sistema Nacional de Creadores de Arte ha podido clasificar aproximadamente el 60 por ciento del material que ha realizado durante 30 años. Este porcentaje equivale aproximadamente a 20 mil negativos.
Respecto al retrato de creadores, en los últimos 10 años ha participado en diversos homenajes a personajes como Rufino Tamayo, Efraín Huerta, Alberto Gironella, Elena Garro, Pedro Coronel, Guillermo Zafe, Fernando Benítez, Fernando Gamboa, Juan Rulfo, Rosario Castellanos, Lola Álvarez Bravo, Jaime García Terrés, Severo Sarduy, Juan José Arreola, Julio Cortázar, Jorge Luis Borges, Adolfo Bioy Casares, René Portocarrero, Fernando García Ponce, Rodolfo Morales, Alice Rahon, Rafael Alberti, Luis Cardoza y Aragón, Juan Soriano, Alfredo Zalce, Antoni Tápies, Emilio Carballido, Juan García Ponce, Pita Amor y Pablo O´Higgins, entre otros.
Asimismo, ha participado en homenajes a creadores contemporáneos vivos como Sergio Pitol, Vicente Rojo, Gilberto Aceves Navarro, Sebastián, José Luis Cuevas y Francisco Toledo.
Rogelio Cuéllar ha trabajado en varias ocasiones con la gran mayoría de los creadores, haciendo el seguimiento histórico de su proceso creador. De hecho, su trabajo es un referente obligado para reconstruir una época de la vida cultural de México, a través de los rostros de sus más destacados creadores.

Marco Paoluzzo

Born in Bienne (Switzerland), in 1949
Schools in Bienne, Fribourg and Lausanne
1977-80 School for photography in Vevey (Switzerland)
1981-96 Working as a freelance photographer for advertising and industry
Since 1996 Travel photography as a freelance photographer

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Rubén Pax

Rubén Cárdenas Paz. Fotógrafo mexicano que firma sus trabajos como Rubén Pax. Nació en León, Guanajuato, el 11 de agosto de 1943. Estudió dibujo publicitario en 1964 en la Escuela Nacional de Artes Plásticas de la Universidad Nacional Autónoma de México hasta 1970; en ese mismo año trabajo con el diseñador Lance Wyman en la elaboración de la revista de la Copa Mundial de Futbol México 70. En 1973 inició como docente del taller de fotografía en la Escuela de Diseño del Instituto Nacional de Bellas Artes, donde ejerció durante 35 años, además de dar clases en el Taller de Fotografía Libre. Laboratorista impresor del escritor y fotógrafo Juan Rulfo; asimismo de los fotógrafos Héctor García y Armando Salas Portugal.
Ha sido laboratorista, archivista y reportero gráfico del periódico La Jornada de 1984 a 1986, miembro fundador de la Agencia Periodística Imagen Latina en México, 1986 -1988. En 1993 fundó la Agencia de Fotografía de Cultura Prisma.
En el Festival Internacional Cervantino se desempeñó como coordinador de fotografía durante 1994 y 1995; ha cubierto este encuentro artístico y cultural hasta la fecha.
Desde 1971 ha presentado participado en más de 40 exposiciones fotográficas colectivas e individuales en México y Estados Unidos. Ha publicado sus imágenes en los periódicos Excélsior, El Día, unomásuno, El Universal, El Heraldo y La Jornada; así como en las revistas: Plural, Foto-Zoom, Proceso, Vuelta y México Desconocido. Su trabajo documenta fiestas populares religiosas, danzas, ritos y tradiciones indígenas, de diversos estados de la República. También ha documentado movimientos sociales como el magisterial, estudiantil, obrero y campesino y un registro continuo de la vida cotidiana en la capital de la República Mexicana desde 1970.
En los inicios de los ochenta comenzó a registrar las actividades de literatura, en festivales de poesía y presentaciones de libros de las editoriales, así como en las ferias de libros, como la del Palacio de Minería de la UNAM, la del Instituto Politécnico Nacional en la Ciudad de México, y la FIL de Guadalajara desde 1996.
En 1994 fundó el Taller de Fotografía Libre que da inicio a nuevas generaciones de fotógrafos. Actualmente continúa en la investigación de procesos antiguos fotográficos como: papel salado, colodión húmedo, álbumina.

MonoVisions Black and White Photography Awards 2019 Winners

BLACK & WHITE PHOTO OF THE YEAR 2019 Award, Romain Tornay – Elements

BLACK & WHITE SERIES OF THE YEAR 2019 Award, Marina Kazakova – The poetics of childhood

1ST PLACE – Black & White Travel SerieS of the Year 2019, The busy train station, Veselin Atanasov

1ST PLACE – Black & White Fine Art SerieS of the Year 2019, The Trace of Enlightenment – Ary Prananto Hastono

1ST PLACE – Black & White People SerieS of the Year 2019, Shadows of Kurdistan, Murat Yazar

1ST PLACE – Black & White Nude SerieS of the Year 2019, Desert Flower – Bartek NinoVeron

1ST PLACE – Black & White Conceptual SerieS of the Year 2019, Trauma – Manuela Thames

1ST PLACE – Black & White Landscapes SerieS of the Year 2019, Oman desert – Birgit Neise

2ND PLACE – SERIES, Conceptual, 2019, Sweet Dreams – Hampus Danielsson

1ST PLACE – Black & White Nature and Wildlife SerieS of the Year 2019, Ocean – Romain Tornay

1ST PLACE – Black & White Architectural PHOTO of the Year 2019, Midtown – Trevor Messersmith

1ST PLACE – Black & White Conceptual PHOTO of the Year 2019, hairloss – Michael Knudsen

1ST PLACE – Black & White Street PHOTO of the Year 2019, Final Shoot – Ali Nejatbakhsh Esfahani

1ST PLACE – Black & White Photojournalism PHOTO of the Year 2019, I want to be the best – Serhei Kuranov

1ST PLACE – Black & White Nature and Wildlife PHOTO of the Year 2019, Reflection – Daria Huxley

1ST PLACE – Black & White Fine Art PHOTO of the Year 2019, Walking Brutus – Daniel Castonguay

1ST PLACE – Black & White Travel PHOTO of the Year 2019, Mother at work – Tatiana Gomez

1ST PLACE – Black & White People PHOTO of the Year 2019, SUNSET – HOA TRAN TRUNG

1ST PLACE – Black & White Nude PHOTO of the Year 2019, zebra nude – curves & lines – Kristian Liebrand

1ST PLACE – Black & White Portrait PHOTO of the Year 2019, Maja – Hanna Derecka

MonoVisions Photography Awards is proud to present the winners of 2019 photo contest, selecting the winning photographs from 2580 entries from across the globe.

Swiss photographer Romain Tornay won the single photo category; his entry, titled “Elements”, which captures the “first sunshine following the snowstorm; Iceland”, won the Black & White Photo of the Year 2019, along with a $2000 cash prize.

For the series category, Russian photographer Marina Kazakova won the Black & White Series of the Year 2019, with a $3000 cash prize.

Her series, “The Poetics of Childhood” is “expressed in a psychological journey through intimate visions of private life, showing that there are stories worth telling all around us. The poetics of childhood: boundless sensuality, confidence, and a vast need for love, perhaps more so than in any other period of life.”

MonoVisions Photography Awards aim is to discover the best monochrome photographers from all over the world and to provide these artists with opportunities to be recognized and rewarded for their work.
Our annual competition is open to photographers of all backgrounds and all experience levels, from amateurs to professionals. We accept all forms of black and white photography captured using traditional or digital technologies.

 

Full gallery of winners: https://monovisionsawards.com/winners-gallery/

Eliazar Lotar

French photographer and cinematographer of Romanian origin, Eli Lotar (Eliazar Lotar Teodorescu, Paris, 1905 – 1969) arrived in France in 1924 and rapidly became one of the first avant-garde photographers in Paris. Close to Germaine Krull —Lotar worked as her apprentice for a time —and later to the Surrealists, his work was published in many of the avant-garde publications of the day, and featured in several major international photography exhibitions, including Fotographie der Gegenwart, Film und Foto, Documents de la vie sociale, etc.

Eli Lotar’s social and political interests and his penchant for collective projects can be revealed in his numerous collaborations with avant-garde writers (Jacques Prévert, Georges Bataille, and the magazine, Documents), as well as figures from the world of theatre (Antonin Artaud and Roger Vitrac), and well-known film directors (Joris Ivens, Alberto Cavalcanti and Luis Buñuel), all of whom were affected by the troubled socio-political climate of the 1930s.

Alexandre Christiaens

Alexandre Christiaens was born in Brussels in 1962

He lives and works in the village of Dave, near Namur in Belgium.

He has a number of photographic journeys (including in Greece, India, Brazil and China) and residences to his name. He has led a number of black-and-white photography workshops and his work exhibited in solo and group exhibitions both in Belgium and abroad.

Since 1999, his photographs have been on display in a number of public collections, such as in the General Service for Cultural Heritage of the Wallonia-Brussels Federation, the Regional Photography Centre in the region of Nord-Pas-de-Calais, the Charleroi Photography Musuem, the Richelieu-Louvois Library (National Library of France), the Hasselt Cultural Centre, the Space Collection, and In Cité Mondi in Liège, to name but a few.

He has published several works:La neige bientôt  © JPB EDITIONS #8,Hunter Grill  © Origini edizioni livourno maggio 2017,ESTONIA, Carl Havelange Alexandre Christiaens FR/EN © Les Impressions Nouvelles April 2016,Eaux vives, peaux mortes © Edition Yellow Now 2012, En Mer, voyages photographiques © Editions Chasse marée / Glénat en 2008,Grotesques, concrétions et paysages © Edition les Brasseurs Parallèle en 2007,Réseau cristallin © published and designed by Alexandre Christiaens texte Eugène savitzkaya.

Mihai Cheba

Mihai Chebac is an established Romanian-American cinematographer living in Boston MA, USA. He is originally from Romania, where he earned a Masters in Arts from I.L. Caragiale Film Institute in Bucharest. Upon completion of his studies, he worked at Buftea Film Studios in Bucharest as a cinematographer on feature films. He came to the United States in the the 80’s and began working with top studios and agencies in Boston, New York, and Los Angeles. He currently lives and works in Boston, MA, where he runs his company Avangarda Films LLC. Even though he has been working as a professional cinematographer for over 30 years, he has just begun his pursuits as an aspiring fine art photographer.

Agustin Sagasti

Fotógrafo profesional de gran prestigio. Ha realizado numerosas exposiciones
fotográficas individuales y colectivas en varias localidades del País Vasco.
Agustín Sagasti atesora unos 50 premios de ámbito local, regional, nacional e internacional. Colabora habitualmente con varias publicaciones con imágenes de naturaleza y paisaje urbano.
Muchas de sus fotografías han sido utilizadas para la publicidad: calendarios, publicidad de empresas o instituciones, fotografías para agencia, imágenes para editoriales…
Agustín Sagasti cuenta con una gran variedad de trabajos fotográficos de arquitectura industrial o social así como de gastronomía y decoración.
Agustín Sagasti colabora para diferentes entidades e Instituciones del País Vasco

Eva Rubinstein

 

Rubinstein was born in Buenos Aires where her mother, the ballerina Nela Młynarska, was accompanying her father, the pianist Arthur Rubinstein, on a concert tour of South America.
She was raised in Paris where she began to train as a ballet dancer at the age of five. In 1939, at the beginning of World War II, the family moved to the United States where Eva Rubinstein received American citizenship in 1946. She attended Scripps College in Claremont, California, and studied drama at the University of California, Los Angeles.
From 1953, she worked as a dancer and actress in New York, appearing in the original production of “The Diary of Anne Frank.”. In 1956, she married William Sloane Coffin and gave birth to three children, Amy, Alexander and David. The marriage ended in divorce in 1968.
In 1967, Rubinstein became seriously interested in photography, benefitting from workshops with Lisette Model and Diane Arbus. In addition to her work as a photojournalist, she has taken more intimate photographs of people, including nudes, and of (often empty) interiors. In an interview with Frank Horvat, she explained she had always shown great respect for the people she photographed, never wishing to intrude.
She has also led workshops at the School of Visual Arts in Manhattan (1972) and at Manhattanville College, among many other venues in the US and Europe. Purchase, New York, (1974-1975).

Andreas Feininger

Feininger combined an architect’s love of precision, space, and technique with an artist’s love of sweeping vistas. Although an American citizen, Feininger did not come to the United States until he was 33. Son of the late acclaimed artist Lyonel Feininger, he was born in Paris in 1906, and graduated with highest honors in architecture from schools in Germany. At the time, Feininger was using a camera as a reference aid in creating his building designs. The camera became his mechanical sketchbook.

Commissions were scarce for non-European citizens in the depressed economy. After a year’s work in France for the legendary architect Le Corbusier, followed by a struggle to find employment in Stockholm, Feininger turned his attention full-time to photography. He sold his first photos in 1932, moved with his family to the United States in 1939, and in 1943 became a staff photographer for LIFE magazine where he completed more than 430 assignments in a twenty year span.

Full of towering skyscrapers, broad swaths of road, and angles of geometric perfection, Feininger’s works are masterful in their technical excellence and panoramic grandeur. Such timeless images as New York Landscape Seen From Eight Miles Away in New Jersey, 1947 are notable for their harmony, balance, and grand scale. Through Feininger’s trained eye, the beauty and intricacies of both the natural and man-made world were magnified and intensified. From the broad span of bridges, exuding progress and power, to the symmetrical perfection of the skeleton of a carbon viper, Feininger’s images revealed a new aesthetic of order and geometric perfection. Even a seemingly utilitarian object like a doctor’s head mirror possesses mesmerizing, symbolic qualities when seen through Feininger’s lens.

Feininger had said that the city had attracted him since his earliest days as a photographer. But in time this love grew to include all the aspects of the city and its buildings, its people, its cars and traffic jams, its confusion and even its ugliness. I see the city as a living organism: dynamic, sometimes violent, and even brutal, he stated.

Luther Gerlach

Photographer Luther Gerlach works in a variety of historical photographic processes, highlighting the role of constraints in creative production and the hand-made, tactile connection between the artist and his work. Known for nude portraits and urban scenes of downtown LA in his early career, more recently Gerlach has pioneered the re-emergence of plein air wet plate collodion landscapes. His work distills detailed images of the natural world, particularly the trees, seaweeds, and grasses of Southern California, to emphasize pure light and line, endowing his images with a subtly abstract quality.

Luther Gerlach was born in Blayne, Minnesota in 1960. He apprenticed with Brett Weston in Carmel and Hawaii in the 1980’s, before learning the wet plate process which he still works in today. Gerlach has led lectures and demonstrations at the J. Paul Getty Museum in Los Angeles since 2001. He has exhibited at the Santa Barbara Museum of Art, the Ventura Museum of Art, the Schaknow Museum of Fine Art, Miami, the Denver Art Museum, and The Palace of the Governors, Santa Fe. Selected permanent collections include the Los Angeles County Museum of Art, The J. Paul Getty Museum, and the Michael G. Wilson Centre for Photography, among others.

The artist lives and works in Ventura, California.

Sam Haskins

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Toni Schneiders

 

 

Toni Schneiders is one of Germany’s most important photographers after 1945.
Together with Peter Keetmann, Siegfried Lauterwasser, Wolfgang Reisewitz, Otto Steinert and Ludwig Windstoßer, he founded the group “fotoform” in 1949. This group was a loose organization of experimental photographers, who took up an outstanding position within the artistic photography in post-war Europe. Stylistically, the artists tied in with the photographic experiments of the ‚Neues Sehen’ of the 1920s, while formally and aesthetically trying to strike a new path after the cultural barbarianism of the Nazi period.
The stylistic movement of ‚subjective photography’, which the group developed – characterized by formal abstraction and its pictorial claim – is, from today’s point of view, the most important contribution to the renewal of photography in Germany after 1945. It is not the objective rendering of reality which ‚subjective photography’ strives for, but the pictorial analysis and personal interpretation through subjective pictorial ideas. The result is a formally conscious structural black and white photography with stressed graphic values.
As such, the group succeeded to break away from the conventional, traditional form of photography of the time in an outstanding manner.
Since the beginning of the 1950s, Schneiders worked as a freelance photographer, concentrating on a combination of form and content.
With his camera, he captured motifs from art, architecture, landscape and industry – in diverse emotional moods, whether melancholic, poetic or serene.
From the end of the fifties, Toni Schneiders’ photographs document his tireless journeys which led him to Ethiopia, diverse European countries, Japan and South East Asia. In these works, he kept hold of his curiosity for “these things out there”.
Schneiders received the culture award of the German Society for Photography in 1999, together with Siegfried Lauterwasser and Wolfgang Reiseweitz.

Albert Renger-Patzsch

Renger-Patzsch was born in Würzburg and began making photographs by age twelve. After military service in the First World War he studied chemistry at Dresden Technical College. In the early 1920s he worked as a press photographer for the Chicago Tribune before becoming a freelancer and, in 1925, publishing a book, The choir stalls of Cappenberg. He had his first museum exhibition in 1927.

A second book followed in 1928, Die Welt ist schön (The World is Beautiful). This, his best-known book, is a collection of one hundred of his photographs in which natural forms, industrial subjects and mass-produced objects are presented with the clarity of scientific illustrations. The book’s title was chosen by his publisher; Renger-Patzsch’s preferred title for the collection was Die Dinge (“Things”).

In its sharply focused and matter-of-fact style his work exemplifies the esthetic of The New Objectivity that flourished in the arts in Germany during the Weimar Republic. Like Edward Weston in the United States, Renger-Patzsch believed that the value of photography was in its ability to reproduce the texture of reality, and to represent the essence of an object] He wrote: “The secret of a good photograph—which, like a work of art, can have esthetic qualities—is its realism … Let us therefore leave art to artists and endeavor to create, with the means peculiar to photography and without borrowing from art, photographs which will last because of their photographic qualities.”

Ugo Mulas

Mulas began his studies in law in 1948 in Milan, but left to take art courses at the Brera Fine Arts Academy.[1] In 1954 he was asked to cover the Venice Biennale, his first professional assignment. He went on to photograph every Venice Biennale through 1972 and to document his work in an art book.

Mulas worked for a number of Italian magazines and did commercial work for advertising campaigns including clients such as Pirelli and Olivetti. In 1959 in Florence, Mulas discovered Veruschka who later became a well-known model and artist. While covering the Spoleto Festival in 1962, Mulas befriended sculptor Alexander Calder, who later became a major subject of Mulas’ photography and writings.

While photographing the 1964 Venice Biennale, Mulas met several American artists, art critics, and the art dealer Leo Castelli. This meeting led to his travel to New York City and his documentation of the Pop art scene. This trip to New York and Mulas’ resulting book and exhibits, New York, the New Art Scene became Mulas’ best known work. The exhibit included enlargements of Mulas’ contact sheets and environmental portraits of Robert Rauschenberg, Jasper Johns, Barnett Newman and Roy Lichtenstein.[2]

Mulas died in Milan following several years of serious illness.

Chico Albuquerque

 

Natural de Fortaleza, Ceará, Francisco Afonso Albuquerque nasceu em 25 de abril de 1917. Faleceu em 26 de dezembro de 2000. Iniciou a carreira de fotógrafo aos 15 anos na Aba Film, empresa fundada por seu pai. Em 1934 profissionalizou-se como retratista. Transferiu-se para São Paulo em 1947, lá permanecendo até 1975, quando retornou a Fortaleza. Participou de mostras nacionais e internacionais, colecionando grande número de premiações
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André Kertész

André Kertész was born in Budapest in 1894 and studied at the Academy of Commerce until he bought his first camera in 1912. He served in the Austro-Hungarian army during World War I, and in 1925 had one of his photographs published on the cover of Erdekes Ujsay. That same year, he moved to Paris, where he did freelance work for many European publications, including Vu, Le Matin, Frankfurter Illustrierte, Die Photographie, La Nazione Firenze, and The Times of London. He bought his first 35-millimeter camera, a Leica, in 1928, and his innovative work with it on the streets of Paris was extremely influential. In 1936, he came to the United States, and began freelancing for Collier’s, Harper’s Bazaar, and House & Garden, among other mass-circulation magazines. Eventually, and until 1962, he worked under contract to Condé Nast. Between 1963 and his death, his independently produced photographs became more widely accessible, and Kertész became one of the most respected photographers in America. His work was the subject of many publications and exhibitions, including solo exhibitions at the Bibliothèque Nationale in Paris and at the Museum of Modern Art, and a major retrospective, Of Paris and New York, at the Art Institute of Chicago and the Metropolitan Museum of Art. Among his many honors and awards were a Guggenheim Fellowship and admission to the French Legion of Honor.
Kertész’s work had widespread and diverse effects on many photographers, including Henri Cartier-Bresson, Robert Capa, and Brassaï, who counted him as a mentor during the late 1920s and early 1930s. His personal work in the 1960s and 1970s inspired countless other contemporary photographers. Kertész combined a photojournalistic interest in movement and gesture with a formalist concern for abstract shapes; hence his work has historical significance in all areas of postwar photography.

 

Erwin Blumenfeld

Erwin Blumenfeld proved himself to be one of photography’s greatest pioneers during his 35-year-long career, breaking new ground in formal experimentation, developing innovative concepts through his fashion shoots, and enjoying unprecedented commercial success as a result.

Blumenfeld’s entry into photography was somewhat serendipitous: in the early 1930s, while running a leather shop in Amsterdam, he uncovered a fully equipped darkroom behind a boarded-up door in a storeroom, allegedly left behind by a previous tenant.

So he began experimenting, eventually forging a path for himself as a portrait photographer and displaying his photos in the shop’s windows. His earliest creations – collages and satirical pieces created in the Dadaist tradition to channel his anti-war sentiment – are a fascinating insight into his work.

As his practice evolved, Blumenfeld continued to reject photography’s formal limitations, playing instead with double and triple exposures, solarisation and high-contrast printing to achieve his uncompromising artistic vision.

As Blumenfeld turned from art to fashion photography – he made his debut in Vogue with the help of fashion royalty Cecil Beaton in 1944, and his dynamic concepts and exaltation of women made him a favourite among the most influential fashion magazines of the day – these progressive techniques only continued.

Michael Wolgensinger

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