Brett Weston

Brett Weston seemed destined from birth to become one of the greatest American photographic artists. Born in Los Angeles in 1911, the second son of photographer Edward Weston, he had perhaps the closest artistic relationship with his famous father of all four of the Weston sons. In 1925, Edward removed Brett from school and took him to Mexico, where the thirteen year old became his father’s apprentice. Surrounded by revolutionary artists of the day, such as Tina Modotti, Frida Kahlo and Diego Rivera, and influenced as well by the striking contrast of life in Mexico, it was there that Brett first began making photographs with a small Graflex 3 1/4″ x 4 1/4″ camera.
The introduction to modern art the younger Weston received, via the work of painters Rivera and Jose Clemente Orozco, unquestionably influenced his sense of form and composition. A quality of design was evident in Brett’s early images of the organic and man-made. He appreciated how the camera transformed subjects close up and how the contrast of black and white further altered the recognition of an object. It is therefore not difficult to understand his tendency to abstraction, a characteristic by which he would be identified throughout his almost seventy year career.
Returning to California in 1926, Brett continued to assist his father in his Glendale portrait studio while exhibiting and selling his own photographs. At the age of seventeen, a group of his images were included in the German exhibition “Film und Foto”, considered one of the most important avant-garde exhibitions held between the two World Wars. This recognition brought the younger Weston international attention and inclusion in numerous photographic exhibitions in the following years. Although his art will forever be associated with his father’s, it is unfair to continue to suggest that Brett’s style was overly imitative of Edward’s beyond these early years given what we have discovered in an enormous body of work produced over seven decades.
In 1929, Brett and his father moved to Carmel, California where the Weston family, including Brett’s three brothers, would maintain homes for the rest of their lives. At various times, Brett Weston also lived in Los Angeles where he had his own studio and portrait business, and in New York where he was stationed in the army. He later traveled extensively on personal photographic trips to South America, Europe, Japan, Alaska, and Hawaii. Following a 1947 Guggenheim Fellowship which he used to photograph along the East Coast, he moved to Carmel to assist his ailing father, and pursue his fine art work, including wood sculpture that was influenced by his own photographs.
Throughout the decades of the 1950s, 1960s, 1970s, and 1980s, Brett Weston’s style changed sharply and was characterized by high contrast, abstract imagery. The subjects he chose were, for the most part, not unlike what interested him early in his career: plant leaves, knotted roots, and tangled kelp. He concentrated mostly on close-ups and abstracted details, but his prints reflected a preference for high contrast that reduced his subjects to pure form. In the late 1970s and into the 1980s Weston spent much of his time in Hawaii where he owned two homes. He would travel back and forth between them, shooting along the way: “l have found in this environment, everything I could want to interpret about the world photographically.” Brett Weston died in Kona, Hawaii, January 22, 1993.

Amanda Demme

My path has led me from one creative passion to the next, always immersing myself deeper into my work, constantly learning, creating, and developing my skill set. Born and raised in Washington DC, I attended college at Boston University. I have always had a passion for creativity. Initially, this manifested as becoming a connector and curator. In the late 80s and early 90s in NYC, I immersed myself in the emerging hip hop scene, working at Sleeping Bag Records and New Music Seminar and working the door at The World, a staple for artists like Madonna, David Bowie, and Keith Haring. I created a club venue called Carwash in an abandoned school, bringing hip hop culture from the Bronx to the Lower East Side, hosting rap battles with legendary artists like KRS-One and Busta Rhymes’ original group, Leaders of the New School.
In 1993 I moved to Los Angeles and founded Buzztone Management where I signed hip-hop artists like Cypress Hill and House of Pain. I then founded Immortal Records where our roster expanded into rock, supporting releases by Korn and Incubus. Subsequently, I realized I had a desire to express my artistic perspective more fully and personally. My evolution from music back to the visual world began, but the role I could eventually play was still nascent. I parlayed my experience in the record label and management realm into music supervision for film and television, where I married music with filmic moments, creating the soundtracks for over 50 projects including Garden State, Blow, Freaks and Geeks, Judgement Night, Erin Brockovich and Slackers.
Out of the blue my husband, filmmaker Ted Demme, suddenly passed away. Losing my husband, the father of my children, and my creative collaborator shifted everything. After this, I did two things that I’d always wanted to do. First, I put my college degree to use, developing spaces and promoting events and started Supermarket Media, an event marketing company with Brent Bolthouse. I curated and programmed events for brands including Vogue, Prada and Yves Saint Laurent, as well as festivals including Coachella. Hailing back to my roots, I branded, designed, launched, curated and operated nightclubs Tropicana and Teddy’s at the Roosevelt Hollywood. Additionally, I created the H. Wood brand and developed the first club (in that portfolio, which now extends across the US) with partners, challenging club expectations by mixing in unique fine art and retail experiences. I also began interior design for celebrity homes. The other thing I did was pick up a camera. Framing, lighting, storytelling are all part of developing and activating spaces, but it would be 10 years before I embraced photography as the central piece of my creative practice.
By 2010 I had burned out of the continuous late nights. The camera was my solace. I dove in headfirst and began my practice as an artist. In May 2013 I debuted my first solo show in Venice which LA Times called “emotional and dark, even cinematic.” I was enthralled. Addicted, is what others might call it, but that tenacity opened doors and in the last five years I’ve been able to shoot iconic actors, creatives, activists, and politicians, and my work has been published in dozens of well-respected publications. A personal highlight, although incredibly difficult, was a project for NY Mag where I shot 35 of Bill Cosby’s alleged rape victims. Recently, photography has morphed into creative direction opportunities. As traditional photography clients need more content across multiple mediums I have found myself challenged to develop 360° campaigns, from messaging and aesthetics to imagery and film.


Aaron Siskind

Artist and educator Aaron Siskind holds a preeminent place in the history of American photography. He was the only photographic member of the American Abstract-Expressionist movement, drawing inspiration and inspiring notable modern painters such as Willem DeKooning Barnett Newman and Franz Kline. During the 1930s, Siskind was interested in documenting the pressing social conditions of his time. It was not until after an exploration of the external world had been exhausted, that he began using the outside world as a means of internal self-exploration –harnessing the associative powers of his vernacular objects. Siskind focused on the formal relationship between light, structure and texture, exploring ideas of decay and regeneration. His practice was an overtly straightforward technique of isolating and enlarging everyday subject matter, creating conceptual metaphors with new purpose and meaning. The artist ultimately radicalized the medium by pinpointing photography’s potential as an abstract form of expression and an aesthetic end in itself.


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Dorothea Lange

Dorothea Lange was an influential American documentary photographer and photojournalist, best known for her Depression-era work for the Farm Security Administration. Lange’s photographs humanized the consequences of the Great Depression and influenced the development of documentary photography.

Born of second generation German immigrants on May 26, 1895, at 1041 Bloomfield Street, Hoboken, New Jersey, Dorothea Lange was named Dorothea Margaretta Nutzhorn at birth. She dropped her middle name and assumed her mother’s maiden name after her father abandoned the family when she was 12 years old, one of two traumatic incidents early in her life. The other was her contraction of polio at age seven which left her with a weakened right leg and a permanent limp. “It formed me, guided me, instructed me, helped me and humiliated me,” Lange once said of her altered gait. “I’ve never gotten over it, and I am aware of the force and power of it.

Wynn Bullock

The medium of photography can record not only what the eyes see, but that which the mind’s eye sees as well. The camera is not only an extension of the eye, but of the brain. It can see sharper, farther, nearer, slower, faster than the eye. It can see by invisible light. It can see in the past, present, and future. Instead of using the camera only to reproduce objects, I wanted to use it to make what is invisible to the eye visible.

As long as I can remember, I have been filled with a deep desire to find a means of creatively interacting with the world, of understanding more of what is within and around me. It was not until I was 40, however, that I decided photography was my best way. When I photograph, what I’m really doing is seeking answers to things.

I didn’t want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature.

It is not that I am uninterested in telling visual stories about people and their everyday lives. I just like to leave this kind of work mostly to others. What I prefer is to trace the hidden roots of humanity deeply embedded in nature.




Rondal Partridge

Rondal and his twin, Padraic, were born in 1917 to the photographer Imogen Cunningham and etcher Roi Partridge. Ron began helping his mother in her darkroom at the age of five, standing on an apple box to watch her prints come to life in the developing bath. Soon he was processing his own sun prints alongside her. The San Francisco Bay Area photographic community was small and close-knit in the years Ron was growing up. Photographers swapped stories and cameras, and shared techniques and darkrooms. Family friends Ansel Adams, Edward Weston, Dorothea Lange, and many others were part of Ron’s daily life.

Kenneth Van Sickle

Ken Van Sickle’s photographs summon a tart romanticism. They fulfill the time-traveling brief of all great photography, granting onlookers intimate, keyhole access to Paris in fifties, the New York Beat scene, Andy Warhol’s Factory. You can almost smell the cigarette smoke in that Greenwich village club. You can feel the sunlight on that sleeping cat’s back. And yet time and again you find yourself you have to check the date on the photographs, so contemporary do some of Van Sickle’s more experimental effects seem — his fondness for smoke and blur, for double and pinhole exposures, smudges and superimpositions all lending his work a sense of haloed perception, of fresh apprehension furred with the workings of mind and memory. These photographs are taken with more than just a recording eye. They have the sweet ache of dreams awoken from just this morning.
A native of New Brunswick, New Jersey, Van Sickle learned the basics of drawing, painting and composition from his grandfather and later studied under George Grosz at the Art Students League and cubist painter André Lhote in Paris. Compositionally, he is capable of both a sinewy elegance of line and graphic boldness: a deep vertical slash of sunlight illuminates the dark well of a Grasse alleyway; the steep climb of a biplane above a spit of land offers an airy reprieve from the forces of gravity. There is something of Chagall to his work — a sense of playful dislocation. He may not be the first photographer to bounce skylight off the wet streets of New York, or to seize on the compositional opportunities afforded by the city under snow, but when melting snowflakes smudge his lens, creating little coronas of light that merge with billowing steam from a subway grate, the result is magical, synesthetic: an image of steam and snow, fire and ice, both hot and cold at once. The city seems prowled by dragons.
The warmth is more than just a matter of temperature. As keen an eye as Van Sickle has for the city’s powers of accidental abstraction — a conga-line of umbrellas on a cross-walk, the owners’ faces obscured, a ring of balloons encircling their sellers heads — he has too much curiosity about human motive to use his subjects merely for decoration. Those umbrella-bearers have their heads down for a reason. His en passant portraitsevince a deep, unfakeable relish for idiosyncracy and human kink: a woman’s arm, draped across her partner’s forest of belly hair, suggests a Coney island reworking of Cocteau’sBeauty and the Beast; a biker incongruously tans himself using sun reflectors like a New Jersey housewife; a street trader, his face obscured by cigarette smoke but for his furry, steepled eyebrows, nonetheless communicates with them as amply as Chaplin; a young boy on the streets of Paris, surrounded by his gang, smokes with such comical pugnacity he seems to be defying you to do something about it.
It’s hard not to feel in Van Sickle’s Parisian photographs the unavoidable influence of Cartier Bresson, with whom he shared a teacher in Lhote, and a lifelong love of the Leica camera. Van Sickle’s bought his while on active duty in Korea, together with a 35 mm lens, that went with him everywhere. His lack of funds, and film roll, inculcated the Bressonian virtue of catching moments on the fly, sometimes on a first take, but while he shares the French master’s sense of ripeness — his eye for thismoment, plucked from a hundred others — there is to Van Sickle a provocative sense of mystery that tilts him towards more modern, cinematic sensibilities. In ‘Car Stop’ a woman photographed through the windscreen of a car, stands with her back to the camera, clutching a bunch of thistles. Did she stop to pick them? And what of those two motorbikes that appear to have caught her eye, speeding toward her? Threat licks at the edges of the idyll. In ‘White Poodle,’ a wary poodle peers from out the back door of a Volkswagon at the blurry street-scene going on in the foreground. Should he leave the car, or keep his nose out of trouble and move along?
Captivated by the movie industry as a boy, Van Sickle worked for 25 years as a director of photography on various documentaries, commercials and features, including Queen, a documentary about a transvestite beauty pageant held in New York in 1967, and Marjoe, a 1972 documentary about the boy-wonder faith-healer turned b-movie actor Gortner Marjoe, which won the Oscar for best documentary that year. Van Sickle’s eye for human oddity, and slightly smudged glamor, seen askance, lingers in his photographs of celebrities — Shelley Duvall examining her hair on the set of Bernice Bobs Her Hair; Allen Ginsberg reading Howl to a circle of cross-legged listeners in a Village nightclub; Andy Warhol sitting next to an art buyer on a sofa, the buyer smoking a cigarette with almost post-coital tristesse. Have they done the deed or is it yet to come? Not for nothing is one of Van Sickle’s photographs entitled “Subsequently”: his work is pregnant with a sense of urgency and sequence, his photographs not just a record of this moment, thinly sliced, but the ghost of the world that preceded it, and the shadow of the world yet to come.

Jake Borden

Jacob Borden ( 1993) is an American photographer based in the Hills of Western Massachusetts. Raised on an organic sheep farm in upstate New York, his work in the medium began after discovering world renowned photographer John Stanmeyer lived near by. In 2014 he began an apprenticeship with the photographer, managing his extensive archive and assisting with the production of multiple National Geographic projects both at home and abroad.
Since 2017, he has been working on a series of personal projects in the United States and internationally, focusing on the longterm effects of conflict. The series “In Ruins”, chronicling the lives of IDPs living in the Republic of Georgia, won first place in the 2017 Tbilisi photo festival and was a finalist for the 2019 Burn Emerging Photographer award, and was published by the BBC and Vice News.
In 2018, he moved to Beirut,Lebanon with generous support from the Alice B. Henriquez Memorial Fund to continue a series of work chronicling refugees from the Syrian conflict living in Lebanon’s Bekaa Valley while studying anthropology and Arabic at the American University of Beirut. During that time he received mentorship from some of the leading names in the industry through the 2019 VII Masterclass in Poland and the Eddie Adams Workshop, one of the world’s most prestigious photography seminars.

Art Wolfe


Alice Austen

Alice Austen (March 17, 1866 – June 9, 1952) was one of America’s earliest and most prolific female photographers. Alice became interested in photography when her uncle, Oswald Müller, brought home a camera around 1876. Alice’s uncle Peter Townsend Austen was a chemistry professor at Rutgers who taught her photographic processing. Peter and Oswald converted a closet on the second floor into Alice’s darkroom. The earliest extant photograph by her is dated 1884. Over the next 40 years she produced around 8,000 photographs.

Carr Clifton

World renowned and award-winning photographer Carr Clifton has spent over thirty-five years exploring the endangered, wild landscapes most people will never know. An accomplished wilderness guide and traveler, Carr is widely recognized for his distinctive and artistic landscapes of remote regions. He has dedicated himself to his art which he says “isn’t only framing the image in the camera, but getting myself to the wildest places where I do my best work.” Carr’s wilderness skills have allowed him entrance into the solitude of some of the world’s most remote and least populated regions.
A native Californian living in the northern Sierra Nevada near Taylorsville, California, Carr began photographing in 1977 after seeking advice and inspiration from his mentor and neighbor, master landscape photographer Philip Hyde. After graduating from Colorado Mountain College in Glenwood Springs, Colorado with a degree in Commerical Photography, Carr began his freelance career with a 4×5 view camera, shooting film long before the personal computer, internet, websites or digital technology. His travels and adventures have taken him worldwide capturing the light on landscapes from Arctic Alaska to the Amazon Basin; from the Queen Charlotte Islands of British Columbia to the hardwood forests of New England; from the fjords of Norway to the peaks and rivers of Patagonia.
A professional advisor for Outdoor Photographer, Carr is best known for his numerous exhibit format books showcasing his work. His portfolio is comprised of thousands of editorial, corporate and advertising credits, including hundreds of covers and the award winning documentary, Three Women, Three Hundred Miles. Exhibitions including Carr’s photography have been displayed at the Roger Tory Peterson Institute, The Nikon House, San Diego Museum of Natural History, Mountain Light Gallery and The California Academy of Science. Recent awards include the Detroit Creative Director’s Silver Caddy Award for outstanding landscape photography in advertising, the International Color Awards for outstanding portfolio and the Theodore Roosevelt Founders Medal for outstanding expeditionary achievement. Carr’s fine art prints have been purchased by environmental, corporate and private collections worldwide.

Gregory Kramer

Gregory Kramer is a photographer based in New York City. He published his first book DRAGS in 2017. DRAGS documents NYC drag king and queen scene in classic black and white photographs. His follow-up project DOWNTOWN is a self published project documenting New York City’s downtown scene. Gregory draws his inspiration from the the people that make up New York City.

David Fokos

David Fokos was born in 1960 in Baltimore, MD and currently lives in San Diego, CA.
Using an 85-year old 8×10 view camera, world-renowned artist David Fokos has been photographing the landscape for over 30 years. Often working 100 hours or more to craft a single image, his elegant black and white images have been lauded as masterpieces of minimalism. Represented by 14 galleries on three continents, Fokos’ work can be found in many museum, corporate, and private collections.
Of his work, Fokos says: “The images I make today are the result of decades of exploration and discovery in my quest to understand how we experience the world around us. My goal is to express the essence of my experience – evoking within the viewer the same emotions I felt when making the images. With my work, I’m not trying to show the viewer what these places look like, but rather what they feel like

Herbert Ritts

Herbert Ritts (August 13, 1952 – December 26, 2002) was an American fashion photographer who concentrated on black-and-white photography and portraits.
Ritts began his photographic career in the late 70’s and gained a reputation as a master of art and commercial photography. In addition to producing portraits and editorial fashion for Vogue, Vanity Fair, Interview and Rolling Stone, Ritts also created successful advertising campaigns for Calvin Klein, Chanel, Donna Karan, Gap, Gianfranco Ferré, Gianni Versace, Giorgio Armani, Levi’s, Pirelli, Polo Ralph Lauren, Valentino among others. Since 1988 he directed numerous influential and award winning music videos and commercials. His fine art photography has been the subject of exhibitions worldwide, with works residing in many significant public and private collections.
In his life and work, Herb Ritts was drawn to clean lines and strong forms. This graphic simplicity allowed his images to be read and felt instantaneously. They often challenged conventional notions of gender or race. Social history and fantasy were both captured and created by his memorable photographs of noted individuals in film, fashion, music, politics and society.
Ritts was committed to HIV/AIDS related causes, and contributed to many charitable organizations, among them amfAR, Elizabeth Taylor AIDS Foundation, Project Angel Food, Focus on AIDS, APLA, Best Buddies and Special Olympics . He was also a charter member on the Board of Directors for The Elton John Aids Foundation.

Philip-Lorca diCorcia




Philip-Lorca diCorcia’s photographs straddle truth and fiction by combining real people and places—but not necessarily people and places that naturally go together. The theatricality of his images is carefully constructed: he arranges the objects of each scene and devises precise lighting and framing for every project. His work is often described as cinematic, a description that diCorcia deplores. He insists that his pictures suggest rather than elucidate a full narrative. His brand of storytelling results in unstable, unfixed images that point in certain directions but never provide a definitive map.
His earliest work, from the late 1970s, featured his friends and family in scenes that evoke loneliness, contemplation, ennui, or, occasionally, humor. In Mario, diCorcia’s brother stares into an open refrigerator, his late-night mission to unearth a snack infused with inertia. The photograph couples an impression of complete stillness with the eerie, seemingly contradictory sense of witnessing a fleeting moment. Peter Galassi, former chief curator of MoMA’s Department of Photography, described the production of this image: “The subject was utterly ordinary but the photograph was carefully planned. The camera was on a tripod and the lighting was supplemented by an electronic flash hidden in the refrigerator and triggered at the moment of exposure. DiCorcia leveled the camera, adjusted and readjusted the lighting, made several Polaroid test shots and more than a few exposures, each aiming at the envisioned result.”1 DiCorcia’s acute attention to detail has become the hallmark of his process and has influenced a generation of photographers (including Katy Grannan, Justine Kurland, Alex Prager, and Alec Soth, among others) who work with controlled situations and semi-anonymous portrait subjects.
DiCorcia did not set out to become a photographer. While attending the University of Hartford, he studied with Jan Groover, who planted the idea that a photograph is not necessarily an artifact documenting a specific sliver of time; rather, a photograph should result from careful planning and orchestration. Early- and mid-20th-century photographers who also took this approach include Paul Outerbridge, Philippe Halsman, and Bill Brandt. During his graduate studies at Yale University diCorcia begin to classify himself as a photographer by first determining the kind of image-maker he did not want to be. Garry Winogrand, Lee Friedlander, and Tod Papageorge—who rapidly shot many exposures in order to get to a few final images—attempted to capture the real world at a particular moment in time from a specific point of view. Their mid-20th-century work presented diCorcia with a strand of street photography to push against at exactly the same time that color processes began to be used outside of advertising and news photography. DiCorcia deliberately chose to print in color since it was an underutilized format in fine-art photography.
MoMA presented diCorcia’s first solo museum exhibition in 1993, featuring his series Hustlers, which was made in Los Angeles between 1990 and 1992. He photographed male prostitutes he approached on Santa Monica Boulevard, paying them whatever they typically charged for their services to instead pose in scenarios he had prepared for the photo sessions. The titles of these photographs, such as Eddie Anderson; 21 Years Old; Houston, Texas; $20, list only the facts. Yet by inserting their bodies into prepared scenes in hotel rooms or on the street, diCorcia made portraits that operate in tandem with—but do not exactly reproduce—the fantasy roles these men were usually conscripted to play.
Having worked outside on the Hustlers series, diCorcia delved further into street photography. As he explained, “The elements which call into question the normal relationship of appearance to truth in photography are, for most artists of my generation, tools to enrich the experience of work rather than ends in themselves.”2 Taking the work of Garry Winogrand in particular as a starting point, diCorcia reinvigorated the genre in the 1990s by freezing the ebb and flow of a city sidewalk in images such as Los Angeles and New York. By arranging flashes and stationing his camera at a precise location, he suspended slices of time in images that have the quiet stillness of Old Master paintings. For his series Streetwork (1993–97) and Heads (2000–01), he took thousands of photographs, of which he selected only a handful for inclusion. Unlike other practitioners of street photography, diCorcia never wanted his images to propagate a moral truth or instigate social change.

Don Hudson

I was born in Detroit, Michigan in 1950 and have lived in the area my entire life. In 1972 I decided to act on my love of photography and enrolled in art school. During my two years there I studied the language, both the history and the history-in-making, honed my technical skills, and most importantly, began an association with like-minded souls playing the game of photography. For 40 years, through peaks and valleys of activity, my playing of the game has been about my personal relationship with how the camera describes the appearance of truth in a photograph. You will have to look at the photographs for further explanation. I consider myself a thoughtful, and proudly amateur photographer. A book of my photographs from the last century, From The Archives, has recently been published in France.

Don Hudson

I was born in Detroit, Michigan in 1950 and have lived in the area my entire life. In 1972 I decided to act on my love of photography and enrolled in art school. During my two years there I studied the language, both the history and the history-in-making, honed my technical skills, and most importantly, began an association with like-minded souls playing the game of photography. For 40 years, through peaks and valleys of activity, my playing of the game has been about my personal relationship with how the camera describes the appearance of truth in a photograph. You will have to look at the photographs for further explanation. I consider myself a thoughtful, and proudly amateur photographer. A book of my photographs from the last century, From The Archives, has recently been published in France.

Don Hudson

Alice & Peter Gowland

Alice and Peter photographed beautiful women in the glamour and pin-up style for over sixty years. In fact, the New York Times named him “America’s No. 1 Pin-up Photographer.”

While best known for beautiful “pin-ups,” they also photographed children, numerous celebrities and the historic southern California beach lifestyle they lived. Many of the celebities they photographed were also their friends – Jayne Mansfield, Jonathan Winters, Muhammad Ali and Raquel Welch are among the people they captured on film.

Peter was sent to Germany as a photographer during WWII. His work during the war are a sublime contrast to the pin-ups he was known for. In addition, the Gowland team sold over 1000 magazine covers and photographed for Playboy and countless advertising campaigns. With their expertise, Peter and Alice traveled the world giving lectures on photography and wrote over 35 books and guides related to portrait and glamour photography.

Discontent with the cameras available, Peter branched out. He invented and sold 21 different kinds of cameras, the most popular being the Gowlandflex twin lens 4 x 5 still used by many professionals.

Peter was born into the Hollywood life, the son of English character actor Gibson Gowland and actress Sylvia Andrew. As a young man he spent many years on the sets working as a double and background actor. It was there that he first observed glamour lighting, which was the foundation for his future career.

From 1942-1945, Peter worked as an engineering cinematographer for North American Aviation, while he and Alice spent evenings and weekends taking portraits, speculative advertising photographs and creating “how to make” articles. In 1945 he was sent to Germany with the Air Force, where he was in charge of the photo lab at Furstenfeldbruck. During WWII, because pin-ups became popular with the Armed Forces, Alice sold some of their beach pin-ups as magazine covers while Peter was in the service.

After Peter was discharged in 1946, Peter and Alice built their first studio home in West LA with the help of a G.I. loan. In 1954 they moved into their Rustic Canyon home, designed by William F. Overpeck. The nearby beach became their perennial stomping ground. In its day, this State Beach was a vibrant gathering place teaming with life. They made many dear friends, and the photographs they took, from the mid-40s through the late-70s, bring to life the excitement and camaraderie of a time gone by.


Connie Imboden


Connie Imboden’s photographs are in the permanent collections of many museums including The Museum of Modern Art in New York, The Baltimore Museum of Art, The National Museum of American Art, The Museum of Modern Art in San Francisco, The Philadelphia Museum of Art, The Bibliotheque Nationales in Paris, France, the Ludwig Museum in Cologne, Germany and many other public and private collections throughout Europe, Asia, and the Americas.

Throughout the years, Imboden has shown her photographs in an extensive range of group and solo shows at galleries and museums within the United States, South America, Europe, and most recently China.

In 1993, Connie Imboden won the Silver Medal in Switzerland’s “Schonste Bucher Aus Aller Welt (Most Beautiful Book in the World)” Award for her first book of images entitled “Out of Darkness”. Her most recent book, “Reflections, 25 Years of Photography”, features photos from 1983 to 2009 charting Imboden’s artistic journey and offering new insights into her work and vision.

She teaches photography at the Maryland Institute College of Art, where her experience as a photographer began, as well as many workshops around the world.

Imboden is also the president of the board of governors of the William G. Baker Jr. Memorial Fund. The Baker Fund focuses its grant making exclusively to Arts and Culture and in 2008 initiated the Baker Artists Awards, an innovative online process offering significant prizes to emerging and established artists of any discipline.

Jeremy Mann