Sebastian Kim

140123-07-070_V1+copySebastian Kim, 1974, USA, is a fashion / editorial photographer based in New York City. He was born in Vietnam, raised in Iran, France and the USA. He started his career assisting Richard Avedon for four years and then moved on to assist Steven Meisel for another seven years. The lessons he learned while assisting both photography legends laid the basis for his current work. His work has appeared in numerous magazines, from Numéro to GQ Style and from Vogue to V Man. Amongst his clients are Calvin Klein, L’Oreal and Nina Ricci.

Sid Avery

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Sid Avery discovered his love and talent of photography when he was young due to the fact that he studied under his uncle, Max Tatch, who was a landscape and architectural photographer. His uncle was able to teach him the skills required to use cameras, film and darkrooms. After he graduated from high school, Avery worked in a camera store on Sunset Boulevard, Hollywood where he further gained love and inspiration for photography. While working in the shop, he had opportunities to meet many famous photographers. This also encouraged him to take more photography classes. He also gained the experience of being a darkroom assistant. He served in the Army in World War II. When he returned from the war, he began his work of photographing celebrities. Sid Avery eventually became one of the top advertising photographer in Los Angeles. He was also a director of television commercials

Acacia Johnson

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Acacia Johnson is a photographer and artist from Alaska. Her photographic process can be described as expeditionary in nature, exploring her profound connection to the landscapes of the Far North in Alaska, Scandinavia, Iceland, and beyond. Acacia has spent several years living in Norway and has exhibited her work internationally. A recent graduate of the Rhode Island School of Design, her work is also included in collections at the Rhode Island School of Design Museum and the Smithsonian Museum of American History. She also works as a seasonal expedition guide and photography lecturer in Greenland and the Canadian Arctic.

Sam Abell

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In 1967, Sam Abell rode a train from New York to Washington DC thumbing through a copy of Walker Evans’ American Photographs. He’d marvel at the level of consideration and thoughtful restraint, at the deep-felt honesty conveyed, but something was missing. The world outside was very different than the one represented in the monochrome photographs made 30 years prior.

“It was chaotic and colorful and it was moving by,” he says, “which was how I felt about my life then.”

He was on his way that day to an interview at National Geographic. It was the opening scene to a 40-year career producing one of the most remarkable, understated bodies of color documentary work, bridging the gap between editorial and fine art photography long before either was accepting of the other.

“I was known as a 35-mm photographer with a view-camera mentality,” says Abell, who is 67 now and teaches widely around the country.

His process is built on the virtue of patience. He looks for structure in a scene, starting almost with a still-life. He dwells on the parts and composes meticulously. Then he waits.

Minutes, days, weeks he waits, coming and going for months even, drafting thousands of times in his head or on film the scene unfolding. Finally it comes. He calls that “a breath of life,”— a simple gesture, a gust of wind, a shadow, a sense of mystery that once stilled, creates involvement for the viewer, that ineffable quality of Abell’s work that keeps us looking.

Having shot nearly 1000 rolls of Kodachrome a year, Abell also had to have the patience to become a serious editor of his own work. For one assignment on the life of Charles M. Russell, the “Cowboy Artist of Montana,” he made 25,000 exposures over the course of a year, eight of which were ultimately published.

“What you cared about and fought for,” he says, “was to make those eight photographs meaningful.”

What might have been true to him, and true to whatever he was documenting, however, wasn’t always what the editors at the Geographic wanted.

“Editorial photography has to be energetic and visually competitive,” he says, it competes with advertisements for attention.

“It lacked that energy,” Abell says of his work, “but I believed in the staying power of those quieter pictures.”

This belief came with a life-long commitment to the book form, one of the few connections he had to the photography world when he was growing up in Ohio.

“It was what you might call a fantasy, or a wish of mine that motivated me to go deep into these assignments,” he says. “I knew that only ten pictures would be published. I always considered that I was working on a book.”

This winter, as a testament to the longevity of that aesthetic ambiguity and quietude, Radius Books is publishing The Sam Abell Library: Life and Still Life, an encyclopedic collection of 16 volumes, four slipcases of four volumes grouped by thematic relation. The first set, the photography of places — Newfoundland, Hagi and Australia — features 140 color photographs, most of which have never been published.

Unlike his previous books where he tried to show the process of his imagery, this collection presents only final, highly considered, definitive work.

“It’s one sensibility brought forward deeply by different places,” he says. “I want it to be about Australia, but the subtext is me in Australia, me in Japan.”

Overall, it’s a thoughtful, restrained collection of essays, one that could be read on a moving train, perhaps, by an aspiring photographer who might find the impetus to go out in the world and improve upon it.

Amber Asaly

Lynn Bianchi

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Lynn Bianchi is a New York City-based fine art photographer and multi-media artist who has shown work in over thirty solo exhibitions and in museums worldwide. She was a visiting artist at the American Academy in Rome. Additionally, Bianchi’s photographic art has been featured in over forty publications. Her work also resides in numerous private collections across the globe as well as in museum collections, including the Musée de L’Eysée in Lausanne, Switzerland, the Brooklyn Museum in New York City, and the Museum of Fine Arts in Houston, Texas.

 

Alan Sailer

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Steve Meisel

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Duane Michals

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Photography is essentially an act of recognition by street photographers, not an act of invention. Photographers might respond to an old man’s face, or an Arbus freak, or the way light hits a building—and then they move on. Whereas in all the other art forms, take William Blake, everything that came to that paper never existed before. It’s the idea of alchemy, of making something from nothing.”
~ Duane Michals

Alfred Stieglitz

ALFRED STIEGLITZ was most influential in establishing photography as an art form in the United States. He pursued this cause by editing and publishing magazines, organizing photographers, operating galleries and crafting his own creative photographic images many of which were printed in photogravure. He promoted the photogravure process as an original means of photographic printmaking.

Stieglitz secured hands-on experience with photogravure and used it extensively for his work and the images of fellow pictorialists around the turn of the twentieth century. He initially worked at the Photochrome Engraving Company, in New York, where he gained intimate knowledge of photogravure and other printing processes. In 1897, he issued Picturesque Bits of New York and Other Studies, a portfolio of his own large-format gravures, for which he personally made the film positives for plate making. At this time he marketed his individual photogravures as collectible, original works of art, numbering, signing and printing them in limited editions.

Stieglitz used the photogravure process for most of the illustrations in his groundbreaking periodicals, Camera Notes (1897-1903) and Camera Work (1903-1917). The photogravures in these journals, all personally approved by Stieglitz, enabled a larger audience for once to experience the artful qualities of photography. He was so confident of the quality of these gravures that he occasionally sent them to be displayed at international exhibitions of artistic photographs.

Stieglitz’s own work passed through three distinct phases. He began as a naturalist photographer sensitively portraying rural lifestyles. He then became a pictorialist, creating impressionistic pictures through soft-focus effects. Finally, he turned modern, embracing abstraction, photographic detail, and realistic tones

Art of the Photogravure

Nick Adams

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Globe transparency, Lynn Bianchi


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Lynn Bianchi is a New York City-based fine art photographer and multi-media artist who has shown work in over thirty solo exhibitions and in museums worldwide, including the Tokyo Metropolitan Museum of Photography, Japan; the Musée de l’Elysée in Lausanne, Switzerland; Musée Ken Damy, Brescia, Italy; 21c Museum, Louisville, Kentucky and the Art Gallery of Ontario in Toronto, Canada. Her photographic art has been featured in over forty publications, including the Encyclopedia of Food and Culture in the U.S., Vogue Italia and Zoom in Italy, Phot’Art International in France, and GEO in Germany. Bianchi’s work resides in numerous private collections across the globe as well as in museum collections including The Museum of Fine Arts in Houston, Texas; the Brooklyn Museum, New York and the Biblioteque Nationale de France, Paris. In 2012, her work was exhibited in the Armory Show at Salomon Arts Gallery and in a two-person show at One Art Space, both in New York City. Soon, Bianchi’s Heavy in White work will be featured in an upcoming book and exhibition entitled “SometimesBeautiful” curated by Michael J. Beam. She is also being featured in the revolutionary Art Photo Index, an online platform for artists.

William Gedney

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Michael Yamashita

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Norman Seeff

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Richard Avedon

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Elliott Erwitt

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Robert Mapplethorpe

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Kalliope Amorphous

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My images reflect my love of mythology, paradox, and the juxtaposition of light and dark, beauty and beast. I am continually drawn to concepts involving the subconscious, alienation, time, memory, deconstruction, duality, and transcendence. Rather than approaching self-portraiture from a purely autobiographical perspective, I enjoy exploring the boundaries between “self” and “other” through the creative interpretation of identity, archetype, myth, and memory.  By embracing the roles of stylist, photographer, and model, I can more deeply explore my conceptual ideas as the subject that is integrated into, rather than separate from the photograph.

I am interested in the visual representation of states of consciousness and ephemera, and the ways in which the deliberate invocation of entropy can create beauty.  My photographs represent my desire to integrate and contain opposites, to drop form, and to question temporal reality .

My non-self portrait bodies of work express similar sensibilities, and are explorations and aspects of the same world. 

James Van Der Zee

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