Lee Miller first entered the world of photography in New York as a model to the great photographers of the day such as Edward STEICHEN, HOYNINGEN-HUENE and Arnold GENTHE.
In 1929 she went to Paris and worked with the well known Surrealist artist and photographer Man RAY, and succeeded in establishing her own studio. She became known as a portraitist and fashion photographer, but her most enduring body of work is that of her Surrealist images. She returned to New York in 1932, and again set up her own studio which ran for 2 years and was highly successful. It closed when she married a wealthy Egyptian businessman Aziz ELOUI BEY and went to live with him in Cairo, Egypt. She became fascinated by long range desert travel and photographed desert villages and ruins. During a visit to Paris in 1937 she met Roland PENROSE, the Surrealist artist who was to become her second husband, and travelled with him to Greece and Romania. In 1939 she left Egypt for London shortly before World War II broke out. She moved in with Roland PENROSE and defying orders from the US Embassy to return to America she took a job as a freelance photographer on Vogue.
In 1944 she became a correspondent accredited to the US Army, and teamed up with Time Life photographer David E. SCHERMAN. She followed the US troops overseas on D Day + 20. She was probably the only woman combat photo-journalist to cover the front line war in Europe and among her many exploits she witnessed the siege of St Malo, the Liberation of Paris, the fighting in Luxembourg and Alsace, the Russian/American link up at Torgau, the liberation of Buchenwald and Dachau. She billeted in both Hitler and Eva Brauns houses in Munich, and photographed Hitlers house Wachenfeld at Berchtesgaden in flames on the eve of Germanys surrender. Penetrating deep into Eastern Europe, she covered harrowing scenes of children dying in Vienna, peasant life in post war Hungary and finally the execution of Prime Minister Lazlo Bardossy.
After the war she continued to contribute to Vogue for a further 2 years, covering fashion and celebrities. In 1947 she married Roland PENROSE and contributed to his biographies of PICASSO, MIRÓ, Man RAY and TÀPIES. Some of her portraits of famous artists like PICASSO are the most powerful portraits of the individuals ever produced, but it is mainly for the witty Surrealist images which permeate all her work that she is best remembered.
Mark Citret was born in 1949 in Buffalo, New York, and grew up in San Francisco. He began photographing seriously in 1968, and received both his BA and MA in Art from San Francisco State University.
Most of Citret’s work is not specific to any locale or subject matter. Still, he has worked on many photographic projects over the course of his career, and continues to do so. From 1973 to 1975 he lived in and photographed Halcott Center, a farming valley in New York’s Catskill Mountains. In the mid to late 1980s he produced a large body of work with the working title of “Unnatural Wonders”, which is his personal survey of architecture in the national parks. He spent four years, 1990 to 1993, photographing a massive construction site in the southwest corner of San Francisco.
Since he moved to his current home in 1986, he has been photographing the ever changing play of ocean and sky from the cliff behind his house. Currently he is in the midst of a multi-year commission from the University of California San Francisco, photographing the construction of their 43 acre Mission Bay life-sciences campus.
I’ve always been strongly affected by the environment, since I was a young child living beside a nuclear research lab in California. It was not outside of town but in it. Sometimes we’d hear, and feel, open-air explosions, some of which, I would learn later, contained depleted uranium. It was the height of the Cold War and people did not ask many questions then. At 7, we moved to the industrial New York City metropolitan area. Industrial contamination was so close to our leafy neighborhood, the wind sometimes carried fumes from refineries shattering our Rockwellian pretensions. Early on, I hatched a plan to move back westward away from the city to where there were mountains and forests; to the Rockies, then California again before landing in Tokyo. Naturally, I suppose, I became a documentary storyteller and a collector of visual evidence from my base in Asia for the past 2 decades. The documentary work focuses on humanity’s relationship with the environment and the ecological consequences of rapid development in East Asia, including violations of indigenous land and human rights. On the street, an “out of the corner of the eye” immediacy drives the work to peer beneath the surface at what is unspoken.
The work has been published and exhibited throughout the world and led to four monograph photo books, the first being “Empire: Impressions from China” and the latest on the “Black Tsunami: Japan 2011” on the epoch-changing triple disaster in Japan. Projects have been cited with the Alfred Eisenstadt Award (from Columbia University and Life Magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA Best of Photojournalism, PDN and others for work from China, Japan, Afghanistan and Burma (Myanmar), etc. In 2015, I founded EverydayClimateChange (ECC) Instagram feed, where photographers from 6 continents document global climate change on 7 continents. ECC bears witness that climate change is not happening “over there” but it is also happening right here and right now. ECC is not a western view on climate change because photographers come from the north, the south; the east and the west; and are as diverse as the cultures in which we were all raised.
Rickard’s work evokes a connection to the tradition of American street photography, with knowing references to Walker Evans, Robert Frank and Stephen Shore. He both follows and advances that tradition, with a documentary strategy that acknowledges an increasingly technological world—a world in which a camera mounted on a moving car can generate evidence of the people and places it is leaving behind. Collectively, these images present a photographic portrait of the socially disenfranchised and economically powerless, those living an inversion of the American Dream.
Donna Ferrato is an internationally-known documentary photographer. Her gifts for exploration, illumination, and documentation coupled with a commitment to revealing the darker sides of humanity, have made her a giant in the medium. She has four books including Living with the Enemy which sold over 40,000 copies, and Love & Lust, published by Aperture. She has participated in over 500 one-woman shows and has received awards such as the Robert F. Kennedy Award for Humanistic Photography (1987), the Missouri Honor Medal for Distinguished Service in Journalism (2003), and the Gender Fairness Award from the New York State Supreme Court Judges (2009). She founded a non-profit called Domestic Abuse Awareness for over a decade and in 2014 launched a campaign called I Am Unbeatable, which features women who have left their abusers. In November 2016, TIME magazine announced her photograph of a woman being hit by her husband (1982) as one of the “100 Most Influential Photographs of All Time.” Currently, Ferrato is documenting her rapidly-changing New York neighborhood of Tribeca for a new book, and leads experimental photo workshops called The Erotic Eye.
Harold Eugene Edgerton, born in Fremont, Nebraska, on April 6, 1903, was the inventor of stroboscopic photography. Beginning in 1921, he studied electric engineering at the University of Nebraska in Lincoln, later at the Massachusetts Institute of Technology in Cambridge. There he worked as an assistant in 1927 and from 1928-68 as a professor. Edgerton’s uncle taught him the basics of photography when he was 15.
Born in Honolulu, Hawaii, Amber has traveled across the United States throughout most of her childhood. At 16, she has been featured in and interviewed for numerous magazines and websites.
“I hope people see themselves. Each one of my photos is a small moment, and they will all add up to one life, and I really hope people see that; it’s not just about being beautiful or pleasing to the eye, I want people to experience a rush of feelings, as if their whole life is flashing before them.”
Amber currently lives in New York.
In the beginning, photography was my passport to meeting people, learning, and experiencing new cultures. Now it is more than just a passport. It’s a tool for creating awareness and understanding across cultures, communities, and countries; a tool to make sense of our commonalities in the world we share.
I am photographing my life. It is as simple and complex as that. Presently, my life is overrun by exquisite little creatures known as children. As they explore the elements with carefree abandon, I observe with camera poised, balanced between protection and permission.
I work from a place of intuition, capturing the action as it unfolds and stealing sidelong glances at the details of our environments. The images are juxtaposed to create an introspective narrative, mining the richly ambiguous state of parenthood, akin to the murky realm between a river’s glittering surface and its hidden undercurrents. Through the camera’s lens I am transported, traversing the spaces between shadow and light, dreams and reality, delight and disquiet.
I’ve come to realize that my art has diversity with powerful individual vision, that chronicles the life of individuals. People draw me into their lives to tell their story to anyone willing to listen and validate their reason for living. My attraction to story telling grew as my life developed behind a camera. I discovered that it’s not how a photographer looks at the world that is important, it’s their relationship with their fellow human beings and these moments of connectivity that are frozen in time for all to see.
I am now teaching street photography and journalism around the world. Helping people to find their stories after they identify their personal pilgrimage.
As a photographer I have won a John F Kennedy award, Leica Medal of Excellence for outstanding achievement in Humanistic Photojournalism, NPPA region 10, award, and many more