Jone Reed‘s black and white photographs are as alluring as they are haunting. Whether it’s the blur of a body or the depth of shade and shadow, Reed has a natural ability to provoke emotion with her work. Describing photography as “the expression of artistic freedom,” her work transports the viewer to a place of atmospheric attraction
John Thomson (14 June 1837 – 29 September 1921) was a pioneering Scottish photographer, geographer, and traveller. He was one of the first photographers to travel to the Far East, documenting the people, landscapes and artefacts of eastern cultures. Upon returning home, his work among the street people of London cemented his reputation, and is regarded as a classic instance of social documentary which laid the foundations for photojournalism. He went on to become a portrait photographer of High Society in Mayfair, gaining the Royal Warrant in 1881.
Constance Stuart Larrabee, a photographer who recorded the vanishing tribes of southern Africa, the World War II battlefields of Europe and her life on Maryland’s tranquil Eastern Shore, died on July 27 at her home in Chestertown, Md. She was 85.
Known as Constance Stuart earlier in her career, Mrs. Larrabee in 1997 donated her African images to the Smithsonian Institution’s National Museum of African Art, her World War II pictures to the Corcoran Gallery and her views of the Eastern Shore to the Chesapeake Bay Maritime Museum.
She photographed South African soldiers fighting their way up the Italian boot, as well as the liberation of Paris, with Gen. Charles de Gaulle, in profile, addressing a crowd. Finally, the show ended on a genteel note in Maryland, where she bred Norwich and Norfolk terriers on a farm and depicted the rivers and creeks, wildlife and people of her surroundings.
Two of her South African photographs were included in Edward Steichen’s famous international exhibition and collection of the mid-1950’s, ”The Family of Man.” The Museum of Modern Art billed it as ”the greatest photographic exhibition of all time,” and she shared the credits with the likes of Margaret Bourke-White, Frank Capra and Henri Cartier-Bresson.
Born in England, Mrs. Larrabee grew up in Pretoria, South Africa, and studied photography in London and Munich. In 1936 she started a portrait studio in Pretoria to capture the white South African elite along with visitors like Noel Coward and members of the British royal family.
Apart from her commercial work, she began to chronicle the vanishing ethnic cultures of Bushmen, Transkei peoples and others in the region. Her exhibitions drew national attention and led to her appointment as a war photographer.
Muzi Quawson is a London-based artist and photographer who documents different aspects of American society. Quawson’s practice explores the nature of identity, focusing on people and communities that have adopted an existence as society’s alleged outsiders.
Eric Kellerman is a Briton who has lived near Nijmegen in the Netherlands for just over half his life. In 2008, he retired from academic life to spend even more time on photography.
He works almost entirely in the studio and uses digital equipment from camera to print, although image manipulation is limited to darkroom-like processes. Specialising in the nude, he has a regular team of female collaborators, most of whom have a serious interest in movement (dance, drama therapy, athletics, martial arts). Sometimes, when there is no model available, he photographs vegetables and fruit out of desperation. He is doing more fashiony things these days too.
Kellerman used to consider his work to be distant, abstract, melancholic, ‘unerotic’, despite its subject matter. Now he’s not so sure. He emphasises line, geometrical form, texture, implicit movement, and above all, chiaroscuro. He likes to create ambiguity in his photos, so that the viewer is sometimes unsure what part of the body is being looked at. In this way, he attempts to free the female body of its conventional associations.
He has been influenced by surrealism (Dali, Magritte, Delvaux’ nudes and railway stations) and the Canadian ‘magic realist’ painter Alex Colville, whose occluded bodies in essentially intimate scenes can create a surprising sense of alienation. This partial view, the ‘privileged peep’, fits in with Kellerman’s particular aesthetic very well.
You could say that photography is in my blood. My father and grandfather were both keen amateur photographers plus my grandfather also worked at Ilford, the black and white film and paper company. As a youngster I was usually to be found with a camera in hand and justifiably earned the affectionate nickname of “David Bailey” in the family.
This early creativity and interest grew and saw me study History of Art and Architecture at university. This love of history and architectural design shows still in my landscape images as I have a tendency to include historical and modern buildings within the landscapes I photograph.
My passion for photography has continued to grow in the 30 years since I first picked up a camera. The creative possibilities provided by the digital technology now available has led me to where I am now, providing professional photographic services and selling my fine art images in a variety of media.
I endeavour to capture my images in-camera only using post processing to optimise the image with minimal adjustments – colour balance, exposure and contrast plus converting to black and white – much in the same way photographers of old processed in the dark room.
I have been very fortunate in having lived in three different countries over the past 13 years. In 2003 my family moved from Scotland to Singapore which afforded me some fantastic travel photography opportunities including many destinations within Australia plus Cambodia. I am now based in The Netherlands having returned to Europe in 2010. Here I am grasping the opportunity for travel with two hands, producing travel and fine art images from the UK, USA, Jordan, Malta, Italy, Austria and France plus locally within The Netherlands.
Commercially I have spent the last 5 years building up a busy interiors photography business. I help hotels and guest houses to showcase their spaces as well as helping property clients to increase their perceived value and speed up the rental and sales by enticing viewings with stunning but realistic images.
The eldest of seven children, Bert Hardy rose from humble working class origins in Blackfriars, London, leaving school at age 14 to work for a chemist where he learnt how to chemically process photos.
After selling 200 prints of King George V and Queen Mary passing by in a carriage, he went on to freelance for The Bicycle magazine, saving up to buy a second-hand, small-format Leica 35 mm camera which was to change his life.
Self taught and using the small Leica camera instead of the traditional larger press cameras, Hardy was recruited by the editor of Picture Post, Tom Hopkinson, in 1941. He went on to become the Post’s Chief Photographer, earning his first photographer credit for a February 1941 photo-essay about Blitz-stressed fire-fighters.
Hardy later served as a war photographer in the Army Film and Photographic Unit (AFPU) from 1942 until 1946, covering the D-Day landings in June 1944, the liberation of Paris and the allied advance across the Rhine. He was also one of the first photographers to enter the liberated Belsen to record the dreadful scenes there.
His later photo-journalism took him all around the world, and his famous 1951 Picture Post photograph of two young women sitting on railings at Blackpool – which has been reproduced all over the world – was taken on a humble Box Brownie camera.
Mick Waghorne is a photographer based in Wiltshire, England. As he wrote: “Whilst I was interested in photography as a teenager this largely waned until the onset of digital photography.”
In the last years has focused in shoot of nudes in studio environment.
“I like the blank canvas that I have before me and the challenge of creating something in tandem with the model with whom I’m working. The creation of the image is a two way thing.
Maisie Broadhead is an artist and visiting lecturer at the Royal College of Art, London. She established her studio in London in 2009 and has had five solo shows to date. Maisie’s work has been part of major shows at the National Gallery and the Design Museum London, National Gallery of Victoria, Australia and she won the Jerwood Makers Open in 2012 and the Pavilion Contemporary 3 commission in 2014.
Her work is often a dialogue between the hand made object and the photographic image
The best stories are those that challenge preconceived notions about a place or an issue, that challenge stereotypes and make people rethink their view on things