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Robb Johnson
Robb Johnson
Robb Johnson

Robb Johnson

Country: United States

Robb Johnson creates haunting and mysterious black and white photographs reminiscent of the chiaroscuro style of the old Italian masters. The unusual atmospheric conditions he finds by photographing in the dark of night imbue his photographs with mystery. He sets a stage where the actors seem to have just stepped off or have yet to arrive for some unknown drama. Johnson’s photographs evoke a world where the viewer is free to explore with his or her own emotions and awareness – a drama unbeknownst but to them. Robb was a scholarship student at Art Center College of Design and earned a BFA in Photography. He worked in advertising photography for over 20 years, specializing in creating visual environments for national hotels with his wife Dale. He decided to turn his visual focus inward and pursue his art for himself. His work has been featured in B&W Magazine, Spotlight and B&W Single Image for 2006, 2007 and 2008 and his book, Robb Johnson Photographs was published by The French Press in 2008.

Gallery

Weston Gallery

Website

www.robb-johnson.com

 

Inspiring Portfolios

Klavdij Sluban
© Klavdij Sluban
Vincenzo Barone
© Vincenzo Barone
Michael Ackerman
© Michael Ackerman
 
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More Great Photographers To Discover

Sawyer Brice
Sawyer Brice
United States
2000
I am a portrait photographer. I have always aimed for my work to feel as timeless as possible. I think I've always been chasing that feeling. I want my work to be impactful and show people truth and reality but also bring hope and wonder to whatever audience may see it. I want my work to feel vulnerable. I want to help tell people's stories, whether they are non-fictional or fictional, all while telling my own. I love to shoot on various film formats, especially 120mm, as it allows me to slow time down and truly interact with my subjects. Thus, ensuring I can observe and grasp their feelings and personality, which ideally translates into the films produced. I love making photographs, and will never stop aiming to tell stories.
Shoji Ueda
Shoji Ueda
Japan
1913 | † 2000
Shoji Ueda was a photographer of Tottori, Japan, who combined surrealist compositional elements with realistic depiction. Most of the work for which Ueda is widely known was photographed within a strip of about 350 km running from Igumi (on the border of Tottori and Hyogo) to Hagi (Yamaguchi). Ueda was born on 27 March 1913 in Sakai (now Sakaiminato), Tottori. His father was a manufacturer and seller of geta; Shoji was the only child who survived infancy. The boy received a camera from his father in 1930 and quickly became very involved in photography, submitting his photographs to magazines; his photograph Child on the Beach, Hama no kodomo) appeared in the December issue of Camera. In 1930 Ueda formed the photographic group Chugoku Shashinka Shudan with Ryosuke Ishizu, Kunio Masaoka, and Akira Nomura; from 1932 till 1937 the group exhibited its works four times at Konishiroku Hall in Nihonbashi, Tokyo. Ueda studied at the Oriental School of Photography in Tokyo in 1932 and returned to Sakai, opening a studio, Ueda Shashinjo, when only nineteen. Ueda married in 1935, and his wife helped him to run his photographic studio. His marriage was a happy one; his wife and their three children are recurring models in his works. Ueda was active as an amateur as well as a professional photographer, participating in various groups. In 1941 Ueda gave up photography, not wanting to become a military photographer. (Toward the end of the war, he was forced to photograph the result of a fire.) He resumed shortly after the war, and in 1947 he joined the Tokyo-based group Ginryusha. Ueda found the sand dunes of Tottori excellent backdrops for single and group portraits, typically in square format and until relatively late all in black and white. In 1949, inspired by Kineo Kuwabara, then the editor of Camera, Ueda photographed the dunes with Ken Domon and Yoichi Midorikawa. Some of these have Domon as a model, far from his gruff image. The photographs were first published in the September and October 1949 issues of Camera and have been frequently anthologized. Ueda started photographing nudes on the dunes in 1951, and from 1970 he used them as the backdrop for fashion photography. The postwar concentration on realism led by Domon, followed by the rejection of realism led by Shomei Tomatsu, sidelined Ueda's cool vision. Ueda participated in "Japanese Photography" at the New York Museum of Modern Art in 1960 and had solo exhibitions in Japan, but had to wait till a 1974 retrospective held in the Nikon Salon in Tokyo and Osaka before his return to popularity. Ueda remained based in Tottori, opening a studio and camera shop in Yonago in 1965, and in 1972 moving to a new three-storey building in Yonago. The building served as a base for local photographic life. From 1975 until 1994, Ueda was a professor at Kyushu Sangyo University. Critical and popular recognition came from the mid seventies. A succession of book-length collections of new and old appeared. Ueda weathered the death in 1983 of his wife, and continued working well into the 1990s. He died of a heart attack on 4 July 2000. The Shoji Ueda Museum of Photography (Ueda Shoji Shashin Bijutsukan), devoted to his works, opened in Kishimoto (now Hoki, near Yonago) Tottori Prefecture in 1995. Source: Wikipedia
Laurent Chéhère
Laurent Chéhère
France
This Parisian by birth is a former award-winning advertising for his campaign Road Safety. Audi or Nike. One day he decides to leave the advertising to go around the world. Upon his return he chose to live his two passions, travel and photography. From Shanghai to Valparaiso, frome Srinagar to Ushuais, from La Paz to Lhasa, from Bamako to Bogota. He will feed his imagination and give us his view of the world and others. He loves exploring the cities, suburbs, country, as he likes to explore all fields of photography from reportage to conceptual image. Its particular interest in architecture and offset ideas will be born the series of "Flying Houses". Real house? Imaginary house? He tries to show us their hidden beauty pulling them out of their anonymity and perhaps invites us to leave. Laurent Chéhère exposed the series "Flying Houses" at Dock en Seine City of Fashion and Design in June 2012 where he won the Prix Special. He is represented by the gallery "Paris-Beijing" where he will exibit this series in October 2012. The "Flying Houses" will be shown in China at the 2012 Pingyao Internation Photography Festival and the Internation Fair "Paris Photo 2012" Source www.parisbeijingphotogallery.com
Laura Jean Zito
Laura Jean Zito
Ireland
"I began photographing in order to understand what elements of a scene would render that scene worth painting, given the time and materials commitment painting demands. The voyage led to a desire to document that which will no longer be, like trying to remember a dream. I wanted to document the world as I actually viewed it, in all its irony, and to marvel at the actuality of it rather than to distort that reality. The veracity of film itself was a tool to me to reveal with integrity the extent of what is possible in the universe. With digital manipulation, who knows what is real anymore? With film, I was proud of honing skills of recognizing an event before it happened, being quick and ready to snap it, and being astute enough to compose it in a way to tell the whole story in a single image. I had practiced these skills as a stills photographer on feature films, including my brother's classic hip hop film, "Breakin'," where the photographer is the only one on set not actually working on the movie but has to wrangle their way right next to the director at peak moments without disturbing anyone on crew, to convey the plot all in one image. Other people skills came from years of shooting for NBC News Graphics, where I had to approach strangers on the street on a daily basis to shoot stock photos for their files. I compose with a Caravaggio sense of action and emotion in mind, and look for color schemes or black and white contrasts that symbolically represent the emotions manifested. Street photography has changed so much with the digital age and a camera in everyone's phone. While the documentation of fact may be lost, the fields of imagination may be found, opening new ground for discovery." About Moment "Moment is a project of photographs taken over the last 40 years, in towns surrounding the birthplace of my grandparents, Ballintober and Strokestown, in County Roscommon, Ireland, as well as in cities and countryside. Moments represented are so casual and usual, that while they might go as unremarkable in their own time frame, when viewed through the lens of another era, their very everydayness shows how times have morphed into a more generic way of doing things. The photographs bestow an ambience that would likely not be missed until it was no longer available: pubs and public places full of character and characters, from farmers in faraway hills of Connemara to foreign ministers in Dublin Castle, their body language and gestures bringing past into present focus. These, and landscapes taken before developments displaced haystacks, mesh an aesthetic appeal with an historical one to highlight how, though visuals might have changed, issues never have and might never. The photographs are about a moment in time, a thought that comes to mind, that blows through the consciousness like a dandelion wisp in a summer breeze. And in that simplicity and ephemeral delicacy lies the potency and deepness and timelessness. The frame and filter we view through brings new insight and reflection, giving nuance to what we view as truth and reality." - "Moment" © 2021 Laura Jean Zito All Rights Reserved
Vesa Pihanurmi
Vesa Pihanurmi
Finland
1967
Vesa Pihanurmi is a multi award winning fine art photographer based in Helsinki, Finland. He was born in 1967. His photographs cover wide range of subjects from architecture to abstract studies and from landscapes to street photography. Regardless of the subject the main focus of his photography is in the emotional impact of the images. He interprets reality with minimalistic approach revealing alternative perspectives of our world through methods like long exposure, monochrome conversion and selective coloring. His photographs are often described as minimalistic, poetic, atmospheric and soothing. He has received several awards in the most important photography competitions worldwide (SWPA, IPA, PX3, ND Awards, Monochrome Awards, etc.).
Nat Fein
Nat Fein
United States
1914 | † 2000
Nathaniel Fein (August 7, 1914 – September 26, 2000) was a photographer for the New York Herald Tribune for 33 years. Fein is known for photographing Babe Ruth towards the end of his life, winning the 1949 Pulitzer Prize for his photograph The Babe Bows Out. Fein was born and raised on the Lower East Side of Manhattan. He was a press photographer at the New York Herald Tribune from 1933 to 1966. Known for setting a scene correctly, he would climb buildings and bridges to get the shot he was after. Fein's main subject matter was New York following World War II. Albert Einstein, Ty Cobb, Queen Elizabeth and Harry S. Truman were among the many public figures that he photographed. Nat Fein won more press photo awards than any of his contemporaries. Although considered to be one of the greatest human interest photographers in journalism, he carried the distinction of having taken "the most celebrated photograph in sports history." -- The New York Times, 1992. A resident of Tappan, New York, Fein died on September 26, 2000, at the age of 86.Source: Wikipedia Babe Bows Out", photograph of Babe Ruth during a ceremony at Yankee Stadium to retire his number, 13 June 1948 (This photo won the 1949 Pulitzer Prize for photography) © Nat Fein / Public Domain Babe Ruth’s dominating influence changed the game itself. He became the face of the New York Yankees and embodied the ethos of the game of baseball, American sports culture, and New York heritage. In Babe Bows Out photographer Nat Fein captures the beloved athlete and showman in an image that has become synonymous with the immensity of its subject. Nat Fein began to work for the New York Herald Tribune as a copyboy in 1932. After investing in a camera years later, he became a press photographer for the paper, creating a working relationship that lasted 33 years. While working as a staff photographer at the Tribune, Fein had not been assigned to work on the day that the New York Yankee’s would retire Babe Ruth’s number three jersey. On the day when the Yankees would celebrate the 25th anniversary of the Yankee stadium and retire “The Great Bambino’s” number, the mainstay sports photographer for the Tribune called in sick. Thus, on June 13 of 1948, Nat Fein was set out to cover what many suspected could be Babe Ruth’s last public appearance. While other press photographers attempted to capture a portrait of the great American baseball hero wearing his uniform one last time, Nat Fein, tried to capture the iconic number on his jersey, stating: “All the photographers were in the front, and I wanted to see how he looks from the back. So I figured, well, number three is out. The Babe bows out…” – Nat Fein The final image is filled with emotion, a bidding farewell to the greatest player in baseball. Among an interminable crowd of onlookers and accompanied by current Yankees players, Ruth bows out in the stage where his legendary mythology was created. At the time of the photograph in 1948, Babe Ruth had not played for the Yankees for over a decade. Ruth had also been ill for some time, and his appearance had changed; his thin legs and face showed signs of his fragile condition. Fein’s photograph, instead of highlighting the aged features of the passing of time or sickness, captures the silhouette of the baseball giant. The picture presenting Ruth with his classic number three jersey underlines the monumental influence he exuded over the game and New York. The image not only symbolizes a sports hero but a man who was larger than life. His rough childhood with frequent visits to orphanages and hospitals, his kindness to black baseball players in a time of racial inequity, his fondness to volunteer his time for kids sick with Polio, and his larger physique, generate empathy in his farewell photograph. The photograph presents a poetic image that connects us through its resounding human and empathetic quality, connecting the viewer to an unwavering American hero. Babe Bows Out eventually became the first sports photograph to win the Pulitzer Prize. It cemented the importance of the medium of photography. It is considered one of Time Magazine’s 100 most influential images of all time and is featured in the National Baseball Hall of Fame and the Smithsonian Institute. Never surrendering to sickness or ill-health, the photograph commemorates the hometown hero. It immortalizes the strong and imposing Babe Ruth as the towering figure we remember and speak of today. A man whose recognition has reigned supreme over baseball, New York, and the world of sports for over 100 years. Nat Fein’s Babe Bows Out is one of the most excellent images of baseball lore.Source: Holden Luntz Gallery
Tamara Dean
Tamara Dean
Australia
1976
Tamara Dean (b. 1976, Sydney, Australia) is a photographic artist whose works explore the informal rites of passage and rituals of young people within the natural world.Her solo shows include Ritualism, Divine Rites, This too Shall Pass and Only Human.Dean has received numerous awards including a $10,000 High Commendation prize in the 2013 Moran Contemporary Photographic Award, the 2011 Olive Cotton Award and 2009 Sydney Life: Art & About.Dean’s works have been widely exhibited both nationally and internationally. Her works have featured in ‘Dangerous Beauty’ curated by Stephan Stoyanov, Bulgaria 2013, the 2013 Aspettando FotoLeggendo festival in Rome, Fotofever Brussels Art Fair, 2012 and Pingyao Photography Festival, China, 2012 as well as at leading Australian galleries including Inheritance 2009 and Hijacked 2 – New Australian & German Photography 2010, both at the Australian Centre for Photography; Sydney Now – New Australian Photojournalism, Museum of Sydney 2007; Terra Australis Incognita at Monash Gallery of Art.Dean has been awarded artist residencies with ArtOmi, New York (2013), and previously Taronga Zoo, Montsalvat and repeatedly in the remote gold-mining town of Hill End, NSW.For a decade Dean was a member of Oculi photographic collective.Dean’s work is held in a number of public and private collections including Artbank, Sydney; The Francis J. Greenburger Collection, New York; the Mordant Family Collection, Australia; and is represented by Olsen Irwin Gallery Sydney and James Makin Gallery Melbourne.Source: www.tamaradean.com
Sim Chi Yin
Sim Chi Yin
Singapore
1978
Sim Chi Yin (born 1978) is a Singaporean photographer, based between Beijing, China, and London. She works as a documentary photographer and artist who pursues self-directed projects in Asia and is "interested in history, memory, and migration and its consequences". As well as photography she uses film, sound, text and archival material. The Long Road Home: Journeys Of Indonesian Migrant Workers was published in 2011. Sim is a nominee member of Magnum Photos. Sim Chi Yin was born in Singapore. She learned history and international relations at the London School of Economics on a scholarship. She worked as a print journalist and foreign correspondent at The Straits Times for nine years. In 2010 she quit to work full time as a photographer. Within four years she was working as a photojournalist, getting regular assignments from The New York Times. Her first major work was The Rat Tribe, about blue-collar workers in Beijing. It has been published widely and was shown at the Rencontres d'Arles in 2012. Sim spent four years photographing Chinese gold miners living with the occupational lung disease silicosis, published in the photo essay Dying To Breathe, much of it about He Quangui, also the subject of a short film. She was commissioned as the Nobel Peace Prize photographer in 2017 to make work about its winner, the International Campaign to Abolish Nuclear Weapons. Her photographs of similarities in landscapes related to nuclear weapons, both in the USA and along the China-North Korea border, were exhibited at the Nobel Peace Center museum in Oslo, Norway. In 2014 she became an interim member of VII Photo Agency, a full member in 2016 then left in 2017. In 2018 she became a nominee member of Magnum Photos. She has been awarded a Magnum Foundation Social Justice and Photography fellowship and the Chris Hondros Award. She is newly based in Berlin.Source: Wikipedia Sim Chi Yin’s work combines deep research with intimate storytelling. She explores history, memory, conflict and migration using photography, film, sound, text and archival material, in a multidisciplinary practice. Chi Yin was commissioned as the Nobel Peace Prize photographer in 2017 and created a solo show for the Nobel Peace Centre museum in Oslo on nuclear weapons, combining video installation and still photography. Other notable projects include One Day We’ll Understand, an ongoing excavation of histories from the anti-colonial resistance movement in British Malaya during the early Cold War, Dying to Breathe which chronicled the slow death of a Chinese gold miner from “Black Lung” disease and Shifting Sands, an on-going visual investigation into world’s dependence on a non-renewable resource. Her work has been exhibited in the Istanbul Biennale (2017), at the Institute of Contemporary Arts Singapore, the Annenberg Space For Photography in Los Angeles, Gyeonggi Museum of Modern Art in South Korea, and other galleries and institutions in Europe, the United States and Asia. Her film and multimedia work have also been screened at Les rencontres d’Arles and Visa pour l'Image festivals in France, and the Singapore International Film Festival. She has worked on assignments for global publications, such as The New York Times Magazine, Time Magazine, National Geographic, The New Yorker and Harper's Bazaar. Chi Yin read history at the London School of Economics and Political Science for her first two degrees and was a staff journalist and foreign correspondent for a decade before quitting to become an independent visual practitioner in 2011. She is currently also a PhD candidate on scholarship at King’s College London, in War Studies. Chi Yin became a Magnum nominee in 2018.Source: Magnum Photos Recent solo exhibitions include One Day We’ll Understand, Les Rencontres d’Arles (2021), One Day We’ll Understand, Landskrona Foto Festival, Sweden (2020), One Day We’ll Understand, Hanart TZ Gallery, Hong Kong (2019) and Most People Were Silent, Institute of Contemporary Arts, LASALLE College of the Arts, Singapore (2018), Fallout, Nobel Peace Museum, Oslo (2017). Her work has also been included in group shows such as Most People Were Silent, Aesthetica Art Prize, York Art Gallery, United Kingdom (2019); UnAuthorised Medium, Framer Framed, Amsterdam, The Netherlands; Relics, Jendela (Visual Arts Space) Gallery, Esplanade, Singapore (both 2018); and the Guangzhou Image Triennial ( 2021), the 15th Istanbul Biennial, Turkey (2017). Sim was commissioned as the Nobel Peace Prize photographer in 2017, nominated for the Vera List Center’s Jane Lombard Prize for Art and Social Justice 2020.Source: chiyinsim.com
Robert Demachy
Robert Demachy
France
1859 | † 1936
Robert Demachy (1859–1936) was a prominent French Pictorial photographer of the late 19th and early 20th century. He is best known for his intensely manipulated prints that display a distinct painterly quality. Léon-Robert Demachy was born in the home of his grandmother in Saint-Germain-en-Laye, on the outskirts of Paris, on 7 July 1859. His parents, Charles Adolphe Demachy (1818–1888) and Zoé Girod de l’Ain (1827–1916), had two other sons, Charles Amédée (1852–1911) and Adrien Édouard (1854–1927), and a daughter, Germaine (1856-1940?). The elder Charles had started the highly successful financial enterprise of Banque Demachy, and by the time Demachy was born the family was very wealthy. He had no need to earn a living, and there is no record of his having ever been employed anywhere. He dropped the first part of his name in his childhood and was always known as "Robert". After his birth his family returned to their mansion at 13 Rue François Premier in Paris, where Demachy continued to live for the next fifty years. His early years were quite idyllic, and each year his family would spend several months at their summer villa near Villers-sur-Mer in Normandy. The rest of the year he was educated in Jesuit schools in Paris, and he became fluent in English by the time he was a teenager. His education also included extensive musical lessons, and he became an accomplished violin player. About 1870, Demachy, his mother and his siblings left Paris for Brussels due to the increasing dangers of the Franco-Prussian War. His father stayed in Paris as part of the Commune and the Banque Demachy played an important role in financing the resistance efforts. When he turned eighteen Demachy briefly served a year as an army volunteer, but he soon returned to his life of comfort. In the mid-1870s he began frequenting the artists’ cafés and, perhaps in rebellion to his gentrified life, he became involved in the growing bohemian culture that was beginning to take hold in Paris. He began making sketches of café patrons and people on the street, a practice he continued throughout his life.Source: Wikipedia Robert Demachy was considered by many to be the most influential Pictorialist photographer across the whole of Europe. He was a man of independent means allowing him to focus completely on photography and international travel for it. He was a strong advocate of gum bichromate to enhance Pictorialist photography, for which he coined the term ‘ Photo-Aquatint’ associating it with intaglio printmaking. It is obvious when studying his work closely that his enjoyment of this process was from the artistic freedom it gave him. His gum prints were very successful, with their greatly softened detail quite deliberately reminiscent of impressionist art. Demachy became a strong and vocal defender of manipulated printing techniques. He is most famous for the prominent brushstrokes and rough-textured papers. Although these were greatly manipulated, he was able to bring an air of naturalism and poise to his work. He wrote “Do not say that nature being beautiful, and photography being able to reproduce its beauty, therefore photography is Art. This is unsound. Nature is often beautiful, of course, but never artistic ’per se’, for there can be no art without intervention of the artist in the making of the picture. Nature is but a theme for the artist to play upon. Straight photography registers the theme, that is all - and, between ourselves, it registers it differently” Quoted in Robert Demachy: Photographs and Essays. Bill Jay, 1974. Robert Demachy was a leader in French Pictorialist photography at the turn of the last century. He was elected to the Société française de photographie in 1882 and co-founded the Photo-Club de Paris with Maurice Bucquet in 1888. He had his first exhibition of gum prints in 1895 at the Photo-Club de Paris, which helped to promote his increasingly international status: the same year he was elected to The Linked Ring in London and made an honorary member of the Royal Photographic Society.Source: Edward Draper
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