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 Xetobyte
 Xetobyte
 Xetobyte

Xetobyte

Country: Italy
Birth: 1990

Xetobyte is a 20 year old Italy student who creates Surreal Artworks. All of his photo manipulations where the darkness is dominating, rather than brightness.
 

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Mark Seliger
Unites States
1959
Mark Alan Seliger (born May 23, 1959) is an American photographer noted for his portraiture. Seliger was born in Amarillo, Texas, the son of Maurice and Carol Lee. The family moved to Houston in 1964. He attended the High School for the Performing and Visual Arts in Houston, and East Texas State University (now Texas A&M University Commerce). He moved to New York City in 1984. Seliger began working for Rolling Stone in 1987, and served as its chief photographer from 1992 to 2002, and shot more than 100 covers for the magazine. As of 2010, Seliger lives in New York City and works for Conde Nast Publications. He has shot a number of covers for GQ and Vanity Fair. Seliger has also published several books; created a number of CD covers for Burning Spear, Diana Krall, and other bands; and directed short films. The celebrities whose portraits Seliger has made include Susan Sarandon, David Byrne, Matthew Barney, Willie Nelson, Mick Jagger, Keith Richards, Kurt Cobain, Lenny Kravitz, Rob Thomas, Brand Nubian, and Tony Bennett.Source: Wikipedia Seliger now shoots frequently for Vanity Fair, Italian Vogue, Harper’s Bazaar, Elle, and many other magazines. In addition, he shoots advertising work for Adidas, Anheuser-Busch, Levi’s, McDonald’s, Netflix, Ralph Lauren, Ray-Ban, and many more. Seliger is the recipient of such esteemed awards as the Alfred Eisenstaedt Award, Lucie Award, Clio Grand Prix, Cannes Lions Grand Prix, The One Show, ASME, SPG, and the Texas Medal of Arts Award. Seliger’s work has been exhibited in museums and galleries around the world. His photographs are part of the permanent collection of the National Portrait Gallery at the Smithsonian Institution in Washington, D.C., the Museum of Fine Arts in Houston, and the National Portrait Gallery in London.Source: www.markseliger.com
Thomas Eakins
United States
1844 | † 1916
Thomas Cowperthwait Eakins (July 25, 1844 – June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important American artists. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the portraits offer an overview of the intellectual life of contemporary Philadelphia; individually, they are incisive depictions of thinking persons. In addition, Eakins produced a number of large paintings that brought the portrait out of the drawing-room and into the offices, streets, parks, rivers, arenas, and surgical amphitheaters of his city. These active outdoor venues allowed him to paint the subject that most inspired him: the nude or lightly clad figure in motion. In the process, he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Thomas Eakins also took a keen interest in the new technologies of motion photography, a field in which he is now seen as an innovator. No less important in Eakins' life was his work as a teacher. As an instructor, he was a highly influential presence in American art. The difficulties which beset him as an artist seeking to paint the portrait and figure realistically were paralleled and even amplified in his career as an educator, where behavioral and sexual scandals truncated his success and damaged his reputation. Eakins was a controversial figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as "the strongest, most profound realist in the nineteenth and early-twentieth-century American art". Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Thomas Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Thomas Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Thomas Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Thomas Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called Naked Series, which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model. Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works. Thomas Eakins used photography for his own private ends as well. Aside from nude men, and women, he also photographed nude children. While the photographs of the nude adults are more artistically composed, the younger children and infants are posed less formally. These photographs, that are “charged with sexual overtones,” as Susan Danly and Cheryl Leibold write, are of unidentified children. In the catalog of Eakins' collection at the Pennsylvania Academy of the Fine Arts, photograph number 308 is of an African American child reclining on a couch and posed as Venus. Both Saidiya Hartman and Fred Moten write, respectively, about the photograph, and the child that it arrests. Late in life Eakins did experience some recognition. In 1902 he was made a National Academician. In 1914 the sale of a portrait study of D. Hayes Agnew for The Agnew Clinic to Dr. Albert C. Barnes precipitated much publicity when rumors circulated that the selling price was fifty thousand dollars. In fact, Barnes bought the painting for four thousand dollars. Eakins died on June 25, 1916, at the age of 71 and is buried at The Woodlands, which is located near the University of Pennsylvania in West Philadelphia. In the year after his death, Eakins was honored with a memorial retrospective at the Metropolitan Museum of Art, and in 1917–18 the Pennsylvania Academy followed suit. Susan Macdowell Eakins did much to preserve his reputation, including gifting the Philadelphia Museum of Art with more than fifty of her husband's oil paintings. After her death in 1938, other works were sold off, and eventually another large collection of art and personal material was purchased by Joseph Hirshhorn, and now is part of the Hirshhorn Museum's collection. Since then, Eakins' home in North Philadelphia was put on the National Register of Historic Places list in 1966, and Eakins Oval, across from the Philadelphia Museum of Art on the Benjamin Franklin Parkway, was named for the artist. In 1967 The Biglin Brothers Racing (1872) was reproduced on a United States postage stamp. His work was also part of the painting event in the art competition at the 1932 Summer Olympics. Since the 1990s, Eakins has emerged as a major figure in sexuality studies in art history, for both the homoeroticism of his male nudes and for the complexity of his attitudes toward women. Controversy shaped much of his career as a teacher and as an artist. He insisted on teaching men and women "the same", used nude male models in female classes and vice versa, and was accused of abusing female students. Recent scholarship suggests that these scandals were grounded in more than the "puritanical prudery" of his contemporaries—as had once been assumed—and that Eakins' progressive academic principles may have protected unconscious and dubious agendas. These controversies may have been caused by a combination of factors such as the bohemianism of Eakins and his circle (in which students, for example, sometimes modeled in the nude for each other), the intensity and authority of his teaching style, and Eakins' inclination toward unorthodox or provocative behavior. Eakins was unable to sell many of his works during his lifetime, so when he died in 1916, a large body of artwork passed to his widow, Susan Macdowell Eakins. She carefully preserved it, donating some of the strongest pieces to various museums. When she in turn died in 1938, much of the remaining artistic estate was destroyed or damaged by executors, and the remainders were belatedly salvaged by a former Eakins student.Source: Wikipedia
Jonas Bendiksen
Norway
1977
Jonas Bendiksen is a Norwegian photojournalist based near Oslo. He has published the books Satellites (2006) and The Places We Live (2008) and received awards from World Press Photo, International Center of Photography, National Magazine Awards and Pictures of the Year International. Bendiksen became a Magnum Photos nominee in 2004 and a member in 2008. In 2010 he was its president. Bendiksen was born in Tønsberg, in Vestfold county, southern Norway, on 8 September 1977. He lived in Russia for several years. The time he spent there resulted in his book, Satellites - Photographs from the Fringes of the former Soviet Union, about separatist republics in the former USSR, published in 2006. For three years he photographed slum communities in Nairobi in Kenya, Mumbai in India, Jakarta in Indonesia, and Caracas in Venezuela, for The Places We Live, a book published in 2008, and an exhibition containing projections and voice recordings.Source: Wikipedia Thinking back on the series of events, and “ill-advised” actions he undertook as a photographer in his 20s, Jonas Bendiksen says one of the driving forces of his landmark project, Satellites, was luck. Happening to be in a specific place, at a specific time, is what led the photographer to make some of the series’ most unique and most memorable images. Yet, through all of his reflections on the project, it’s clear that a keen sense of observation, determination in the execution of an idea, and a certain streak of recklessness were all part of the mix. During the collapse of the Soviet Union, economic, political and ethnic disparities gave birth to a series of lesser-known unrecognized republics, national aspirations, and legacies. Crafted from a series of Bendiksen’s photoessays made from 1999 to 2005, Satellites documented these places in transition. Six regions undergoing great social shifts formed the six chapters of the book: the “non-existent” state of Transdniester; the beach resort of Abkhazia; the contested region of Nagorno-Karabakh; the Fergana Valley, lying across Uzbekistan, Kyrgyztan and Tajikstan; the spaceship crash zones of the Altai Territory; and the Jewish Autonomous Region of Birobidzhan. Through this collection of vignettes, little-seen in the West at the time, Bendiksen provided an insight into how daily life was lived in liminal places, documenting communities that were experienced the breakdown of Soviet communism in varying ways. Jonas Bendiksen’s sharply evocative images explore themes of community, faith and identity with unsparing honesty. He has made major bodies of work all over the world, at the same time as he always also photographs the daily rhythms of life at home. As well as many critically acclaimed long-form projects he has also produced significant work for many commercial and editorial clients. Bendiksen most recent book The Last Testament from 2017 told the story of seven men who all claimed to be the biblical Messiah returned to earth. His editorial clients include magazines such as National Geographic, Stern, TIME Magazine, Newsweek, The Sunday Times Magazine, The Guardian Weekend. On the commercial side, he has done projects for HSBC, Canon, FUJI, BCG, Red Bull and Land Rover. Bendiksen lives with his wife and three children outside Oslo, Norway.Source: Magnum Photos
Louise Dahl-Wolfe
United States
1895 | † 1989
Louise Dahl-Wolfe was an American photographer. She is known primarily for her work for Harper's Bazaar, in association with fashion editor Diana Vreeland. Louise Emma Augusta Dahl was born November 19, 1895 in San Francisco, California to Norwegian immigrant parents; she was the youngest of three daughters. In 1914, she began her studies at the California School of Fine Arts (now the San Francisco Institute of Art), where she studied design and color with Rudolph Schaeffer, and painting with Frank Van Sloan. She took courses in life drawing, anatomy, figure composition and other subjects over the next six years. After graduating, Dahl-Wolfe worked in designing electric signs and interiors. In 1921, Dahl-Wolfe met with photographer Anne Brigman, who inspired her to take up photography. Her first dark-room enlarger was a makeshift one she built herself, which used a tin can, an apple crate, and a part of a Ghirardelli chocolate box for a reflector. She studied design, decoration and architecture at Columbia University, New York in 1923. From 1927 to 1928, Dahl-Wolfe traveled with photographer Consuelo Kanaga, who furthered her interest in photography. Her first published photograph, titled Tennessee Mountain Woman, was published in Vanity Fair (U.S. magazine 1913–36). In 1928 she married the sculptor Meyer Wolfe, who constructed the backgrounds of many of her photos. Dahl-Wolfe was known for taking photographs outdoors, with natural light in distant locations from South America to Africa in what became known as "environmental" fashion photography. Compared to other photographers at the time who were using red undertones, Dahl-Wolfe opted for cooler hues and also corrected her own proofs, with one example of her pulling proofs repeatedly to change a sofa's color from green to a dark magenta. She preferred portraiture to fashion photography. Notable portraits include: Mae West, Cecil Beaton, Eudora Welty, W. H. Auden, Christopher Isherwood, Orson Welles, Carson McCullers, Edward Hopper, Colette and Josephine Baker. She is known for her role in the discovery of a teenage Lauren Bacall whom she photographed for the March 1943 cover of Harper's Bazaar. One of her favorite subjects was the model Mary Jane Russell, who is estimated to have appeared in about thirty percent of Dahl-Wolfe's photographs. She was a great influence on photographers Irving Penn and Richard Avedon. One of her assistants was fashion and celebrity photographer, Milton H. Greene. From 1933 to 1960, Dahl-Wolfe operated a New York City photographic studio that was home to the freelance advertising and fashion work she made for stores including Bonwit Teller and Saks Fifth Avenue. From 1936 to 1958 Dahl-Wolfe was a staff fashion photographer at Harper’s Bazaar. She produced portrait and fashion photographs totaling 86 covers, 600 color pages and countless black-and-white shots. She worked with editor Carmel Snow, art director Alexey Brodovitch and fashion editor Diana Vreeland, and traveled widely. In 1950, she was selected for "America's Outstanding Woman Photographers" in the September issue of Foto. From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals. Louise Dalhl-Wolfe lived many of her later years in Nashville, Tennessee. She died in New Jersey of pneumonia in 1989. The full archive of Dahl-Wolfe's work is located at the Center for Creative Photography (CCP) at the University of Arizona in Tucson, which also manages the copyright of her work. In 1999, her work was the subject of a documentary film entitled Louise Dahl-Wolfe: Painting with Light. The film featured the only surviving modern footage of Dahl-Wolfe, including extensive interviews. It was written and directed by Tom Neff, edited by Barry Rubinow and produced by Neff and Madeline Bell.Source: Wikipedia Born in Alameda, California, Dahl-Wolfe studied at the San Francisco Institute of Art. In 1921, while working as a sign painter, she discovered the photographs of Anne Brigman, a Pictorialist based in California and associated with the Stieglitz circle in New York. Although greatly impressed by Brigman's work, Dahl-Wolfe did not take up photography herself until the early 1930s. Travel with the photographer Consuelo Kanaga in Europe in 1927-28 piqued her interest in photography once again. In 1932, when she was living with her husband near the Great Smoky Mountains, she made her first published photograph, Tennessee Mountain Woman. After it was published in Vanity Fair in 1933, she moved to New York City and opened a photography studio, which she maintained until 1960. After a few years producing advertising and fashion photographs for Woman's Home Companion, Saks Fifth Avenue, and Bonwit Teller, she was hired by Carmel Snow as a staff fashion photographer for Harper's Bazaar in 1936. Dahl-Wolfe remained with the magazine until 1958, after which time she accepted freelance assignments from Vogue and Sports Illustrated until her retirement in 1960. Dahl-Wolfe was especially well-known during the infancy of color fashion photography for her exacting standards in reproducing her images. Her insistence on precision in the color transparencies made from her negatives resulted in stunning prints whose subtle hues and unusual gradations in color set the standard for elegance in the 1940s and 1950s. In addition, she pioneered the active yet sophisticated image of the "New Woman" through her incorporation of art historical themes and concepts into her photographs.Source: International Center of Photography "I believe that the camera is a medium of light, that one actually paints with light. In using the spotlights with reflecting lights, I could control the quality of the forms revealed to build a composition. Photography, to my mind, is not a fine art. It is splendid for recording a period of time, but it has definite limitations, and the photographer certainly hasn't the freedom of the painter. One can work with taste and emotion and create an exciting arrangement of significant form, a meaningful photograph, but a painter has the advantage of putting something in the picture that isn't there or taking something out that is there. I think this makes painting a more creative medium." — Louise Dahl-Wolf, 1984 Dahl-Wolfe preferred portraiture to fashion work, and while at Harper's she photographed cultural icons and celebrities including filmmaker Orson Wells, writer Carson McCullers, designer Christian Dior, photographer Cecil Beaton, writer Colette, and broadcast journalist Edward R. Murrow. In addition to her Harper's responsibilities, Dahl-Wolfe was able to pursue her own vision in the studio and sometimes even while on assignment. For example, she asked a model to pose for the unpublished Nude in the Desert while on location in California's Mojave Desert shooting swimsuits that would appear in the May 1948 edition of Harper's. From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals. Major exhibitions of her work include Women of Photography: An Historical Survey at San Francisco Museum of Modern Art; The History of Fashion Photography and Recollections: Ten Women of Photography at International Museum of Photography, George Eastman House, Rochester, New York; and Portraits at the Center for Creative Photography, University of Arizona, Tucson. Retrospectives include shows at Grey Art Gallery, New York University; Cheekwood Fine Arts Center, Nashville, Tennessee; and Louise Dahl-Wolfe: A Ninetieth Birthday Salute at the Museum of Contemporary Photography, Chicago. Louise Dalh-Wolfe lived many of her later years in Nashville, Tennessee, though she died in New Jersey of pneumonia in 1989.Source: International Center of Photography
Marjory Collins
United States
1912 | † 1985
Marjory Collins was an American photojournalist. She is remembered for her coverage of the home front during World War II. She was born March 15, 1912 to Elizabeth Everts Paine and writer Frederick Lewis Collins in New York City, and grew up in nearby Scarsdale, Westchester County. She studied at Sweet Briar College and the University of Munich. In 1935, Collins moved to Greenwich Village, and over the next five years she studied photography informally with Ralph Steiner and attended Photo League events. In the 1980s she moved to San Francisco where she obtained an M.A. in American Studies at Antioch College West. Her work as a documentary photographer was taken up by major agencies. As a result of a contribution for U.S. Camera and Travel about Hoboken, New Jersey, she was invited to work for the Foreign Service of the United States Office of War Information. She completed some 50 assignments there with stories about the American way of life and support for the war effort. In line with a new emphasis on multiculturalism, she contributed to photographic coverage of African Americans as well as citizens of Czech, German, Italian and Jewish origin. In 1944 Collins worked freelance for a construction company in Alaska before traveling to Africa and Europe on government and commercial assignments. Thereafter she worked mainly as an editor and a writer covering civil rights, the Vietnam War, and women's movements. In the 1960s she edited the American Journal of Public Health. Collins was very active politically; a feminist, she founded the journal Prime Time (1971–76) "for the liberation of women in the prime of life." In 1977 Collins became an associate of the Women's Institute for Freedom of the Press. Her work is included in the collection of the Museum of Fine Arts Houston. She died in 1985 at the age of 73.Source: Wikipedia By January 1942, Collins had transferred to Washington, DC, to join Roy Stryker's famous team of documentary photographers. Over the next eighteen months, Collins completed approximately fifty different assignments consisting of three thousand photographs. Her upbeat, harmonious images reflected the OWI editorial requests for visual stories about the ideal American way of life and stories that showed the commitment of ordinary citizens in supporting the war effort. Documenting the lives of Americans, discovering my own country for the first time, I was freed of the whims of publicity men wanting posed leg art. -- Marjory Collins During World War II, race and ethnicity consciousness heightened around the globe. United States President Franklin Roosevelt issued Executive Order 8802 on June 25, 1941, to reaffirm a policy of full participation of people of every race, creed, color, and national origin in the national defense program. Multiculturalism became a topic of major importance for government agencies as the United States geared up for war. Collins worked closely with OWI colleagues John Vachon and Gordon Parks and contributed to a substantial photographic study of African Americans. Many of her assignments involved photographing "hyphenated Americans," including Chinese-, Czech-, German-, Irish-, Italian-, Jewish-, and Turkish-Americans. The photographs were used to illustrate publications dropped behind enemy lines to reassure people in Axis-power countries that the United States was sympathetic to their needs. For example, using the popular "day-in-the-life" format favored by picture magazines, Collins portrayed the Winn family at work, at play, and at home. The Winns had arrived in New York from the Czech Republic about 1939 and appeared to be thriving in October 1942. On the job, Collins gave rein to her curiosity about how the other half lived. Roy Stryker wrote in his April 13, 1943 Gossip Sheet for OWI staff, "Marjory is in Buffalo, working on women in industry. This is a special story on women workers for the London Overseas Office." "These photographs should ... portray representative types actually at work rather than posed 'cuties,'" and should show "the very important contribution made towards final victory and how they have adapted themselves to wartime conditions." For one of her topics, Collins covered a young widow (possibly giving her a fictitious name) and her six children, all less than twelve years of age. "Mrs. Grimm's" work outside the home as a crane operator forced heavy responsibility on her older children and required that her younger daughters stay in a foster home Monday through Friday. Some images reveal the family's poverty and their struggle to maintain nutrition and housekeeping ideals. With her social reform interests, Collins felt that this assignment was consistent with Stryker's encouragement to make "pictures of life as it is." She considered the Grimm Family images among her very best, but they also clashed with the glamorized Rosie-the-Riveter concept called for by the OWI. Fellow OWI photographer Alfred Palmer complained that Collins' photographs sometimes showed "the seamy side of life." Palmer and others believed that the OWI had two roles--straight news for publication in the United States and propaganda for overseas audiences. Palmer's news group wanted to clean up photographs, while Stryker's photographers wanted to show how deeply Americans sacrificed to support the war. The Grimm Family photographs are among the last images by Collins that survive in the FSA/OWI Collection. A set of almost fifty photos taken in Tunisia in May and June 1942 are credited to Collins, but no textual records have been found that explain this trip.Source: Library of Congress
Rosita Delfino
I started getting interested in photography in 2009 and since then I have been emotionally struck by the picture's power of communication. Photography is a dimension where pictures enhance the words and become means of expression of our inner world, through the filter of our eyes they have the power of changing the reality. It is a never ending dialogue between appearing and being, a wonderful journey in the female dimension, where the body is no more bound to space and time but opens to a dreamlike atmosphere. I often think of a sentence by Francesca Woodman, 'you'll get excited when looking at an image but you'll never know what's behind it'.Rosita DelfinoAll about Rosita Delfino:AAP: When did you realize you wanted to be a photographer?In 2009 I realized that the camera has a big power for communicating the feelings of my soul. So I decided to start taking pictures. When I take picture I feel free.AAP: What or who inspires you?I bought a lot of photographic books and I was amazed by Francesca Woodman, Christy Lee Rogers, Alexei Vassiliev's pictures and so on. They express the concepts of their soul through a non-objective representation of the reality, where the time is hanging and feelings, fears, desires are mixed. I find myself through the style of these photographers.AAP: Do you spend a lot of time editing your images?I usually work with a photographic project. Using digital editing I feel in front of a painting and I create the pictures depending on my state of soul and it takes a lot of time.AAP: An idea, a sentence, a project you would like to share?I imagine myself in this Francesca Woodman's sentence: "Ti ecciterai osservando un'immagine ma non saprai mai cosa vi è dietro". ("You will be excited seeing a picture, but you'll never know what is behind that.")
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AAP Magazine #39 Shadows
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