Dean West

Dean West

Dean West

Dean West

Country: Australia
Birth: 1983

Dean West “one of the world’s best emerging photographers” (AFTER CAPTURE MAGAZINE), has a highly conceptual and thought-provoking style of contemporary portraiture. His body of work has been featured in top photography magazines, art galleries, and received numerous international awards.

Born in small-town rural Australia in 1983, Dean’s love for photography began in his high school’s darkroom- one of the largest darkrooms in the country at the time- and blossomed at the Queensland College of Art, Griffith University, Brisbane, Australia. After graduating in 2007 with a Bachelor of Photography with majors in visual culture and advertising, Dean formed a partnership, Berg+West, which won nationwide acclaim as a high-end photography and post-production studio. Through clients like the QLD Government and SONY, Dean quickly learned to transform stick figure sketches into intricate composited photographs with immense detail and clarity.

In 2008, Dean was included in Saatchi & Saatchi’s collection of the world’s top 100 emerging photographers and went on to win Advertising Photographer of the Year at the International Aperture Awards. With success in advertising and a growing list of collectors- Dean decided to dedicate more of his time to the world of art. In the following years, his series ‘Fabricate’ received worldwide recognition from top photography competitions, including: the International Colour Awards, the Lucie Awards, the Loupe Awards, and in 2009, Dean was the winner of the IV International Arte Laguna Prize, Venice, Italy. This final award being the most prestigious for emerging artists with over 5,000 applicants gunning for the top prize in photography, sculpture and painting. Zoom Magazine quickly nominated Dean in the ‘New Talent’ issue of 2010 and the Magenta Foundation awarded Dean an emerging Photographer of Canada.

Agency

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Websites

www.deanwest.com

www.inpiecescollection.com

Inspiring Portfolios

Klavdij Sluban

Klavdij Sluban

© Klavdij Sluban

Vincenzo Barone

Vincenzo Barone

© Vincenzo Barone

Michael Ackerman

Michael Ackerman

© Michael Ackerman

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Alfred Eisenstaedt

Alfred Eisenstaedt

Germany
1898 | † 1995

Alfred Eisenstaedt (December 6, 1898 – August 24, 1995) was a German-born American photographer and photojournalist. He is best known for his photograph of the V-J Day celebration and for his candid photographs, frequently made using a 35mm Leica camera. Eisenstaedt was born in Dirschau (Tczew) in West Prussia, Imperial Germany in 1898. His family moved to Berlin in 1906. Eisenstaedt was fascinated by photography from his youth and began taking pictures at age 14 when he was given his first camera, an Eastman Kodak Folding Camera with roll film. Eisenstaedt served in the German Army's artillery during World War I, and was wounded in 1918. While working as a belt and button salesman in the 1920s in Weimar Germany, Eisenstaedt began taking photographs as a freelancer for the Pacific and Atlantic Photos' Berlin office in 1928. The office was taken over by Associated Press in 1931. Eisenstaedt successfully became a full-time photographer in 1929. Four years later he photographed a meeting between Adolf Hitler and Benito Mussolini in Italy. Other notable, early pictures by Eisenstaedt include his depiction of a waiter at the ice rink of the Grand Hotel in St. Moritz in 1932 and Joseph Goebbels at the League of Nations in Geneva in 1933. Although initially friendly, Goebbels scowled for the photograph when he learned that Eisenstaedt was Jewish. Because of oppression in Hitler's Nazi Germany, Eisenstaedt emigrated to the United States in 1935 where he lived in Jackson Heights, Queens, New York, for the rest of his life. He worked as a staff photographer for Life magazine from 1936 to 1972. His photos of news events and celebrities, such as Dagmar, Sophia Loren and Ernest Hemingway, appeared on 90 Life covers. Eisenstaedt was awarded the National Medal of Arts in 1989 by President George Bush in a ceremony on the White House lawn. Eisenstaedt, known as "Eisie" to his close friends, enjoyed his annual August vacations on the island of Martha's Vineyard for 50 years. During these summers, he would conduct photographic experiments, working with different lenses, filters, and prisms in natural light. Eisenstaedt was fond of Martha's Vineyard's photogenic lighthouses, and was the focus of lighthouse fundraisers organized by Vineyard Environmental Research, Institute (VERI). Two years before his death, Eisenstaedt photographed President Bill Clinton with wife, Hillary, and daughter, Chelsea. The photograph session took place at the Granary Gallery in West Tisbury on Martha's Vineyard, and was documented by this photograph published in People magazine on September 13, 1993. Eisenstaedt died in his bed at midnight at his beloved Menemsha Inn cottage known as the "Pilot House" at age 96, in the company of his sister-in-law, Lucille Kaye (LuLu), and friend, William E. Marks. Source: Wikipedia Born in Dirschau (now Poland), Alfred Eisenstaedt studied at the University of Berlin and served in the German army during World War I. After the war, while employed as a button and belt salesman in Berlin, he taught himself photography and worked as a freelance photojournalist. In 1929, he received his first assignment that would launch his professional career--the Nobel Prize ceremony in Stockholm. From 1929 to 1935 he was a full-time photojournalist for the Pacific and Atlantic Picture Agency, later part of the Associated Press, and contributed to the Berliner Illustrierte Zeitung and other picture magazines in Berlin and Paris. In 1935, he came to the United States, where he freelanced for Harper's Bazaar, Vogue, Town and Country, and other publications. In 1936, Henry Luce hired him, along with Margaret Bourke-White, Peter Stackpole, and Thomas McAvoy as one of four staff photographers for the new LIFE magazine. Eisenstaedt remained at LIFE for the next 40 years and was active as a photojournalist into his eighties. In 1988, he was honored with ICP's Infinity Master of Photography Award. Eisenstaedt was among those Europeans who pioneered the use of the 35-millimeter camera in photojournalism as they brought their knowledge to American publications after World War I. He was also among the earliest devotees of available-light photography. Unlike many photojournalists in the postwar period, he was not associated with a particular kind of event or geographic area: he was a generalist. As such, he was a favorite among editors, not only for his quick eye, but also for his ability in making good photographs of any situation or event. His nonjudgmental but acutely perceptive eye and his facility with composition have made his photographs memorable documents of his era both historically and aesthetically. Source: ICP

Sherrie Nickol

United States

Sherrie Nickol is a fine art photographer who captures moments in time - and in life - with an almost tangible warmth and energy. She was grew up in Osceola, Arkansas and has lived her adult life in New York City. Nickol studied photography at the University of Cincinnati and later at the International Center of Photography in New York City. Her photographs are in the permanent collection of the Bibliotheque Nationale de France in Paris, and in numerous private collections in the United States. She has mounted one-person exhibitions at Temple University and The National Arts Club in New York City. In recent years, Nickol has focused especially on exploring the relationships between people and their environments. She is interested in families as they come together to share experiences and in individuals as they navigate their space alone. Her work examines the different ways to experience public and private spaces, and she brings a sincerity to her approach that breaks down barriers and allows her to connect deeply with her subjects - a connection which is evident in the photographs themselves. Les étés en bretagne Les étés en Bretagne (Summers in Brittany) is part of my larger series By the Water which is a meditatation on the carefree days of summer. When my son turned six our family began spending a part of each summer near the seaside town of Dinard, on the north coast of Brittany, and I began a project documenting the lives of French families as they vacationed on various beaches. We always rented the same home near the seaside, a short car ride from our relatives, who lived in an old stone house on a working farm. The scenes spoke of another era, with seaside picnics and striped cabanas dotting the beaches. The photographs in this series show the intimacy among families, friends, and lovers as they break from their routines and come together at the water.

Ilse Bing

Germany
1899 | † 1998

Ilse Bing was one of the leading European photographers of the interwar period. She was born into a comfortable Jewish family in Frankfurt, Germany, in 1899. As a child her education was rich in music and art. In 1920 she began studying mathematics and physics at the University of Frankfurt, but soon changed to study the history of art. In 1924 she continued her studies with a doctorate on the Neo-Classical German architect Friedrich Gilly. Bing's introduction to photography was triggered by a practical need to illustrate her doctoral thesis. She bought a Voigtlander camera in 1928 and began to teach herself photography. The following year she bought a Leica, the new and revolutionary 35mm hand-held camera that enabled photographers to capture fast-moving events. As well as enabling her to photograph buildings for her thesis, Bing's newfound skill with the camera earned her an extra living as a photojournalist for a German illustrated magazine supplement, Das Illustriete Blatt. During these early days of her career, Bing was also commissioned by the Dutch modernist architect Mart Stam, who taught at the Bauhaus school of design, to visually record all of his housing projects in Frankfurt. The resulting photographs were characterized by dizzy angles, flat planes and strong shadows, which were characteristic of an emerging modernist language of art and design, pioneered by both the new architecture and the 'New Photography' movement, of which Bing was beginning to be a part. Through Stam, Bing was also introduced to Frankfurt's avant-garde artistic circles. Having found some commercial success with photography, and with her artistic horizons expanding, Bing gave up her thesis in the summer of 1929 and, in 1930, decided to move to Paris to concentrate on photography. Establishing herself in Paris as a freelance photographer, she applied elements of the photographic style she had experimented with in Frankfurt to commercial work, including photojournalism, architectural and theatrical photography, advertising, fashion and portraiture. For the first couple of years in the city, she published her work regularly with German newspapers and Das Illustriete Blat. Gradually, she also started to publish work in the leading French illustrated newspapers such as L'Illustration, Le Monde Illustré and Regards, and from about 1932, she increasingly worked for fashion magazines Vogue, Adam, Marchal, and the American Harper's Bazaar. She explored Paris' rich historic past and its worn and weathered environments as well as its modern urban scenes, photographing the exhausted grandeur of the Père Lachaise cemetery, dark apartment blocks reflected in gutters, or the layering of torn posters on a wooden fence. Her fascination with shadow, contrasts of light and dark, and basic geometrical shapes also informed her portraiture. Her photograph of a young girl (Flower Girl, 1931) staring into the distance demonstrates her skill as a portraitist. The large flowers in the background contrast with the delicate bright flowers on the girl's dress, and the shadows behind highlight the bright young face. When on assignment, Bing would take extra pictures for her own artistic interests, and she quickly built up a large body of work. During a commission to photograph the famous Moulin Rouge cabaret, for example, she made a series of photographs of dancers, which formed her first exhibition in Paris in 1931. Later that year, her photographs caught the attention of the photographer and critic Emmanuel Sougez, who praised their dynamism. Nicknaming Bing 'the Queen of the Leica', Sougez continued to be an important and influential supporter of her work throughout the 1930s. In 1931 Bing met the New York-based writer Hendrik Willem van Loon, who became her most important patron and introduced her work to American clients. Van Loon showed her work to the collector and gallerist Julien Lévy, who subsequently displayed her work in the exhibition Modern European Photography: Twenty Photographers at his New York Gallery in 1932. Bing also frequently exhibited in Parisian galleries, where her work was shown alongside that of Brassaï, Henri Cartier-Bresson, Florence Henri, Man Ray and André Kértesz. In a trip to New York, Bing met Alfred Stieglitz, a leading figure in the American photographic world and great supporter of modern photography. We can see the influence of Stieglitz's vision on the photographs Bing made of the city following their meeting. In Bing's image of a carriage in Central park, the cropped dark outline of the carriage and its driver dominate the composition, providing a stark contrast to the wispy trees and gentle cityscape in the background – stylistically reminiscent of Stieglitz's work The Terminal (1892). Bing also absorbed the styles of other contemporary American artists – some of whom she met through Stieglitz. Her street scenes, for example Barber College, New York (1936), can be likened to scenes from contemporary American realist painting. After returning to Paris in 1937, Bing married the German pianist Konrad Wolff, whom she had met in 1933 when they lived in the same block of flats. Bing kept her maiden name for her photographic activities, but also used the name Ilse Bing Wolff. She took fewer photographs during the late 1930s, though she continued to find inspiration in Paris, and explored different subject-matter, including still life work. The outbreak of the Second World War changed everything. In 1940 Bing and Wolff, who were both Jewish, were forced to leave Paris and were interned in separate camps in the south of France. Bing spent six weeks in a camp in the Pyrenees, before rejoining her husband in Marseille. The couple spent nine months there, awaiting visas for the US. Eventually, with the support of the fashion editor of Harper's Bazaar, they were able to leave for the US in June 1941. Although Bing had managed to take her negatives with her, she left all of her prints behind in Paris under the safekeeping of a friend. They were sent on to Marseille but Bing and her husband had left already France by the time they arrived. The prints remained in Marseille – in a shipping company's warehouse – miraculously missing the many bombs that fell on the port, until the end of the War, when they were finally sent to Bing in New York. Tragically, when they arrived, Bing was unable to pay the customs duty for all of them. She had to sift through the prints and decide which to keep and which to throw away – some of her most important vintage prints were lost at this time. Five years after her successful visit to New York in 1936, Bing returned to an altogether different environment. This was partly due to changing fashions in photography, and partly because of the large number of photographers who had, like Bing, fled Europe and were now seeking work. Bing found it hard to gain commissions for reportage work and worked much less as a photojournalist from this point on, though she continued to take portraits – especially of children – and exhibited her work throughout the late 1940s and early 1950s. Bing returned to Paris twice after the war, in 1947 and in 1952, and once again photographed the city that she had loved so much in the 1930s. According to Bing, these later Paris photographs are infused with a different spirit. Influenced by the war, she saw things on a more impersonal, isolated level. In the late 1950s, Bing eventually gave up photography, wanting to make more abstract work through poems and line drawings, and later, collage.Source: Victoria and Albert Museum

Stephanus Meyer

Stephanus Meyer

Zambia/United Kingdom

Stephanus Meyer was born in Zambia and spent most of his childhood in South Africa. He moved out of Africa at the beginning of the 1980s to live in Spain where he is now based. He is self-taught and always inspired by his obsession with light, shadows, contrasts and the way they come together in his images. Street, social, documentary and fine art photography are his great passion. He has lived in various environments and travelled to many different places, and his camera has taught him to see the world and how people live in it from a different perspective. Street photography has taught him to see. He is inspired by people who simply live their lives. He bought his first camera at the age of 16 and so the journey began; more than 40 years later it is still going strong. He has participated in numerous photographic events such as the official section of the international Biennial of Photography of Cordoba 2006 and the International Biennial of Photography and Audiovisual Arts of Granada, among others, and has been a finalist in several international competitions such as the Photography Masters Cup (USA), Chelsea International Photography Competition (New York), Fresh M.I.L.K. (New Zealand) and Festimage (Portugal), in addition to a large number of mentions and national awards. Statement Street photography is often seen as a simple capture of the everyday moments that unfold in the bustling streets of our cities. Yet, within each frame lies a profound narrative of our times, a visual testament to the lives we lead, the cultures we inhabit, and the stories we weave amidst the urban tapestry. In my pursuit of documenting the streets, I find myself drawn not just to the fleeting moments of beauty and serendipity, but also to the deeper layers of societal fabric that unfold before my lens. Each photograph serves as a time capsule, preserving not just the faces and places, but the essence of an era; a social document for future generations to decode and understand. Just as a historian might study the archives for insights into the past, I see my street photography as a form of contemporary historiography. Through the lens of my camera, I strive to capture not just the surface appearances, but the underlying currents of human existence – the way people dress, interact, and navigate the urban landscape. In this fast-paced world of ever-evolving trends and technologies, street photography offers a grounding force, reminding us of our shared humanity and collective journey. It is my hope that these snapshots of life on the streets will serve as a bridge across time, connecting us to the past, grounding us in the present, and inspiring us to shape a more compassionate and inclusive future. Series: Crossing the old city from within Córdoba, a city that was once a melting pot of religions and civilizations lies in the north-central section of the autonomous community of Andalusia in southern Spain. Córdoba was probably Carthaginian in origin and was occupied by the Romans in 152 BC. In 711 it was captured and largely destroyed by the Muslims. Abd al-Rahman I, a member of the Umayyad family, accepted the leadership of the Spanish Muslims rebuilt it and made Córdoba its capital in 756. The old city has one of the largest Jewish quarters in Europe with its narrow cobble- stone streets and white houses. It leads out towards the Great Cathedral-Mosque and crosses the Guadalquivir river through the Roman arch and bridge. I have been living here for almost 30 years, and have walked and crossed the old city with my camera many times. This series begins within the Great Cathedral-Mosque and takes us across the old city. As a passionate street photographer I try to capture the beauty and diversity of modern urban life in this ancient area. My style is unconventional and experimental, as I use a wide angle lens to create images that are distorted, dynamic, and dramatic. I simply walk and shoot and never engage with my subjects. I want the photos to be as natural as possible. In this series, in post-production, I used various filters to obtain that yellowish colour that for me creates the ancient mood the old city reminds me of when I walk its streets. I want the observer to feel the textures of the old stone, the mood, the pulse of daily life and the incredible light.

Joshua Lutz

United States
1975

Joshua Lutz is an American artist working with large-format photography and with video. Lutz was given his first solo exhibition at Gitterman Gallery during the summer of 2004. In 2008 Lutz's first book, Meadowlands, was published with powerHouse Books. In essayist Robert Sullivan's introduction to the book he describes the Meadowlands as “… that giant swath of swamp and space that separates New Jersey from New York City, or, put another way, from New York City and the rest of the United States of America.” The New Yorker wrote "Joshua Lutz takes the New Topographics of Adams, Shore, and Sternfeld into its current era of urban sprawl.” In the fall of 2008 Lutz had a solo exhibition for the Meadowlands series at ClampArt Gallery in New York City. 2013 saw the release of Hesitating Beauty. A series of photographs revealing a different side of Lutz's photography, it tells the story of his mother. Mind the Gap (2018) is "an exploration through photographs and text of how our society and the things we experience affect our mental health".Source: Wikipedia Joshua Lutz‘s large-format photographs of urban sprawl and suburban portraiture capture intimate details of places and their inhabitants in a soft, moody palette. The subtle tension in Lutz’s photographs between natural and man-made structures expands upon themes of Stephen Shore and the New Topographics. From an image of an airplane take-off framed by trees and a cell phone tower in his Meadowlands series to rows of wind turbines amid factories on a grassy plain in his new Am Dam series, Lutz’s photographs offer new views of the post-suburban landscape, capturing on film the spirit of simultaneous progress and decay. Meadowlands, Lutz’s debut monograph, was published by powerHouse Books in 2008, and has received considerable acclaim including being named Village Voice “Best in Show,” and Photo District News and American Photo‘s “Best Photography Books of 2008.” The recipient of the Tierney Fellowship, Best Editorial awards from Photo District News and Communication Arts, Lutz was also named one of Photo District News‘ top 30 emerging photographers. His work has been featured in The New Yorker, Harper’s, The New York Magazine, Newsweek, ArtNews, and Time. Lutz received his B.F.A. from Bard College in 1997, and his M.F.A. from Bard College at the International Center of Photography in 2005. He is currently on the faculty at the International Center of Photography in New York.Source: Robert Koch Gallery

Mark Tuschman

United States

Over the years I have become more motivated to use my photography to communicate in a more socially conscious way—in a way that exposes people to both the degree of human suffering that exists in today’s world and to the courage and fortitude that people manifest to overcome it. In my travels I can easily imagine that I could have been born into completely different circumstances and my worldview would have been radically different, having been influenced by a completely, radically dissimilar environment and culture. Indeed, I know I have been privileged and fortunate to have been born into an affluent culture with tremendous opportunities. I believe that it is especially important for people in our society to understand other cultures and the enormous difficulties that people in other countries face daily in order to simply survive. The human condition is wrought with great uncertainty and suffering, and yet the human spirit and the hope for a better life can grow stronger in the face of adversity. I am constantly inspired by the profound fortitude of people living in difficult conditions and the empathy and commitment of the many who give counsel and aid to those less fortunate. I believe it as my moral obligation to use whatever talents I have as a photographer to transcend our limited worldviews and to help bridge the gap between cultures of affluence and poverty. Photography is a universal language and it is my hope that my images will move viewers to respond not only with empathy, but also with action. It is my intention to photograph people with compassion and dignity in the hope of communicating our interrelatedness. In the words of Sebastiao Salgado whose work I greatly admire, “If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.”

Jean-Pierre Laffont

Jean-Pierre Laffont

Algeria
1935

Jean-Pierre Laffont attended the School of Graphic Art in Vevey, Switzerland, where he graduated with a Master's Degree in Photography. He was a founding member of the Gamma USA and Sygma Photo News agencies. For more than five decades, Laffont traveled the globe, covering the news, the people, and the social and economic issues of his time. His photos were published in the world's leading news magazines, including Le Figaro, London Sunday Times, Newsweek, Paris Match, Stern, and Time. He was named one of the one hundred most important people in photography. Among the numerous awards Laffont has received are the Overseas Press Club of America's Madeline Dane Ross Award, the World Press Photo General Picture Award, University of Missouri's World Understanding Award and First Prize from the New York Newspaper Guild. In 1996 he was honored with the National French Order of Chevalier des Arts et des Lettres (a Knight in the National French Order of Arts and Letters). In 2016 Jean Pierre was named International Photographer of the Year of the Pingyao Photo Festival in China. In 2020 he received The Lucie Award for Achievement in Photojournalism and The Visa D'Or Award du Figaro Magazine for Lifetime Achievement. Laffont resides in New York with his wife Eliane, his daughter and his two granddaughters. Awards and Honors: 1962: Cross for Military Valor for his humanitarian acts during the Algerian War 1979: First Prize: New York Newspaper Guild, for "Child Labor"; Overseas Press Club: Madeline Dane Ross award, for originating the use of photography to raise awareness of child labor conditions around the world. 1980: World Press: First Prize, General Picture category; University of Missouri, School of Journalism: First Prize, World Understanding Award 1996: French National Order of Merit: named Chevalier de l'Ordre des Arts et des Lettres 2016: International Photographer of the year of The Pingyao Photo Festival; China. 2020: Lucie Award for Achievement in Photojournalism. 2020: Visa D'Or Award du Figaro Magazine for Lifetime Achievement. Bibliography: Contribution to the A Day in the Life Series (HarperCollins): 1983: A day in the life of Hawaii 1984: A day in the life of Canada 1985: A day in the life of Japan 1986: A day in the life of United States 1987: A day in the life of Spain 1987: A day in the life of USSR 1989: A day in the life of China 1990: A day in the life of Italy 1991: A day in the life of Ireland 1992: A day in the life of Hollywood Other Selected Publications: 1986: The Long March (Intercontinental Press); in commemoration of the 50th anniversary of Mao Zedong's historical Long March 1989: Trois Jour en France (Nathan/France) 1992: America Then and Now (Cohen/HarperCollins) 1999: Les 100 photos du Siècle (Editions du Chêne) 2003: America 24/7 in Manhattan (NY State) 2011: The New York Times Magazine: Photographs (Aperture Foundation) 2013: 40 ans de Photojournalisme: Generation Sygma (Editions de La Martinière/France) Monographs: 1976: CB Bible, Porter Bibb (Doubleday) 1981: Women of Iron (Playboy) 2008: Jean-Pierre Laffont Foreign Correspondent (Editions C.D.P/France) 2014: Photographer's Paradise: Turbulent America 1960-1990: (Glitterati) named best picture book by The Lucie Awards 2017: New York City Up and Down: (Glitterati) 2019: Nos Stars en Amèrique Cartes postales de Jean Pierre Laffont: (Editions de La Martinière) For special print requests please contact us directly.

Marci Lindsay

United States
1961

Marci Lindsay is a street photographer living in Washington, DC. Briefly a city planner, she has always been a people watcher and street photography lover. She is part of the DC Street Photography Collective (in her city) and the Optic Nerve Street Photography Collective (international). She has been shooting street photography for about five years. Marci Lindsay also loves curating (Street Macadam on Instagram, Women in Street on Instagram and Facebook, and Photographers Under Confinement on Facebook). Her photos have been exhibited in New York, Miami, DC, Los Angeles, San Francisco, Brisbane, Cyprus, Trieste, and Paris. Statement I’ve had a love for street photography since I was a child, long before I knew it had a name. Not until a few years ago, once my kids were grown, did I take up the challenge of photographing in the streets myself. I am drawn to ordinary people doing ordinary things. To me, it’s all extra-ordinary—motion, gesture, connection, and humor. We humans are so much more the same than we are different, and hopefully my photos remind people of that. “Every man beareth the whole stamp of the human condition.” ~ Montaigne

Teri Havens

United States

Originally from Lubbock, Texas, Teri has been photographing fragments of American culture as a way of connecting with the world around her for the past twenty-five years. After studying photojournalism at the University of Texas and serving as an intern at the Magnum photo agency in New York, Teri developed her printmaking skills in darkrooms improvised in kitchens and motel rooms across the country.In 2012, after years of being primarily a “daylight” photographer, Teri started experimenting with night photography. Using moonlight or available streetlight she began a series of social landscapes that reveal a lonely, yet enduring portrait of a nearly forgotten America. Teri currently lives in rural Colorado with her husband Mike. When not lost in the backcountry, or in her darkroom producing palladium prints, she can be found in her beloved ’88 Ford Van on the track of the perfect roadside bar. Her work has been exhibited internationally, and published in The Huffington Post, The London Sunday Times, The Sun Magazine, Photo District News and on the NPR website. Teri is immensely grateful for the funding she has received through the Puffin Foundation and Dave Bown Projects.

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