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Solmaz Daryani
Photo © Jacob Moscovitch
Solmaz Daryani
Solmaz Daryani

Solmaz Daryani

Country: Iran
Birth: 1989

Solmaz Daryani is an Iranian photographer and photojournalist, based between the UK and Iran. Her work is particularly known for exploring the themes of climate security, climate change, water crisis, human identity and environment. Daryani has worked internationally, covering social and environmental documentary stories in Iran, Afghanistan, Turkey and the United Kingdom. Her work has been published by international magazines and newspapers such as National Geographic Magazine, L'OBS Magazine, Foreign Policy Magazine, Polka Magazine, Zenith Magazine among others.

The Eyes of Earth (THE DEATH OF LAKE URMIA)
"A lake is earth's eye; looking into which the beholder measures the depth of his own nature." Henry David Thoreau

Lake Urmia is located in the northwest of Iran. It was once the biggest salt lake in the Middle East and sixth biggest salt lake on earth situated between two neighboring provinces (East-Azerbaijan and West-Azerbaijan) in Iran. Lake Urmia was home to many birds like ducks, pelicans, and flamingoes.10 years ago; the lake was still a popular destination for vacationers. Bathers immersed themselves in the saline water and smeared their bodies with its legendary black mud, which helped to treat skin disease.

My extended family on my mother's side born and lived in Sharafkhaneh port. The town used to be one of the heavily traveled touristic villages on the north coast of Lake Urmia. My grandfather had built a motel beside the lake, and my uncles were sailors. Less than a decade ago, my grandfather hosted dozens of tourists a day in the summers, with his two sons taking them on boat tours.

During the past 20 years, approximately 80% of this lake dried due to climatic changes, excessive development in the agriculture sector, lack of correct management of water consumption, and excessive dams constructed on the lake's basin river in this area. At the moment, hopes for the salt lake's survival have been revived after 2018 torrential rain has boosted a government program aimed at preserving it before it dries up.

The desiccation is one of the most unfortunate environmental disasters of Iran in recent years. It will increase the frequency of salt storms that sweep across the exposed lakebed, diminishing the productivity of surrounding land and encouraging farmers to move away. More than 4 million people live in two neighboring provinces (East-Azerbaijan and West Azerbaijan) around the lake and agriculture, animal husbandry, and handicraft making play a significant role in the region.

As the lake dried up, agriculture waned which caused my grandparent's garden dry and deserted. Lake's ducks; flamingos and pelicans have vanished, too. My childhood in Sharafkhaneh seems like a long time ago. The motel abandoned, and the almond trees have withered. The port today is a sparsely populated village where most people are old, and it no longer resembles the place where I left my childhood memories.

The project investigates the impacts of drying of Urmia Lake on people and the environment around it and to demonstrate environmental, economic, physical, and social changes that happened after lake shrinking. (the Year 2014-ongoing)
 

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O. Winston Link
United States
1914 | † 2001
Ogle Winston Link (December 16, 1914 – January 30, 2001), known commonly as O. Winston Link, was an American photographer, best known for his black-and-white photography and sound recordings of the last days of steam locomotive railroading on the Norfolk & Western in the United States in the late 1950s. A commercial photographer, Link helped establish rail photography as a hobby. He also pioneered night photography, producing several well-known examples including Hotshot Eastbound, a photograph of a steam train passing a drive-in movie theater, and Hawksbill Creek Swimming Hole showing a train crossing a bridge above children bathing. O. Winston Link and his siblings, Eleanor and Albert Jr., spent their childhood in the borough of Brooklyn, New York City, where they lived with their parents, Albert Link, Sr. and Anne Winston Jones Link. Link's given names honor ancestors Alexander Ogle and John Winston Jones, who had served in the U.S. House of Representatives in the 19th century. Al Link taught woodworking in the New York City Public School system, and encouraged his children's interest in arts and crafts, and first introduced Winston to photography. Link's early photography was created with a borrowed medium format Autographic Kodak camera. By the time he was in high school, he had built his own photographic enlarger. After completing high school, Link attended the Polytechnic Institute of Brooklyn, receiving a degree in civil engineering. Before his graduation in 1937, he spoke at a banquet for the institute's newspaper, where he served as photo editor. An executive from Carl Byoir's public relations firm was present and was impressed by Link's speaking ability. He offered Link a job as a photographer. O. Winston Link worked for Carl Byoir and Associates for five years, learning his trade on the job. He adapted to the technique of making posed photographs looking candid, as well as creatively emphasizing a point. On his first major assignment, to photograph part of the state of Louisiana in the summer of 1937, he found himself in New Iberia, the location where Cecil B. DeMille's 1938 movie "The Buccaneer", about Jean LaFitte was being filmed. Here he met his future first wife, a former Miss Ark-La-Tex, now actress/model/body double, Vanda Marteal Oglesby, who stood-in for lead actress Franciska Gaal. They 'took a shine' to one another and later that year she posed for some of his photographs in the French Quarter of New Orleans. They eventually married in 1942, but later divorced. Some of Link's photographs from this time included an image of a man aiming a gun at a pig wearing a bulletproof vest, and one eventually known as What Is This Girl Selling? or Girl on Ice, which was widely published in the United States and later featured in Life as a "classic publicity picture. According to Thomas Garver, a later assistant to Link, during his employment at Byoir's firm, Link "clearly defined a point of view and developed working methods that were to shape his entire career." While in Staunton, Virginia, for an industrial photography job in 1955, O. Winston Link's longstanding love of railroads became focused on the nearby Norfolk and Western Railway line. N&W was the last major (Class I) railroad to make the transition from steam to diesel motive power and had refined its use of steam locomotives, earning a reputation for "precision transportation." Link took his first night photograph of the road on January 21, 1955, in Waynesboro, Virginia. On May 29, 1955 the N&W announced its first conversion to diesel and Link's work became a documentation of the end of the steam era. He returned to Virginia for about twenty visits to continue photographing the N&W. His last night shot was taken in 1959 and the last of all in 1960, the year the road completed the transition to diesel, by which time he had accumulated 2400 negatives on the project. Although it was entirely self-financed, Link's work was encouraged and facilitated by N&W officials, from President Robert Hall Smith downwards. Besides the locomotives, he captured the people of the N&W performing their jobs on the railroad and in the trackside communities. Some of his images were of the massive Roanoke Shops, where the company had long built and maintained its own locomotives. O. Winston Link's images were always meticulously set up and posed, and he chose to take most of his railroad photographs at night. He said "I can't move the sun — and it's always in the wrong place — and I can't even move the tracks, so I had to create my own environment through lighting." Although others, including Philip Hastings and Jim Shaughnessy, had photographed locomotives at night before, Link's vision required him to develop new techniques for flash photography of such large subjects. For instance, the movie theater image Hotshot Eastbound (Iaeger, West Virginia), photographed on August 2, 1956 [negative NW1103], used 42 #2 flashbulbs and one #0 fired simultaneously. Link, with an assistant such as George Thom, had to lug all his equipment into position and wire it up: this was done in series so any failure would prevent a picture being taken at all; and in taking night shots of moving trains the right position for the subject could only be guessed at. Link used a 4 x 5 Graphic View view camera with black and white film, from which he produced silver gelatin prints. From 1960 until he retired in 1983 Link devoted himself to advertising. Among notable pictures taken during this period are those recording construction of the Verrazano-Narrows Bridge and other views of New York Harbor including the great ocean liners. In retirement, Link moved to South Salem, Westchester County, New York. In 1996, Link's second wife, Conchita, was arrested for (and later convicted of) stealing a collection of Link's photographs and attempting to sell them, claiming that Link had Alzheimer's disease and that she had power of attorney. She served six years in prison. After being released, she again attempted to sell some of Link's works that she had stolen, this time using the Internet auction site eBay. She received a three-year sentence. Conchita was also accused of imprisoning her husband. However, this allegation is disputed by some, and it never led to any criminal charges against Conchita. The story of Winston and Conchita became the subject of the documentary "The Photographer, His Wife, Her Lover" (2005) made by Paul Yule. Link made a cameo appearance as a steam locomotive engineer in the 1999 film October Sky. He was actively involved with the planning of a museum of his work when he suffered a heart attack near his home in South Salem. He was transported to Northern Westchester Hospital in Mt. Kisco, Westchester County, NY where he died on January 30, 2001. Mr. Link was interred adjacent to his parents in Elmwood Cemetery, Shepherdstown, Jefferson County, West Virginia.Source: Wikipedia Link's reasons for shooting at night were simple. For one, it was more romantic and dramatic. For Link the trains were comparable to Garbo and Dietrich at their most glamorous. Secondly, steam from the trains against a night sky photographed white. Against a day sky it came out a dirty grey. Whatever the circumstances, Link's pictures were an intense labor of love. Indeed, he discovered, shortly after starting the Norfolk and Western project, that no one was much interested in photographs of a fast disappearing mode of transport. This was, after all, the beginning of the era of the great American car. At first Link's photographs were appreciated for their combination of nostalgia, technical virtuosity, and – partly due to Link's famously cranky character and disposition - almost outsider artist's vision. But as photography has moved on, Link's work is increasingly seen and appreciated for the degree to which he controlled, planned, and constructed each image, prefiguring such well known contemporary artists as Gregory Crewdson and Jeff Wall, both of whom willingly acknowledge their interest in and appreciation of Link's work. His work has been exhibited throughout the U.S., Europe and in Japan and is present in numerous major museum collections around the world. His rail photography is exhibited at the O. Winston Link Museum in Roanoke, Virginia, refurbished by the famous industrial designer, Raymond Loewy, which opened in 2004.Source: Danziger Gallery
Dale Odell
United States
Dale O'Dell lives in Prescott, Arizona and is a professional photographer and digital artist. He studied photography and philosophy in college and earned a Bachelor's of Science degree in Photography in 1982 from Sam Houston State University in Huntsville, Texas. Since 1979 he has exhibited in over two-hundred group and solo shows, his works have been exhibited and published internationally and he's written for most of the leading photographic magazines and journals. He is a consummate experimenter and innovator and works with diverse subjects in a variety of styles. He has published nineteen art books and is currently at work on number twenty. He uses modern digital technologies to create artwork in a variety of styles. “Using the power of technology and an active imagination there are few limitations. I've produced straight documentary-style photos, advertising, editorial illustration, street photography, portraiture, landscape, infrared, night and astronomical photography as well as abstract-expressionism, impressionism and surrealism. You won't find me making the same image over and over.” Despite their photographic origins, Dale's images are best described as 'photo/digital artworks' and are not all straight photographs. He has fully embraced the digital revolution of photography to explore expression beyond traditional photographic limitations. Zen Cairns A cairn is a human-made pile (or stack) of stones. The word cairn comes from the Scottish Gaelic: càrn. Cairns are used for a variety of purposes. In modern times, cairns are often erected as landmarks, a use they have had since ancient times and cairns are used as trail markers in many parts of the world. They vary in size from small stone markers to entire artificial hills, and in complexity from loose conical rock piles to delicately balanced sculptures and elaborate feats of megalithic engineering. Cairns may be painted or otherwise decorated, whether for increased visibility or for religious reasons. The Zen Cairns came into existence as a result of researching what other photographers had done with the cairn as subject. I look at others' works to see what's already been done with the subject. This helps me to avoid repeating what others have done and (hopefully) forge my own path of originality with the subject. As I studied the myriad of cairn photos online I saw some that made me look twice and carefully consider the laws of gravity. While I saw many examples of true 'balance artistry' when stacks of rocks seemed to be magically balanced for real, I also saw images that really did defy the law of gravity. These were 'impossible' stacks of rocks that, at first glance, looked 'real,' but they were, in fact, held together with metal rods or glue. These were probable yet impossible cairns. A quick look at these could easily fool the viewer. Looking at the probable yet impossible cairns I thought I could create a series of physically impossible yet visually probable cairns - after all, I do have Photoshop. Almost immediately I could see the finished images in my minds-eye. I went to my sketchbook and very quickly did a series of drawings - which came to me full-blown, complete with titles! I already had the river rocks in my studio so I photographed them all twice, with lighting from two different directions, allowing me to use them in different ways in Photoshop yet keep a consistent direction of light. With the image fully-formed in my mind's eye I created a portrait-studio type background which would be lit oppositely from the rocks. I did a quick version of this background as a proof-of-concept (which worked) and then went to various paint and lighting programs to create the actual background. Interestingly, each new and improved background failed to work in the image and I ultimately ended up using the original proof-of-concept background. Sometimes you get it right the first time but you've got to do the extra work anyway so you know the first one really does work and you didn't quit too soon. For consistency I used the same background for all ten images. Using my sketches as guides I assembled each image from individually photographed river rocks. I added shadows to simulate what it would really look like as a set in the studio. I sharpened all the rocks to enhance their texture and softened the background to create a more three-dimensional effect. I worked in black and white to emulate the luminosity of classic B&W still-life prints from the darkroom. It is my hope that the direction of light, shadows and texture induces an emotional response of 'reality' in the viewer before the intellect of analysis informs them, 'this is not real.'
Diane Fenster
United States
1948
I view myself as an alchemist, using alternative process, toy camera and digital tools to delve into fundamental human conditions and issues. My work is literary and emotional, full of symbolism and multiple layers of meaning with a style that marries photography with evocative and fragmented imagery. I am currently exploring several antiquarian processes including lumen printing and photo-encaustic. My work (exhibited since 1990) first received notice during the era of early experimentations with digital imaging and has appeared in numerous publications. I have been a guest lecturer at many and various seminars and conferences. My work has been internationally exhibited and is part of museum, corporate and private collections. A Long History Of Dark Sleep: Anxiety and insomnia self-portraits during the pandemic of COVID-19 In this time of Covid-19, I sleep alone but fear is my lover. We embrace fretfully and stare at the ceiling. At this late hour, there is no one to call, all the lines are dead and the buses have stopped running. This is my chance to record anxiety, to photograph the noir that surrounds me and find some truth and perhaps beauty in the dead of night. The camera comes to bed with me and a flashlight is my light-source. I have never liked being photographed. A series based on self-portraits could not have happened until this moment in time. Coming face to face with potential death carried on the breeze by an invisible agent has the power to propel me to self-examination in spite of distress. My aim is fretful, the focus unsteady. It's all about chance, isn't it, what the lens captures, who gets the virus.
Ralph Eugene Meatyard
United States
1925 | † 1972
Ralph Eugene Meatyard (May 15, 1925 – May 7, 1972) was an American photographer from Normal, Illinois, U.S. Meatyard was born in Normal, Illinois and raised in the nearby town of Bloomington. When he turned 18 during World War II, he joined the United States Navy, though he did not serve overseas before the war ended. After leaving the force he briefly studied pre-dentistry, before training to become an optician. He moved with his new wife Madelyn to Lexington, Kentucky to continue working as an optician for Tinder-Krausse-Tinder, a company which also sold photographic equipment. The owners of the company were active members of the Lexington Camera Club, for which the Art Department of the University of Kentucky provided exhibition space. Meatyard purchased his first camera in 1950 to photograph his newborn first child, and subsequently worked primarily with a Rolleiflex medium-format camera. He joined the Lexington Camera club and the Photographic Society of America in 1954. At the Lexington Camera Club he met Van Deren Coke, who exhibited work by Meatyard in an exhibition for the university entitled Creative Photography in 1956. During the mid-1950s, Ralph Eugene Meatyard attended a series of summer workshops run by Henry Holmes Smith at Indiana University, and also with Minor White, who fostered Meatyard's interest in Zen Philosophy. An autodidact and voracious reader, Meatyard worked in productive bursts, often leaving his film undeveloped for long stretches, then working feverishly in the makeshift darkroom in his home. "His approach was somewhat improvisational and very heavily influenced by the jazz music of the time." He used his children in his work addressing the surreal "masks" of identity. Much of his work was made in abandoned farmhouses in the central Kentucky bluegrass region during family weekend outings and in derelict spaces around Lexington. Some of his earliest camera work was made in the traditionally African-American neighborhood around Lexington's Old Georgetown Street. Meatyard was a close acquaintance of several well-known writers in the Kentucky literary renaissance of the 1960s and 1970s, including his neighbor Guy Davenport, who later helped compile a posthumous edition of his photos. In 1971, Meatyard co-authored a book on Kentucky's Red River Gorge, The Unforeseen Wilderness, with writer Wendell Berry. The two frequently traveled into the Appalachian foothills. Berry and Meatyard's book contributed to saving the gorge from destruction by a proposed Army Corps of Engineers dam. Meatyard's ashes were scattered in the gorge after his death. Meatyard was also a friend and correspondent of Catholic monk and writer Thomas Merton, who lived at the Abbey of Gethsemani, a Trappist monastery just west of Bardstown, Kentucky. Merton appeared in a number of Meatyard's experimental photographs taken on the grounds of the monastery, and they shared an interest in literature, philosophy, and Eastern and Western spirituality. Meatyard wrote Merton's eulogy in the Kentucky Kernel shortly after his death in Bangkok, Thailand, in December 1968. Meatyard died four years later, in 1972, of cancer. Though Lexington was not a well-established center of photography, Meatyard did not consider himself a "Southern" or regional photographer. His work was beginning to be recognized nationally at the time of his death, shown and collected by some prominent museums and published in magazines. He exhibited with photographers including Edward Weston, Ansel Adams, Minor White, Aaron Siskind, Harry Callahan, Robert Frank, and Eikoh Hosoe. By the late 1970s, his photographs appeared mainly in exhibitions of 'southern' art, but have since attracted renewed interest. His best-known photography featured dolls and masks, or family, friends and neighbors pictured in abandoned buildings or in ordinary suburban backyards.Source: Wikipedia Ralph Eugene Meatyard lived in Lexington, Kentucky, where he made his living as an optician while creating an impressive and enigmatic body of photographs. Meatyard’s creative circle included mystics and poets, such as Thomas Merton and Guy Davenport, as well as the photographers Cranston Ritchie and Van Deren Coke, who were mentors and fellow members of the Lexington Camera Club. Meatyard’s work spanned many genres and experimented with new means of expression, from dreamlike portraits—often set in abandoned places—to multiple exposures, motion-blur, and other methods of photographic abstraction. He also collaborated with his friend Wendell Berry on the 1971 book The Unforeseen Wilderness, for which Meatyard contributed photographs of Kentucky’s Red River Gorge. Meatyard’s final series, The Family Album of Lucybelle Crater, are cryptic double portraits of friends and family members wearing masks and enacting symbolic dramas. Museum exhibitions of the artist’s work have recently been presented at Art Institute of Chicago; The Philadelphia Museum of Art; the de Young Museum, San Francisco; The International Center of Photography, New York; Cincinnati Museum of Art, Ohio; the Center for Creative Photography, Tucson; and Blanton Museum of Art, Austin, Texas. His works are held in the collections of the Metropolitan Museum of Art, San Francisco Museum of Modern Art, J. Paul Getty Museum, The Eastman Museum, and Yale University Art Gallery, among others. Monographs include American Mystic, Dolls and Masks, A Fourfold Vision, and The Family Album of Lucybelle Crater and Other Figurative Photographs.Source: Fraenkel Gallery
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