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Jon Enoch
Jon Enoch
Jon Enoch

Jon Enoch

Country: United KIngdom
Birth: 1979

Jon Enoch discovered his love of photography on a round-the-world-trip, which he won in a competition while in his first year of university, studying geography. He bought a simple point-and-shoot camera and discovered a passion and a skill for portrait and lifestyle photography - looking for an unusual shot, rather than a standard tourist snap.

He returned to university to complete his degree in geography, but was still out every weekend working on his own portraiture projects. After he left university, he did a one year course in newspaper photography and began a career in press photography.

Jon started developing his bold portraiture style while freelancing at The Times, and now specialises in photo shoots for CEOs, sportspeople and celebrities, as well as advertising and lifestyle shoots.

Describing his work as 'bold and uncomplicated', Jon loves playing with light, and how it affects the mood of the work.

Jon still works on his own personal projects, and his 'Bikes of Hanoi' set of street images of moped delivery drivers earned him numerous industry accolades and awards, including the, Sony World Photography Awards 2020, Smithsonian Grand Prize Winner 2020, Portraits of Humanity 2020; Lens Culture Portrait Prize 2020 and a gold at the Prix de la Photographie Paris.

Statement
Jon said: "I continue to develop my skills and my style at every opportunity I get. I had some great personal photography projects in the planning before Covid-19 hit, so hopefully I will get to pick up those plans again before long.

During the UK lockdown, I spent my time developing my directing skills. Mixing stills and moving images is something clients increasingly want and I find it an interesting creative challenge. The two worlds are in many ways so similar but at times so different. Being able to tackle both is something I really enjoy. Essentially I want to take stunning images that people connect with. "

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More Great Photographers To Discover

Olivia Vivanco
I am a Mexican visual artist. My work explores human movement, focusing on migration from within the migrant experience itself and the traces it leaves behind. I draw on anthropological tools to approach migration as a social phenomenon. Photography has always been my starting point, which I expand by incorporating other audiovisual languages. I have exhibited my work at Museo Carrillo Gil, Museo Universitario del Chopo, Centro de la Imagen, Centro Cultural de España, and Alianza Francesa de México, among others, as well as internationally in Colombia, Chile, Denmark, France, Germany, Morocco, Puerto Rico, Spain, and the United States. In 2019, I was a beneficiary of the FONCA Artistic Residence grant. In 2017, I was selected for the exhibition “The Great Machine IV” at Embarrat, Festival of Contemporary Creation in Spain; for “Caledoscopio steady-cam,” presented at the 1st International Week of Video Creation in Lanzarote; and for the “3rd Contemporary Photography Competition in Mexico.” In 2016, I was selected for the “XII Femsa Biennial” and the “2nd National Biennial of Landscape.” In 2013, I was awarded First Place in the “19th Latin American Documentary Photography Contest” in Colombia and Third Place in the “XXXII ENAH Anthropological Photography Contest.” In 2010, I received the FONCA grant for the promotion of projects and cultural co-investment for the publication of the book Guadalupe. Other recognitions include the selection of my short film Isalia at the festivals “Pantalla de Cristal” and “Mujeres en el Cine y la Televisión” (2009), and First Place in the “Photographic Report Contest Stories of Mexican Women,” organized by the UN High Commissioner for Human Rights in Mexico. My work is part of the artist’s book collection of the Alumnos Foundation, the documentary video archive of Curtadoc in Brazil, and the Benetton Collection. Passing Through Passing Through emerges from a reflection on how to represent the migrant experience without resorting to images that may expose, stigmatize, or oversimplify those living through displacement. Through journeys along migratory routes, shelters, and transitional spaces across Mexico, the project focuses on the traces, objects, and territories that bear witness to these experiences. I am interested in observing roads, refuges, and abandoned belongings as marks of presence, memory, and resilience—objects that function as deferred portraits, capable of speaking about those who were there without directly exposing their identities. Rather than solely documenting a humanitarian crisis, Passing Through seeks to create forms of representation that remain sensitive to the dignity of migrants, avoiding criminalization and stereotypical portrayals. The photographed spaces—rooms, dining halls, pathways, railway tracks—appear as temporary scenarios marked by waiting, uncertainty, and constant mobility. My practice combines observation, listening, and accompaniment, understanding that these territories are shaped not only by violence, but also by strategies of survival, solidarity, and hope. This project proposes a gaze that shifts attention from the face to the trace, from spectacularized events to the memory embedded in objects and spaces, constructing a visual narrative that seeks to foster awareness of the migrant experience from an ethical, critical, and deeply human perspective.
Burt Glinn
United States
1925 | † 2008
Born in Pittsburgh, Pennsylvania, Burt Glinn served in the United States Army between 1943 and 1946 before studying literature at Harvard University where he edited and photographed for the Harvard Crimson college newspaper. From 1949 to 1950, Glinn worked for Life magazine before becoming a freelancer. Glinn became an associate member of Magnum in 1951 along with Eve Arnold and Dennis Stock - the first Americans to join the young photo agency - and a full member in 1954. He made his mark with spectacular color series on the South Seas. Japan, Russia, Mexico and California. In 1959 he received the Mathew Brady Award for Magazine Photographer of the Year from the University of Missouri. In collaboration with the writer Laurens van der Post, Glinn published A Portrait of All the Russias and A Portrait of Japan. His reportages have appeared in Esquire, Geo, Travel and Leisure, Fortune, Life and Paris-Match. He has covered the Sinai War, the US Marine invasion of Lebanon and Fidel Castro's takeover of Cuba. In the 1990's he completed an extensive photo essay on the topic of medical science. Versatile and technically brilliant, Glinn was one of Magnum's great corporate and advertising photographers. He received numerous awards for his editorial and commercial photography, including the Best Book of Photographic Reporting from Abroad from the Overseas Press Club and the Best Print Ad of the Year from the Art Directors Club of New York. Glinn served as president of ASMP from 1980 - 1981. Between 1972 and 1975 he was president of Magnum, and was re-elected to the post in 1987. In 1981, Burt married Elena Prohaska and their son Samuel Pierson Glinn was born in 1982. Source: burtglinn.com
Yelena Zhavoronkova
United States
1956
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