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Dominique Isserman
Dominique Isserman

Dominique Isserman

Country: France
Birth: 1947

Dominique Issermann (born April 11, 1947) is a French photographer. She works primarily with black and white photography, and is known for her works in portraits, fashion and advertising. She has shot campaigns for Sonia Rykiel, Christian Dior, Nina Ricci, Guess, Lancôme, La Perla, Tiffany, Chanel and many others. Her work has also been featured in the fashion supplements for The New York Times, Corriere Della Sera and Le Monde.

Issermann is noted for having photographed Leonard Cohen over several decades. The two had a long relationship, and Cohen dedicated his album I'm Your Man to her.

Source: Wikipedia


Cinema has played a major role in the life and career of Paris-based photographer Dominique Issermann. This year’s recipient of the Lucie Award for Achievement in Fashion was majoring in literature at the Sorbonne when she moved to Rome with Daniel Cohn-Bendit, a student leader of the May 1968 protests in Paris, and French New Wave filmmaker Jean-Luc Godard to work on films. In the Italian capital, she co-directed the avant-garde films Tamaout and Elettra with Marc’O.

Upon Issermann’s return to Paris in 1973, she produced a series of photo essays for Zoom magazine on the movie sets of Federico Fellini’s Casanova and Bernardo Bertolucci’s Novecento. In these formative years, she photographed up-and-coming and now-legendary actors, including Catherine Deneuve, Gérard Depardieu and Isabelle Adjani. In 1979, designer Sonia Rykiel hired Issermann to collaborate with her on advertising campaigns for her fashion line, which put her front and center in the world of mode. Fashion editorials for periodicals from American Vogue to Elle soon followed.

Her work continues to flow seamlessly between fashion, portraiture and advertising campaigns for major brands from Chanel, Christian Dior, Lancôme and Yves Saint Laurent to GUESS, Victoria’s Secret, Tiffany & Co., and Hermès. In addition to shooting or directing commercials and shorts for some of these fashion and beauty houses, Issermann has created music videos with her signature free-flowing, yet immaculately framed shots.

Source: Digital Photo Pro


Along the way she also applies her distinctive style onto moving images for which she still has a prominent taste, directing several music videos for Leonard Cohen, notably Dance me & Manhattan – and shooting TV commercials for many of her clients, including the memorable Eau Sauvage and Dune for Christian Dior and the Victoria’s Secret legendary commercial featuring Bob Dylan. Her recent music collaborations also include work with Nick Cave.

Dominique Issermann has published several books – one of which Laetitia Casta achieves considerable success – and exhibits her work around the world with major retrospectives at the Rencontres Internationales de la Photographie at Arles and at the Paris Maison Européenne de la Photographie, and recently at Paris’s Charles de Gaulle airport where 80 of her most famous pictures were exhibited on 400 digital advertising panels throughout all terminals.

Her unique style has been praised by many, Dominique Issermann invents, in the black studio, a white light that seems to glow from under the skin of the characters and that the schools of photography teach under the name of Light Issermann.

Amongst the many accolades she has received for her work, Dominique Issermann is the first woman to receive the equivalent of an Oscar for her fashion photography at the 1987 French Fashion Awards. In January 2007, she was promoted to the rank of Officer of France’s Order of Arts and Letter and in March 2012, she was named to the National Order of Merit.

Source: The Lucie Awards


 

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Saul Leiter
United States
1923 | † 2013
Saul Leiter was an American photographer and painter whose early work in the 1940s and 1950s was an important contribution to what came to be recognized as the New York school of photography. Saul Leiter was born in Pittsburgh, Pennsylvania. His father was a well-known Talmud scholar and Saul studied to become a rabbi. His mother gave him his first camera at age 12. At age 23, he left theology school and moved to New York City to become an artist. He had developed an early interest in painting and was fortunate to meet the Abstract Expressionist painter Richard Pousette-Dart. Pousette-Dart and W. Eugene Smith encouraged Leiter to pursue photography and he was soon taking black and white pictures with a 35 mm Leica, which he acquired for a few Eugene Smith prints. In 1948, he started taking color photographs. He began associating with other contemporary photographers such as Robert Frank and Diane Arbus and helped form what Jane Livingston has termed the New York School of photographers during the 1940s and 1950s. Leiter worked as a fashion photographer for the next 20 years and was published in Show, Elle, British Vogue, Queen, and Nova. In the late 1950s the art director Henry Wolf published Leiter’s color fashion work in Esquire and later in Harper's Bazaar. Edward Steichen included Leiter’s black and white photographs in the exhibition Always the Young Stranger at the Museum of Modern Art in 1953. Leiter’s work is featured prominently in Jane Livingston’s book The New York School (1992) and in Martin Harrison’s Appearances: Fashion Photography since 1945 (1991). In 2008, the Fondation Henri Cartier-Bresson in Paris mounted Leiter's first museum exhibition in Europe with an accompanying catalog. Leiter is the subject of a 2012 feature-length documentary In No Great Hurry - 13 Lessons in Life with Saul Leiter, directed and produced by Tomas Leach. Leiter is a featured subject, among others, in the documentary film Tracing Outlines (2015) by 2nd State Productions. Martin Harrison, editor and author of Early Color (2006), writes, "Leiter’s sensibility . . . placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances." Leiter died on 26 November 2013 in New York City.Source: Wikipedia When we do not know why the photographer has taken a picture and when we do not know why we are looking at it, all of a sudden we discover something that we start seeing. I like this confusion. -- Saul Leiter Leiter’s first exhibition of color photography was held in the 1950s at the Artist's Club, a meeting place for many of the Abstract Expressionist painters of that time. Edward Steichen included twenty-three of Leiter's black and white photographs in the seminal 1953 exhibition Always the Young Stranger at the Museum of Modern Art; he also included twenty of Leiter’s color images in the 1957 MoMA conference Experimental Photography in Color. In the late 1950s, the art director Henry Wolf published Leiter's color fashion work in Esquire and later in Harper's Bazaar. However, over the next four decades, Leiter’s noncommercial work remained virtually unknown to the wider art world. He continued to work as a fashion photographer through the 1970s, contributing to such publications as in Show, Elle, British Vogue, Queen, and Nova. Leiter is now held to be a pioneer of early color photography, and is noted as one of the outstanding figures in post-war photography. After several exhibitions at Howard Greenberg Gallery throughout the 1990s, Leiter’s work experienced a surge of popularity after a monograph, Early Color, was published by Steidl in 2006. Early Color was followed by a series of monographs and international exhibitions highlighting the depth and scope of his work in photography and painting, beginning with In Living Color (2006), his first major retrospective at the Milwaukee Museum of Art. Leiter was the subject of several solo shows thereafter, including the Fondation Henri Cartier-Bresson, Paris; the Jewish Historical Museum, Amsterdam; Musée de l’Elysée, Lausanne; and Diechtorhallen, Hamburg.Source: Howard Greenberg Gallery Some photographers think that by taking pictures of human misery, they are addressing a serious problem. I do not think that misery is more profound than happiness. -- Saul Leiter
Angela Fisher
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Thirty years of work on the African continent have carried Carol Beckwith and Angela Fisher across 270,000 miles and through remote corners of 40 countries in exploration of more than 150 African cultures. In the process, this team of world-renowned photographers has produced fourteen widely acclaimed books and made four films about traditional Africa. They have been granted unprecedented access to African tribal rites and rituals and continue to be honored worldwide for their powerful photographs documenting the traditional ceremonies of cultures thousands of years old. As an intrepid team of explorers, they are committed to preserving sacred tribal ceremonies and African cultural traditions all too vulnerable to the trends of modernity. The Beckwith-Fisher images are the result of a long, enduring and deeply respectful relationship with African tribal peoples. This, combined with their photographic skills, creates an intimate portrayal of ceremonies long held secret that might have never been recorded. Their work preserves and presents the power, complexity and celebration found within the rituals of African tribal life. Their extraordinary photographs are recorded in fourteen best-selling books and in their films. Their new book “Painted Bodies” (2012) follows “Maasai” (1980), “Nomads of Niger” (1983), “Africa Adorned” (1984), “African Ark” (1990), “African Ceremonies” (1999), “Passages” (2000), “Faces of Africa” (2004), “Lamu: Kenya’s Enchanted Island” (2009), and “Dinka” (2010). The special limited-edition books, hand printed in Santiago, Chile, are titled “Surma,” “Karo,” “Maasai,” and “Dinka.” “African Ceremonies,” their defining body of work, is a double volume, pan-African study of rituals and rites of passage from birth to death, covering 93 ceremonies from 26 countries. This book won the United Nations Award for Excellence for “vision and understanding of the role of cultural traditions in the pursuit of world peace.” Honored twice with the Annisfield-Wolf Book Award in race relations for “outstanding contributions to the understanding of cultural diversity and prejudice,” Angela and Carol are also winners of the Royal Geographical Society of London’s Cherry Kearton Medal for their contribution to the photographic recording of African ethnography and ritual. The photographers have made four films about traditional Africa, including Way of the Wodaabe (1986), The Painter and the Fighter, and two programs for the Millennium Series Tribal Wisdom and the Modern World. Numerous exhibitions of their photography and films have been shown in museums and galleries around the world. In 2000 their Passages exhibition opened at the Brooklyn Museum of Art featuring 97 mural photographs, six video films and a selection of African masks, sculpture and jewelry. This exhibition has traveled to seven museums on three continents. Aware that traditional cultures in Africa are fast disappearing, Carol and Angela are working with an urgency to complete the third volume of their ongoing study of African Ceremonies with the goal of covering the remaining traditional ceremonies in the 13 African cultures in which they have not yet worked. Source: carolbeckwith-angelafisher.com
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Kenro Izu (b. 1949) was born in Osaka, Japan. During his studies at Nippon University, college of art, Izu visited New York in 1970 to study photography, and subsequently decided to stay and work. In 1975, after working as an assistant to other photographers, Izu established Kenro Izu Studio in New York City, to specialize in still life photography, both commercial and fine art. In 1979, Izu made his first trip to Egypt, which inspired him to begin his series Sacred Places, an exploration that is still in progress. In 1983, a platinum print by Paul Strand inspired Izu to take a step toward developing his own contact-printing process using Platinum/Palladium, using a super large format camera. Since then, all of Izu's work is produced by the same technique, mostly in a 14x20 inch format. Izu's still-life images include floral and anatomical subjects. In 2000, Izu started experimenting with a technique of Cyano over Platinum to achieve deep blue-black. The body of work entitled, Blue, was completed in 2004. As Izu continues his series, Sacred Places, he has traveled to Egypt, Syria, Jordan, England, Scotland, Mexico, France and Easter Island (Chile). More recently, he has focused on Buddhist and Hindu monuments in South East Asia: Cambodia, Burma, Indonesia, Vietnam and, most recently Bhutan and India. Izu's work has been exhibited in numerous museums including the Arthur M. Sackler Gallery of Smithsonian Institution, Kiyosato Museum of Photographic Art, Cleveland Museum of Art, Peabody/Essex Museum, Museum of Photographic Art, Rubin Museum of Art, among others. He has published several books of his work including: Sacred Places, Kenro Izu Still Life, Passage to Angkor, and Eternal Light. In 1985, after a several visit to Cambodia to photograph the Angkor Wat, Izu decided to build and operate a free pediatric hospital, and founded a not-for-profit organization, Friends Withou A Border, to help children of Cambodia who suffer from lack of medical facilities and severe poverty. The Angkor Hospital for Children, which opened in 1999 in Siem Reap , Cambodia is now an official medical education center. Izu has been the recipient of the Catskill Center for Photography Fellowship in 1992, a NEA grant in 1984, the New York Foundation for Arts grant in 1985, the Lou Stouman Award in 1999, a Guggenheim Fellowship in 2001, the Vision Award from the Center for Photography at Woodstock in 2005 and a Lucie Award in 2007. Source: Howard Greenberg Gallery
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In the realm of contemporary photography, Candida Höfer stands as a luminary, renowned for her captivating exploration of architectural spaces. Born on June 28, 1944, in Eberswalde, Germany, Höfer's journey into the realm of imagery commenced at the renowned Kunstakademie Düsseldorf, where she studied under the tutelage of influential photographers such as Bernd and Hilla Becher. It was within this environment that Höfer's distinctive style began to take shape, influenced by the meticulous attention to detail and structural composition instilled by her mentors. Throughout her career, Höfer's work has been characterized by an unwavering dedication to capturing the essence of spaces. Her photographs transcend mere documentation, evoking a profound sense of contemplation and introspection within the viewer. Through her lens, mundane environments are transformed into captivating scenes, inviting exploration of the intricate interplay between form, function, and human presence. One of Höfer's most notable series, "Interiors," delves into the architectural heritage of culturally significant spaces such as libraries, museums, and theaters. Through meticulous composition and masterful use of light, she imbues these environments with a sense of solemn grandeur, inviting viewers to immerse themselves in the rich tapestry of history and culture encapsulated within each frame. Höfer's oeuvre extends beyond the boundaries of her native Germany, encompassing a diverse array of global locales. From the opulent halls of Versailles to the austere corridors of contemporary office buildings, her photographs offer a poignant commentary on the universal themes of human existence, identity, and collective memory. In addition to her solo exhibitions, Höfer's work has been featured in prestigious institutions and galleries worldwide, solidifying her status as one of the most influential photographers of her generation. Awards and accolades, including the prestigious Erasmus Prize in 2010, further underscore the profound impact of her contributions to the world of photography. Beyond her artistic achievements, Höfer's legacy also resides in her role as a mentor and educator, inspiring countless aspiring photographers to push the boundaries of their creativity and develop a deeper appreciation for the nuances of visual storytelling. As Candida Höfer continues to navigate the ever-evolving landscape of contemporary photography, her unwavering commitment to capturing the essence of spaces ensures that her work will endure as a timeless testament to the beauty and complexity of the built environment.
Evgenia Arbugaeva
Evgenia Arbugaeva (born 1985) is a photographer of the Russian Arctic. Having grown up in Yakutsk, she has an empathy with the people living in the far north and the difficult living conditions they experience, and several of her photographic projects have involved them. The National Geographic has funded her to photograph the people and economic changes on Russia's northern coast. Arbugaeva was born in Tiksi, a small port town of the Sakha Republic on the Arctic Sea, near the mouth of the Lena River. As part of the Soviet Union, Tiksi supported military airfields and became the world's most northern settlement with over 5000 people. Her memories of the place include pink mountains, whiteout snowstorms in which she lost all sense of place, fields of snow colored green or gold by the surrounding light, and auroras in the endless night of winter. One of her childhood heroes was explorer Jacques Cousteau. At the age of eight, and at the fall of the Soviet Union, she and her family moved to Yakutsk, "the coldest city on earth" and a place that she found much less visually appealing. She studied management in Moscow before moving to New York City. There, she studied photography at the International Center of Photography, graduating in 2009. 19 years after moving from her hometown, Arbugaeva decided to move back to Tiksi because she could no longer remember anything from the town. These memories had faded so much to the point where they seemed unreal. Arbugaeva's photographic method involves living with her subjects on a long enough term to become friends with them and for them to relax in front of her camera. For instance, in one of her projects she traveled with Siberian hunters for the tusks of mammoths, newly exposed by global warming. She won the trust of the hunters by stitching up the injured hand of the head of the group. She often works without a camera, scouting locations that she returns to frequently until the lighting and inspiration combine to give her a photo. In 2010 Arbugaeva returned to Tiksi, now becoming a ghost town, on a personal visit to compare it to her memories, but left the town with only one photo she liked, of a teenage girl playing on the seashore. Inspired by the photo, she traveled back to Tiksi in 2011 to meet the girl and her family and to document their daily life, overlain with her own memories. Despite the decline of the town and the difficult life there (which drove her host family to plan their own departure), her photos in this project are "bright and whimsical, their compositions and vivid colours redolent of the books she read there as a child". Arbugaeva learned of the weather stations of northern Russia in a dog sledding incident, when she and her father had to take shelter from bad weather at one of the stations. In her project Weather Man, she took a two-month passage on an icebreaker to 22 of the stations, including the station at Khodovarikha, where she met meteorologist Vyacheslav (Slava) Korotki. The portrait taken of Vyacheslav Korotki is an intimate story of an individualistic man, who is facing the fading winter of the Arctic. In early 2014, she returned to Khodovarikha by helicopter for a two-and-a-half-week visit and photography session with Korotki. Based on this work, a much darker series of photos than the ones from Tiksi, she published a profile of Korotki in The New Yorker. Arbugaeva's other photography projects have included nomadic Yakut reindeer herders in Sakha, and Amani, a sequence of fictionalized images set on an abandoned anthropological research station on a former German coffee plantation in Tanzania. Arbugaeva is the 2013 winner of Leica's Oskar Barnack Award for her work in Tiksi, for which she also received a Magnum Foundation International Emergency Fund grant in 2012. In 2018, National Geographic named her as one of their four inaugural Media Innovation Fellows, funding her to photograph the people and economic changes on Russia's northern coast.Source: Wikipedia
Shoji Ueda
Japan
1913 | † 2000
Shoji Ueda was a photographer of Tottori, Japan, who combined surrealist compositional elements with realistic depiction. Most of the work for which Ueda is widely known was photographed within a strip of about 350 km running from Igumi (on the border of Tottori and Hyogo) to Hagi (Yamaguchi). Ueda was born on 27 March 1913 in Sakai (now Sakaiminato), Tottori. His father was a manufacturer and seller of geta; Shoji was the only child who survived infancy. The boy received a camera from his father in 1930 and quickly became very involved in photography, submitting his photographs to magazines; his photograph Child on the Beach, Hama no kodomo) appeared in the December issue of Camera. In 1930 Ueda formed the photographic group Chugoku Shashinka Shudan with Ryosuke Ishizu, Kunio Masaoka, and Akira Nomura; from 1932 till 1937 the group exhibited its works four times at Konishiroku Hall in Nihonbashi, Tokyo. Ueda studied at the Oriental School of Photography in Tokyo in 1932 and returned to Sakai, opening a studio, Ueda Shashinjo, when only nineteen. Ueda married in 1935, and his wife helped him to run his photographic studio. His marriage was a happy one; his wife and their three children are recurring models in his works. Ueda was active as an amateur as well as a professional photographer, participating in various groups. In 1941 Ueda gave up photography, not wanting to become a military photographer. (Toward the end of the war, he was forced to photograph the result of a fire.) He resumed shortly after the war, and in 1947 he joined the Tokyo-based group Ginryusha. Ueda found the sand dunes of Tottori excellent backdrops for single and group portraits, typically in square format and until relatively late all in black and white. In 1949, inspired by Kineo Kuwabara, then the editor of Camera, Ueda photographed the dunes with Ken Domon and Yoichi Midorikawa. Some of these have Domon as a model, far from his gruff image. The photographs were first published in the September and October 1949 issues of Camera and have been frequently anthologized. Ueda started photographing nudes on the dunes in 1951, and from 1970 he used them as the backdrop for fashion photography. The postwar concentration on realism led by Domon, followed by the rejection of realism led by Shomei Tomatsu, sidelined Ueda's cool vision. Ueda participated in "Japanese Photography" at the New York Museum of Modern Art in 1960 and had solo exhibitions in Japan, but had to wait till a 1974 retrospective held in the Nikon Salon in Tokyo and Osaka before his return to popularity. Ueda remained based in Tottori, opening a studio and camera shop in Yonago in 1965, and in 1972 moving to a new three-storey building in Yonago. The building served as a base for local photographic life. From 1975 until 1994, Ueda was a professor at Kyushu Sangyo University. Critical and popular recognition came from the mid seventies. A succession of book-length collections of new and old appeared. Ueda weathered the death in 1983 of his wife, and continued working well into the 1990s. He died of a heart attack on 4 July 2000. The Shoji Ueda Museum of Photography (Ueda Shoji Shashin Bijutsukan), devoted to his works, opened in Kishimoto (now Hoki, near Yonago) Tottori Prefecture in 1995. Source: Wikipedia
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