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Jesse Alexander
Jesse Alexander

Jesse Alexander

Country: United States
Birth: 1929 | Death: 2021

Jesse Alexander is an American photographer that covers motorsports, portraits, birds and travel. He also published several books. One of his first photo expeditions was in 1953 to the Carrera Panamericana race in Mexico. Since 1954, he covered large European races such as 24 Hours of Le Mans in France, and the Mille Miglia and Targa Florio of Italy. While in Europe he also photographed culture celebrities for New York Times, and was the European editor for Car and Driver magazine.

He has exhibited at the Birmingham Museum of Art, the Akron Art Museum, and the Santa Barbara Museum of Art.

Source: Wikipedia


Jesse Alexander has been involved in photography and especially motorsports photography since the early 1950s when he covered the original Mexican Road Race. He then spent many years in Europe covering Formula One and the famous long distance sports car races, the 24 Hours of Le Mans, the Mille Miglia and Targa Florio. In that period of time he also photographed theater and music personalities for the New York Times.

“As a young boy growing up during World War II, I was captivated by the imagery that came out of the war through the eyes of legendary photographers like Edward Steichen and W. Eugene Smith. My other heroes include Henri Cartier-Bresson, Jacques Henri Lartigue, Mary Ellen Mark, Bruce Davidson and Robert Capa, he said.

Jesse’s current body of work includes travel photographs of Iceland, the Galapagos Islands, and birds.

Source: Fahey/Klein Gallery


In the wake of World War II, a golden age of motor sports emerged in Europe, pitting competing countries against each other on the racetrack instead of the battlefield. A young photographer at the time, Jesse Alexander followed "the circus" and captured on film the adventure, glamour and innocence of this influential period in racing. In one image, Phil Hill waves after winning the 1960 Italian Grand Prix in his Ferrari; in another, Piero Taruffi celebrates his 1957 victory at the Mille Miglia in Brescia, Italy. Since then, Jesse Alexander has remained one of the most acclaimed and commercially successful racecar photographers in the history of the sport. Jesse Alexander's photographs have been exhibited in numerous museums and galleries in the United States, including the Birmingham Museum of Art, the Akron Art Museum, and the Santa Barbara Museum of Art.

Source: Robert Klein Gallery


 

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More Great Photographers To Discover

Gail Albert Halaban
United States
1970
Gail Albert Halaban (born Gail Hilary Albert, 1970, in Washington, DC) is an American fine art and commercial photographer. She is noted for her large scale, color photographs of women and urban, voyeuristic landscapes. She earned her BA from Brown University and her MFA in photography from Yale University School of Art where she studied with Gregory Crewdson, Lois Conner, Richard Benson, Nan Goldin, and Tod Papageorge. She married Boaz Halaban on 8 June 1997. Albert Halaban's work has appeared in the The New York Times Magazine, New York magazine, TIME Magazine, M, World Magazine, Slate (magazine), and The Huffington Post. Her fine art photography has been internationally exhibited. Gail Albert Halaban was a New York Foundation for the Arts Fellow in 2019. Gail Albert Halaban received her BA from Brown University and earned her MFA in Photography from Yale University. The artist has three monographs of her work, including Out My Window (PowerHouse, 2012), Paris Views (Aperture, 2014) and Italian Views (Aperture, 2019). Her work is in the collections of the George Eastman Museum, Yale University Art Gallery, Nelson-Atkins Museum, Cape Ann Museum, and Wichita Art Museum. In 2018, The George Eastman Museum in Rochester, NY presented a solo exhibition including Out My Window images taken all over the world, presented at Houk Gallery in 2019. The artist currently lives and works in New York City.Source: Wikipedia Gail Albert Halaban’s photographs peer through the windows of apartments and reveal the sometimes mundane, intimate, moments occurring in private life. Her urban exploration lies at the intersection of architectural photography and portraiture, presenting a holistic perspective of city life. Stylistically, the images go beyond realism, allowing the viewer to take in a full scene in focus unlike the natural ability of the human eye. This formal device emphasizes both public and private realms, balancing details of personal life with broader contexts. After moving to New York City from Los Angeles in 2007, Halaban anticipated feelings of isolation and loneliness, yet instead found an unlikely sense of community. In particular, the artist recognized the millions of windows throughout the city as a key bridge between strangers. On the day of her daughter’s first birthday party, she recalls receiving flowers and balloons — from someone she had never met, but who lived in the neighborhood and had observed the day’s celebration through her windows. This kind gesture led to Halaban’s curiosity about the anonymous proximity in which strangers coexist, prompting her to develop the series Out My Window (2007). This body of work transcends image-making as the artist works with her subjects as collaborators and establishes connections that deeply impact her work. Albert Halaban has described windows as metaphors for both boundaries and gateways. She awakens her viewers to consider the story behind each window, inserting humanity and compassion often overlooked in everyday life in dense metropolises. Out My Window indulges in the beauty of urban skylines and architecture. Although inspired by Halaban’s experiences in New York, the series has expanded to several locations beginning with a project called Paris Views (2012) commissioned by Le Monde. Halaban’s approach to this series shifts to capture the essence of each unique city she is photographing. Just as the New York series explores the distinctive neighborhoods and sights of Manhattan, Paris Views examines the quaint streets, romantic architecture, and quintessential views of Paris. Halaban chose to further develop this project, creating series in Buenos Aires, Istanbul, Venice, and other cities in Europe and the United States. Source: Edwynn Houk Gallery
Noell Oszvald
Hungary
1990
Noell Oszvald was born in Hungary in 1990. While preferring to be labeled as a visual artist, Noell Oszvald uses the photographic medium as the raw material through which she channels her emotions. Favoring black and white in order to avoid any distraction that may be created by colors, she strips her images to their bare essence. Her compositions rely on pure straight lines into which the subject fuses, hence rubbing off all hierarchy within the components. The resulting sobriety, reinforced by the choice of a square format, acts as a breeding ground to a complex melange of subtle feelings derived from her melancholy and loneliness. Indeed, while all facial features are deliberately kept hidden, Oszvald’s work could easily fall within the self-portrait category; “they’re reflections of who I am,” says the artist about her images. However, the spectral presence of the character merging with its surroundings, the full-fledged role played by the environment and the powerful sensitivity that exudes through, are closer to the conceptual photography of the similarly precocious Francesca Woodman. Yet, more than her self, Oszvald conveys an apparent yet suspicious sense of calmness, well guarded by a perfectly controlled composition. In addition to the lines dividing space, the impeccable geometric interactions and the sharp contrast between the various shades of black are brought into opposition with the muffled silence of her quiescent emotions. It triggers a delicate duality, which underlies a rich and complex inner world. The reassuring perfection of these images acts like a robust armor to the highly sensitive Oszvald, who despite her young age, proves herself to be an accomplished artist. “My aim is to set up concepts using the human body as a base, while not making it the main focus of the picture. The result is a still image that is built around a person, but all parts of the whole are of equal importance. I reduce my pictures to content, composition, and form because this minimalist approach allows me to put equal emphasis on the idea behind the artwork and the entirety of the image. Portraying a sense of calmness with images that are built up based on geometric shapes is a recurring theme of my work.”Source: Artpil Noell Oszvald only shoots in black and white because she finds colors to be distracting. “I feel the same way about clothes and other matters of appearance, which why I like to reduce my images to forms, composition and content.” When asked what the story is behind one of her photo, Prejudice, Noell Oszald shared this, “I had the idea of Prejudice in my mind for a long time before I finally made it. I was very unsure about it, because I wanted the picture to look absolutely the way it does now, but to achieve this composition I had to paint the bird in, in not exactly the right position. I feared people would pick on me and call me ignorant, because the image is not precise. I was afraid of being judged while working on a picture about prejudice. How ironic.” As you look through Oszvald's beautiful and sometimes haunting images, you can't help but feel a mix of emotions. They all fall in the conceptual photography field, meaning, they illustrate an idea but one that Oszald believes should be personal to the viewer. “I don't want to tell people what to see in my images,” explains Oszland, “this is the reason why I never really write any descriptions other than titles. It shows what I wish to express but everyone is free to figure out what the picture says to them. It's very interesting to read so many different thoughts about the same piece of work.”Source: My Modern Met
Erik Johansson
Sweden
1985
Erik Johansson (born 1985) is a photographer and visual artist from Sweden based in Prague, Czech Republic. His work can be described as surreal world created by combining different photographs. Erik works on both personal and commissioned projects with clients all around the world. In contrast to traditional photography he doesn't capture moments, he captures ideas with the help of his camera and imagination. The goal is to make it look as realistic as possible even if the scene itself contains impossible elements. In the end it all comes down to problem solving, finding a way to capture the impossible. To Erik it's always important with a high level of realism in his work. He want's the viewer to feel like they are part of the scene. Although his work consists of a lot of work in post-production and combining photogaphs he always tries to capture as much as possible in camera. "No one can tell you that it doesn’t look realistic if you actually captured it for real." Light and perspective are crucial parts when combining images in a realistic way and if some parts are not possible to shoot on location, a similar scene has to be built up in a controlled environment. Having an understanding of both photography and post production is very important to make everything come together seamlessly. Every photograph and part has its purpose. Erik always do all the post production himself to be in complete control of the end result. The idea, photography and post production are all connected. The final image doesn’t become better than the photographs used to capture it. Just like the photographs don’t become stronger than the idea. There are no computer generated-, illustrated- or stock photos in Erik's personal work, just complex combinations of his own photographs. It's a long process and he only creates 6-8 new images a year (excluding commissioned work). Artist Statement "My name is Erik Johansson, I was born in 1985 outside a small town called Götene in the middle of Sweden. I grew up on a farm with my parents and two younger sisters. For as long as I can remember I have liked drawing. Probably because of my grandmother who was a painter. Early I also got interested in computers, escaping to other worlds in computer games. At the age of 15 I got my first digital camera which opened up a new world. Being used to drawing it felt quite strange to be done after capturing a photo, it wasn’t the process of creating something in the same way. Having an interest in computers made it a quite natural step to start playing around with the photos and creating something that you couldn’t capture with the camera. It was a great way of learning, learning by trying. But I didn’t considered it as a profession until years later. In 2005 I moved to Gothenburg to study Computer engineering at Chalmers University of Technology. During my time studying I took up my interest for retouch once again. I had a lot of ideas that I wanted to realize and I saw it as problem solving trying to make it as realistic as possible. After publishing some of my images online I started to get requests about commissioned work from some local advertisement agencies. I started out freelancing in parallel with my studies while still working on personal projects. I got more and more jobs and at the time I finished my studies with a master in Interaction Design I felt like I rather wanted to try out the photography path. I moved to Norrköping in the eastern part of Sweden to start working full time as a freelance. I made new friends and got to work on interesting projects, both local and abroad. In early 2012 it was time for something new as I moved to Berlin, Germany. A very artistic city with lots of inspiration. Today I work with both personal and commissioned projects and I also started doing photography street illusions."Source: www.erikjo.com/
Heinrich Kühn
Austria / Germany
1866 | † 1944
Carl Christian Heinrich Kühn (25 February 1866 in Dresden – 14 September 1944 in Birgitz) was an Austrian–German photographer and photography pioneer. Heinrich Kühn is regarded as one of the forefathers of fine art photography, which helped photography establish itself as an art on its own. His photographs closely resemble impressionist paintings, with their frequent use of soft lighting and focus. Kühn was part of the pictorialist photographic movement. Kühn mainly used the gum bichromate technique, applied in several layers, and thus allowing for previously unseen color tonalities. In 1911, Kühn invented the Gummigravüre technique, a combination of photogravure and Gum bichromate. In 1915 he developed the Leimdruck technique, which uses Animal glue as Colloid and produces pictures similar to gum prints. He also invented the Syngraphie, a forgotten technique that uses two negatives of different sensitivity to obtain a larger tonal spectrum. Kühn used Autochrome from its appearance in 1907; his Autochromes have been called "ethereal dreams of childhood, full of vaulted sunny skies and giddy perspectives, as gloriously cathartic as they are emotionally charged".Source: Wikipedia Heinrich Kühn, originally Carl Christian Heinrich Kühn was born on February 25th, 1866 in Dresden, Germany. Kühn was one of the central figures of international art photography at the beginning of the twentieth century. His lifelong goal was to establish the photographic image as a medium for rendering an artistic vision as precisely and creatively as in painting and drawing. Along with Alfred Stieglitz and other friends, Kühn made the stylized photographic an element of the gesamtkunstwerk, which translates to "ideal work of art", which the Secessionists aspired to create. The most important tool for this was the gum bichromate process that he had perfected and the free choice of paper and pigment, which made the picture look more like a print than a conventional photograph. This allowed him to deliberately alter the brightness contrasts to fit his notion of the image and dissolve its sharpness. Too much sharpness was considered "non-artistic" because it veered away from painting, thus eliminating it where he saw fit. Kühn reduced the romantic cosmos of "Pictorialism" to the point of abstraction, thus exhibiting a sense of timelessness and balance. Kühn's work is represented in many collections, including Eastman House Rochester (New York), Metropolitan Museum of Art (New York), Museum of Modern Art (New York), Museum of Fine Arts (Boston), Kupferstich-Kabinett (Dresden), Hanmburgische Lichtbildstelle (Hamburg), Museum of Fine Arts (Houston), and Musée d'Orsay (Paris).Source: Peter Fetterman Gallery
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