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Marcus Yam
Marcus Yam
Marcus Yam

Marcus Yam

Country: Malaysia/United States
Birth: 1984

Marcus Yam is a roving Los Angeles Times foreign correspondent and staff photographer. Born and raised in Kuala Lumpur, Malaysia, he left a career in aerospace engineering to become a photographer. His goal: to take viewers to the frontlines of conflict, struggle and intimacy. His approach is deeply rooted in curiosity and persistence. In 2022, Yam won the Pulitzer Prize for Breaking News Photography for images documenting the U.S. departure from Afghanistan that capture the human cost of the historic change in the country. In 2019, Yam was awarded the Robert F. Kennedy Human Rights Journalism Award for his unflinching body of work showing the everyday plight of Gazans during deadly clashes in the Gaza Strip. He was also part of two Pulitzer Prize-winning breaking news teams that covered the San Bernardino, Calif., terrorist attacks in 2015 for the Los Angeles Times and the deadly landslide in Oso, Wash. in 2014, for the Seattle Times. His previous work has also earned an Emmy Award for News and Documentary, World Press Photo Award, DART Award for Trauma Coverage, Scripps Howard Visual Journalism Award, Picture of the Year International's Newspaper Photographer of the Year Award, Society of Professional Journalists' Sigma Delta Chi Award, National Headliner Award and an Alfred I. duPont-Columbia University Award. When he's not working, Yam likes minimizing and organizing his life for efficiency for emergencies.

Websites

www.marcusyam.com

@yamphoto

 

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Gertrude Käsebier
Gertrude Käsebier
United States
1852 | † 1934
Gertrude Käsebier was an American photographer. She was well-known for her images of motherhood, portraits of Native Americans, and promotion of photography as a career for women. Käsebier was born Gertrude Stanton on May 18, 1852, in Fort Des Moines (now Des Moines, Iowa). Her mother was Muncy Boone Stanton and her father was John W. Stanton. He brought a sawmill to Golden, Colorado, at the start of the Pike's Peak Gold Rush in 1859, and he profited from the building boom that followed. Stanton, then eight years old, traveled to Colorado with her mother and younger brother to join her father. That same year, her father was elected as the first mayor of Golden, Colorado Territory's capital at the time. After her father died unexpectedly in 1864, the family relocated to Brooklyn, New York, where her mother, Muncy Boone Stanton, opened a boarding house to support the family. Stanton lived in Bethlehem, Pennsylvania, with her maternal grandmother from 1866 to 1870, and she attended the Bethlehem Female Seminary (later called Moravian College). Little else is known about her childhood. She married twenty-eight-year-old Eduard Käsebier, a financially secure and socially well-placed businessman in Brooklyn, on her twenty-second birthday in 1874. Frederick William, Gertrude Elizabeth, and Hermine Mathilde were the couple's three children. In 1884, they relocated to a farm in New Durham, New Jersey, in search of a healthier environment for their children to grow up in. Flying Hawk, American Indian, c. 1900, U.S. Flying Hawk, American Indian, c. 1900, U.S. Library of Congress © Gertrude Käsebier Gertrude Käsebier later wrote that she was unhappy for the majority of her marriage. She stated, "If my husband has gone to Heaven, I want to go to Hell. He was terrible... Nothing was ever good enough for him." Divorce was considered scandalous at the time, so the couple remained married while living separate lives after 1880. This unhappy situation later inspired one of her most strikingly titled photographs, Yoked and Muzzled – Marriage (c. 1915), which depicts two constrained oxen. Despite their differences, her husband financially supported her when she began art school at the age of 37, at a time when most women of her generation were well-established in their social positions. Käsebier never explained why she chose to study art, but she did so wholeheartedly. Over her husband's objections, she relocated the family to Brooklyn in 1889 to attend the newly established Pratt Institute of Art and Design full-time. Arthur Wesley Dow, a highly influential artist and art educator, was one of her teachers there. He later assisted in advancing her career by writing about it and introducing her to other photographers and patrons. The key to artistic photography is to work out your own thoughts, by yourselves. Imitation leads to certain disaster. New ideas are always antagonized. Do not mind that. If a thing is good it will survive. -- Gertrude Käsebier Gertrude Käsebier studied the theories of Friedrich Fröbel, a nineteenth-century scholar whose ideas about learning, play, and education inspired the creation of the first kindergarten. Käsebier was greatly influenced by his ideas about the importance of motherhood in child development, and many of her later photographs emphasized the bond between mother and child. The Arts and Crafts movement also had an impact on her. She studied drawing and painting in school, but she quickly became obsessed with photography. Käsebier, like many other art students at the time, decided to travel to Europe to further her education. She began 1894 by studying the chemistry of photography in Germany, where she was also able to leave her daughters with her in-laws in Wiesbaden. She spent the rest of the year in France, studying with American painter Frank DuMond. Gertrude Käsebier returned to Brooklyn in 1895. She decided to become a professional photographer in part because her husband had become quite ill and her family's finances were strained. She worked as an assistant to Brooklyn portrait photographer Samuel H. Lifshey for a year, where she learned how to run a studio and expanded her knowledge of printing techniques. Clearly, by this point, she had a thorough understanding of photography. Only one year later, she exhibited 150 photographs at the Boston Camera Club, a massive number for a single artist at the time. The same photographs were shown at the Pratt Institute in February 1897. The success of these exhibitions led to another in 1897 at the Photographic Society of Philadelphia. She also gave a talk about her work and encouraged other women to pursue photography as a career, saying, "I strongly advise women with artistic tastes to pursue a career in the underserved field of modern photography. It appears to be uniquely suited to them, and the few who have entered it have found rewarding and profitable success." In 1898, Käsebier watched Buffalo Bill's Wild West troupe parade past her Fifth Avenue studio in New York City, toward Madison Square Garden. Her memories of affection and respect for the Lakota people inspired her to send a letter to William "Buffalo Bill" Cody requesting permission to photograph the members of the Sioux tribe traveling with the show in her studio. Cody and Käsebier were similar in their abiding respect for Native American culture and maintained friendships with the Sioux. Cody quickly approved Käsebier's request and she began her project on Sunday morning, April 14, 1898. Käsebier's project was purely artistic and her images were not made for commercial purposes. They never were used in Buffalo Bill's Wild West program booklets or promotional posters. Käsebier took classic photographs of the Sioux while they were relaxed. Chief Iron Tail and Chief Flying Hawk were among Käsebier's most challenging and revealing portraits. Käsebier's photographs are preserved at the National Museum of American History's Photographic History Collection at the Smithsonian Institution. Red Horn Bull, a Sioux Indian from Buffalo Bill’s Wild West Show, c. 1900, U.S.Library of Congress © Gertrude Käsebier Käsebier's session with Iron Tail was her only recorded story: "Preparing for their visit to Käsebier's photography studio, the Sioux at Buffalo Bill's Wild West Camp met to distribute their finest clothing and accessories to those chosen to be photographed." Käsebier admired their efforts, but desired to, in her own words, photograph a "real raw Indian, the kind I used to see when I was a child", referring to her early years in Colorado and on the Great Plains. Käsebier selected one Indian, Iron Tail, to approach for a photograph without regalia. "He did not object. The resulting photograph was exactly what Käsebier had envisioned: a relaxed, intimate, quiet, and beautiful portrait of the man, devoid of decoration and finery, presenting himself to her and the camera without barriers." Several days later, Chief Iron Tail was given the photograph and he immediately tore it up, stating that it was too dark. Käsebier photographed him again, this time in his full regalia. Iron Tail was an international celebrity. He appeared with his fine regalia as the lead with Buffalo Bill at the Avenue des Champs-Élysées in Paris, France, and the Colosseum of Rome. Iron Tail was a superb showman and disliked the photograph of him relaxed, but Käsebier chose it as the frontispiece for an article in the 1901 Everybody's Magazine. Käsebier believed all the portraits were a "revelation of Indian character", showing the strength and individual character of the Native Americans in "new phases for the Sioux". In her photograph of Chief Flying Hawk, his glare is the most startling image among those portraits by Käsebier, quite contrary to the others who were shown as relaxed, smiling, or making a "noble pose". Flying Hawk was a combatant in nearly all of the fights with United States troops during the Great Sioux War of 1876. He fought along with his cousin Crazy Horse and his brothers, Kicking Bear and Black Fox II, in the Battle of the Little Big Horn in 1876. He was present at the death of Crazy Horse in 1877 and the Wounded Knee Massacre of 1890. In 1898, when the portrait was taken, Flying Hawk was new to show business and he was unable to hide his anger and frustration about having to imitate battle scenes from the Great Plains Wars for Buffalo Bill's Wild West in order to escape the constraints and poverty of the Indian reservation. Soon, Flying Hawk learned to appreciate the benefits of a Show Indian with Buffalo Bill's Wild West. Flying Hawk regularly circulated show grounds in full regalia and sold his "cast card" picture postcards for a penny to promote the show and to supplement his meager income. After the death of Iron Tail on May 28, 1916, Flying Hawk was chosen as his successor by all of the braves of Buffalo Bill's Wild West and he led the gala processions as the head Chief of the Indians. I am now a mother and a grandmother, and I do not recall that I have ever ignored the claims of the nomadic button and the ceaseless call for sympathy, and the greatest demand on time and patience. My children and their children have been my closest thought, but from the first days of dawning individuality, I have longed unceasingly to make pictures of people... to make likenesses that are biographies, to bring out in each photograph the essential temperament that is called, soul, humanity. -- Gertrude Käsebier Over the next decade, she took dozens of photographs of the Indians in the show. Some of those photographs become her most famous images. Unlike Edward Curtis, a photographer who was her contemporary, Käsebier focused more on the expression and individuality of the person than their costumes and customs. While Curtis is known to have added elements to his photographs to emphasize his personal vision, Käsebier did the opposite, sometimes removing genuine ceremonial articles from a sitter to concentrate on the face or stature of the person. In July 1899, Alfred Stieglitz published five of Käsebier's photographs in Camera Notes, declaring her "beyond dispute, the leading artistic portrait photographer of the day". Her rapid rise to fame was noted by photographer and critic Joseph Keiley, who wrote "a year ago Käsebier's name was practically unknown in the photographic world... Today that names stands first and unrivaled...". That same year her print of The Manger sold for $100, the most ever paid for a photograph at that time. In 1900, Käsebier continued to gather accolades and professional praise. In the catalog for the Newark (Ohio) Photography Salon, she was called "the foremost professional photographer in the United States". In recognition of her artistic accomplishments and her stature, later that year, Käsebier was one of the first two women elected to Britain's Linked Ring (the other was British pictorialist Carine Cadby). The next year, Charles H. Caffin published his landmark book Photography as a Fine Art and devoted an entire chapter to the work of Käsebier ("Gertrude Käsebier and the Artistic Commercial Portrait"). Due to demand for her artistic opinions in Europe, Käsebier spent most of the year in Britain and France visiting with F. Holland Day and Edward Steichen. Alfred Stieglitz, c. 1902, U.S.Library of Congress © Gertrude Käsebier In 1902, Stieglitz included Käsebier as a founding member of the Photo-Secession. The following year, Stieglitz published six of her images in the first issue of Camera Work. They were accompanied by highly complementary articles by Charles Caffin and Frances Benjamin Johnston. In 1905 six more of her images were published in Camera Work, and the following year, Stieglitz presented an exhibition of Käsebier photographs (along with those of Clarence H. White) at his Little Galleries of the Photo-Secession. The strain of balancing her professional life with her personal one began to take a toll on Käsebier at this time. The stress was exacerbated by her husband's decision to move to Oceanside, Long Island, which had the effect of distancing her from the New York artistic center. In response, she returned to Europe where, through connections provided by Steichen, she was able to photograph the reclusive Auguste Rodin. When Käsebier returned to New York an unexpected conflict with Stieglitz developed. Käsebier's strong interest in the commercial side of photography, driven by her need to support her husband and family, was directly at odds with Stieglitz's idealistic and antimaterialistic nature. The more Käsebier enjoyed commercial success, the more Stieglitz felt she was going against what he felt a true artist should emulate. In May 1906, Käsebier joined the Professional Photographers of New York, a newly formed organization that Stieglitz saw as standing for everything he disliked: commercialism and the selling of photographs commercially rather than for love of the art. After this, he began distancing himself from Käsebier. Their relationship never regained its previous status of mutual artistic admiration. Eduard Käsebier died in 1910, finally leaving his wife free to pursue her interests as she saw fit. She continued to follow a separate course from that of Stieglitz and helped to establish the Women's Professional Photographers Association of America. In turn, Stieglitz began to publicly speak against her contemporary work, although he still thought enough of her earlier images to include 22 of them in the landmark exhibition of pictorialists at the Albright-Knox Art Gallery later that year. The next year, Käsebier was shocked by a highly critical attack made by her former admirer, Joseph T. Keiley, that was published in Stieglitz's Camera Work. Why Keiley suddenly changed his opinion of her is unknown, but Käsebier suspected that Stieglitz had put him up to it. Part of Käsebier's alienation from Stieglitz was due to his stubborn resistance to the idea of gaining financial success from artistic photography. If he felt a buyer truly appreciated the art, he often sold original prints by Käsebier and others at far less than their market value and, when he did sell prints, he took many months before paying the photographer of the work. After several years of protesting these practices, in 1912, Käsebier became the first member to resign from the Photo-Secession. In 1916, Käsebier helped Clarence H. White found the group Pictorial Photographers of America, which was seen by Stieglitz as a direct challenge to his artistic leadership. By this time, however, Stieglitz's tactics had offended many of his former friends, including White and Robert Demachy, and a year later, he was forced to disband the Photo-Secession. During this time, many young women starting out in photography sought out Käsebier, both for her photographic artistry and for inspiration as an independent woman. Among those who were inspired by Käsebier and who went on to have successful careers of their own were Clara Sipprell, Consuelo Kanaga, Laura Gilpin, Florence Maynard, and Imogen Cunningham. Throughout the late 1910s and most of the 1920s, Käsebier continued to expand her portrait business, taking photographs of many important people of the time, including Robert Henri, John Sloan, William Glackens, Arthur B. Davies, Mabel Dodge, and Stanford White. In 1924, her daughter, Hermine Turner, joined her in her portrait business. In 1929, Käsebier gave up photography altogether and liquidated the contents of her studio. That same year, she was given a major solo exhibition at the Brooklyn Institute of Arts and Sciences. Käsebier died on October 12, 1934, at the home of her daughter, Hermine Turner. A major collection of her work is held by the University of Delaware. In 1979 Käsebier was inducted into the International Photography Hall of Fame and Museum.Source: Wikipedia
Hannah Price
Hannah Price
United States
1986
Raised in Fort Collins, Colorado, Hannah Price (b. 1986) is a photographic artist and filmmaker primarily interested in documenting relationships, race politics, social perception and misperception. Price is internationally known for her project City of Brotherly Love (2009-2012), a series of photographs of the men who catcalled her on the streets of Philadelphia. In 2014, Price graduated from the Yale School of Art MFA Photography program, receiving the Richard Benson Prize for excellence in photography. Over the past eight years, Price's photos have been displayed in several cities across the United States, with a few residing in the permanent collection of the Philadelphia Museum of Art. Currently, Ms. Price lives and works in Philadelphia, PA.Source: www.hannahcprice.com Born in Annapolis, Maryland; raised in Fort Collins, Colorado; and now based in Philadelphia, photographer and documentary filmmaker Hannah Price has spent years capturing the nuances of racial identities and societal perceptions. Her work is a critique of the negative and destructive powers of visual representation in determining the realities of black people and other racialized groups. For Price, image-making also offers a strategy of recuperating different ways of relating to other people and the world around us. To date, her projects have included: the internationally-renowned City of Brotherly Love— a visual survey of catcallers she encountered in Philadelphia; Resemblance— a series of portraits of inner-city high schoolers in Rochester New York; Cursed By Night, made in 2012-2013, on the perceived threat of black masculinity; and 2018’s Semaphore, exploring how individuals signal their identities. Price’s photos evince a rare attention to the subjectivities of those she photographs, even as she probes the validity and significance of the social constructs that operate around them. She has previously exhibited in several cities across the United States, with solo shows at Milwaukee Institute of Art and Design, Philadelphia Photo Arts Center, and the Silver Eye Center for Photography, Pittsburgh, while several of her photographs reside in the permanent collection of the Philadelphia Museum of Art. Now, as a 2020 Magnum nominee, Price discusses the political and aesthetic concerns that inform her work, as well as some of the problems and possibilities to be found in using visual communication as a means of fighting racism.Source: Magnum Photos Price moved to Philadelphia in 2009 from Colorado and noticed for the first time that she was getting catcalled. The photographer, who's currently working toward an MFA in photography at Yale, decided to turn the camera on the people who approached her on the Philly streets. This resulted in the series City of Brotherly Love (Philly's nickname). Ambiguity might be one of this project's most prevalent themes. It's been mistakenly referred to as "My Harassers" on some blogs, which Price does not like. Her series doesn't take an aggressive stance on catcalling; it's not meant to incite social action, she says. Rather, it's an observation, a way to react behind the camera lens. Price's portraits leave much to interpretation. Not only do we not know the situations in which she crossed paths with these men, but we also have no idea of their relationship. The photos are framed in a variety of ways; the lighting, composition and even positioning of the subjects themselves vary so much that viewers have plenty of freedom to interpret them.Source: npr
Edwin Carungay
Edwin Carungay
United States
1969
Based in the San Francisco Bay area, Edwin Carungay is a graphic design and multimedia producer – with a profound passion for photography. His journey began in Southern California’s skateboarding subculture, where he often snapped shots of friends skating on the streets, ditches, and backyard ramps. This love for skateboarding and documenting its certain adventures sparked his initial interest in photography. Edwin’s formal training started in his high school darkroom and graphic arts courses, then continuing into university alongside his studies as a graphic design major. Photography remained a constant sideline companion in his life. It was Edwin’s wife, Lesha, also a photographer, who introduced him to Alex Webb’s work through the book, The Suffering of Light. This was an epiphany – marking his introduction to the fine art world of street and documentary photography, igniting a passion that transformed his hobby into a dedicated pursuit. As a street and documentary photographer, Edwin’s devotion has led to local and international exhibitions, and awards from long-admired institutions. His formative years while in the skateboarding scene are evident in the unscripted and often sentimental images he makes. When not working as a creative marketing and communications professional, he spends his time exploring avenues and streets, capturing colorful, candid moments of people navigating their lives, both in his hometown and abroad.
Evy Huppert
Evy Huppert
United States
Evy Huppert lives and works in the Upper Valley of the Connecticut River spanning Vermont and New Hampshire. She is a fine art photographer, administrator, and educator. Her black and white film-based work explores emotional narrative in both landscape and portraiture. A native of Minnesota and long-time resident of New England, she considers herself to be a true 'child of the North.' Permanently light-deprived, her remedy for personal and collective seasonal affective disorder is making images that are often about light itself. Evy is a 2019 Critical Mass Finalist. Her work has been exhibited as a Portfolio Showcase by the Davis-Orton Gallery, Hudson NY, and included in exhibitions at the Griffin Museum of Photography, Winchester MA, ASmith Gallery, Johnson City, TX, the Center for Fine Art Photography, Ft. Collins, CO, PhotoPlace Gallery, Middlebury, VT and others. Her project "Wild Spirits" was featured in Lenscratch in July 2019. Evy was the Fall, 2017 featured Emerging Photographer in SHOTS Magazine. Her work has also appeared in The Hand Magazine, and will be included in the forthcoming 10th anniversary issue of Diffusion Annual. Wild Spirits I made this work on journeys south to untamed places in the Sea Islands of Georgia with a tribe of like-minded artists. The images and characters come from dreams and memories the land drew out from my personal mythology. Timeless, yet inhabited for millennia, the islands carry a spiritual presence of deep wildness palpable in the light and shadows; the ancient alligators and birds, the feral pigs and donkeys, and the artifacts of their existence lying everywhere. My photographs explore the emotions and spiritual experiences that the land and the light evoked: vulnerability, captivity, lost-ness, sanctuary, and wildness set free. Photographing in collaboration with the other artists, I conceived of these images made on black and white film as stills taken from a movie. Each is an instant of a longer feature, of a fuller picture not seen but understood to exist. There is a narrative between the frames and a soundtrack within us that I aim to invoke. What we imagine might be the rest of the story is as much a part of the photograph as what we believe we are seeing.
Quentin Shih
Quentin Shih
China
1975
Quentin Shih (a.k.a. Shi Xiaofan), born in Tianjin, China in 1975, lives and works as a camera artist, and filmmaker between New York and Beijing. A self-taught photographer, he began to shoot photos in college for local underground musicians and artists. After graduation, he came to Beijing to develop his career as a professional photographer/artist. From 2000 to 2002, he participated in exhibitions in China and America with his fine art photographic works and his works have been collected by American museums, such as the Danforth Museum of Art and the Worcester Art Museum. During the last few years, he has been producing work for top commercial clients and international publications such as Adidas, Microsoft, Sony, Siemens, Vogue, Harper's Bazaar and Esquire. His advertising campaigns work have won numerous prestigious international advertising and photography awards. In 2007, Quentin was named 'Photographer of the Year' by Esquire Magazine (China). In the following years, he joined lots group exhibitions and solo exhibitions in China, Europe, Southeast Asia and United States. As one of the leading Chinese photographers, Quentin Shih is well recognized for his individual artistic style which utilizes vast sets and dramatic lighting to engage in emotional narratives. Now, he is returning to his roots in fine art photography and challenging its techniques and concepts into his commercial and fashion photography in order to achieve a unique symbiosis. At the same time, he is also working on his film projects, A Parisian Movie (2011) was his first short movie shot in Paris, France.
Paul Brouns
Paul Brouns
The Netherlands
I am a Dutch photographing artist that lives and works in Almere (near Amsterdam). I was born in 1967 in a small village in the South of the Netherlands. In 1990 I graduated from the Academy of Fine Arts in Tilburg (NL) in painting, drawing and photography. In the 1990's photography was still an analogue process and not having a darkroom of my own, in those early decades I was busy painting, because I wanted to work with colours and that was the most direct way to do this. However after the development of digital photography all of this started to change. By now my camera and the computer have gradually become my main tools for creation. Rhythm, color and geometry have always been important in my work and for this architecture has proven to be an ideal subject. As a photographer I am attracted by the abstract, rhythmic expression of buildings. It is my aim to captivate the viewers by feasts of dancing shadows, sunlit reflections or colour combinations. I hope that through my work they will learn to appreciate and enjoy the visual music that surrounds us. The Music of Architecture My motto "the music of architecture" stands for the artistic desire to communicate the abstract beauty of buildings. In the abstraction I see an important parallel with instrumental music. Terms like rhythm, composition, texture, scale and colour can be used to describe the feeling of my work, but it also can be applied to describe music. I try to visualise the sensation of a building as purely as possible: many images show façades that are completely frontal and fill the entire composition, so the rhythm and shallow depth of the building surface plays the main role. This ongoing series is called "Urban Tapestries". In other works the perspective depth and its converging lines play an important role. A third element is using my photographic elements to create a new reality. What unites these different elements is my desire to express myself through images that are all about the fascination with colour and rhythm.
Cristina García Rodero
Cristina García Rodero
Spain
1949
Cristina García Rodero (born 14 October 1949) is a Spanish photographer and member of Magnum Photos and Agence Vu photo agencies. García Rodero was born in Puertollano, Spain, in 1949, and studied painting at Complutense University of Madrid. She has worked as a teacher. Rodero photographs the persistence of rural traditions in modern times, such as religious rites and festivals in Spain. In Spain she is among the most celebrated documentary photographers. García Rodero joined Magnum Photos in 2005 and became a full member in 2009. The city of Puertollano, where she was born, inaugurated the Cristina García Rodero Museum in 2018. A large part of the photographer's work is exhibited there. The Cristina García Rodero Museum is located in the old municipal museum of Puertollano. There are more than 2,100 square meters distributed over three floors in which are displayed about 200 photographs of the artist.Source: Wikipedia Cristina García Rodero was born in Puertollano, Spain. She studied painting at the School of Fine Arts at the University of Madrid, before taking up photography. She then qualified as a teacher and worked full-time in education. For the next 16 years, she also dedicated her time to researching and photographing popular and traditional festivities – religious and pagan – principally in Spain but also across Mediterranean Europe. This project culminated in her book España Oculta published in 1989, which won the “Book of the Year Award” at the Arles Festival of Photography. The same year, García Rodero also won the prestigious W. Eugene Smith Foundation Prize. The documentary and ethnological value of her work are considerable, but the aesthetic quality of her photography makes it more than a simple visual record. In recent years, Cristina García Rodero has traveled around the world in search of other cultures with particular traditions. Over a period of four years, she went several times to Haiti, where she has documented voodoo rituals, producing a series of expressive portraits and moving scenes flanked by engaging documentary observations. Rituals in Haiti was shown for the first time in the 2001 Venice Biennale. Cristina García Rodero has received many prizes, including the Premio Nacional de Fotografía in 1996 in Spain. Her work has been widely published and exhibited internationally. She has published several books and has been a member of the Vu agency for more than 15 years. García Rodero joined Magnum in 2005 and became a full member in 2009.Source: Magnum Photos
Laia Abril
Laia Abril
Spain
1986
Laia Abril s a Spanish photographer and multiplatform storyteller whose work relates to femininity. Abril was born in 1986 in Barcelona, Spain. She gained a degree in journalism in Barcelona. She moved to New York City to study photography at the International Center of Photography. In 2009 she enrolled at Fabrica research centre, the artist residency of Benetton in Italy, where she worked as a staff photographer and consultant photo editor at Colors magazine for a number of years. Since 2010, Abril has been working on various projects exploring the subject of eating disorders: A Bad Day, a short film about a young girl struggling with bulimia; Thinspiration (2012), which explores the use of photography in pro-ana websites; and The Epilogue (2014), documenting the indirect victims of eating disorders, through the story of the Robinson family and the aftermath of the death of Cammy Robinson to bulimia. Critic Sean O'Hagan, wrote in The Guardian that The Epilogue "... is a sombre and affecting photobook ... dense and rewarding ... At times, it makes for a painful read. From time to time, I had to put it down, take a breather. But I kept going back." Her extended study of misogyny thus far includes A History of Misogyny: Chapter One: On Abortion, about the repercussions of abortion controls in many different cultures. Work is ongoing to produce A History Of Misogyny, Chapter 2: On Rape. Her other projects include Femme Love, on a young lesbian community in Brooklyn; Last Cabaret on a sex club in Barcelona; and the Asexuals Project, a documentary film about asexuality. Abril's books include The Epilogue (2014), which documents the indirect victims of eating disorders, and A History of Misogyny: Chapter One: On Abortion (2018), about the repercussions of abortion controls in many different cultures. On Abortion won Photobook of the Year award at the Paris Photo–Aperture Foundation PhotoBook Awards. In 2018 she was awarded the Tim Hetherington Trust's Visionary Award to work on A History Of Misogyny, Chapter 2: On Rape Culture. For the long-term project A History Of Misogyny, in 2019 she was awarded the Royal Photographic Society's Hood Medal and in 2020 she was awarded the Paul Huf Award from Foam Fotografiemuseum Amsterdam.Source: Wikipedia
Sam Haskins
Sam Haskins
United Kingdom
1926 | † 2009
Sam Haskins, was a British photographer, born and raised in South Africa. He started his career in Johannesburg and moved to London in 1968. Haskins is best known for his contribution to in-camera image montage, Haskins Posters (1973) and the 1960's figure photography trilogy Five Girls (1962), Cowboy Kate & Other Stories (1964) and November Girl (1967), plus an ode to sub-Saharan tribal Africa African Image (1967). Cowboy Kate & Other Stories was probably the first book to deliberately explore black-and-white photographic grain as a medium for expression and image design. It was highly influential at the time, sold roughly a million copies worldwide and won the Prix Nadar in France in 1964. It continues to influence contemporary photographers, filmmakers, fashion designers, and make-up artists. Cowboy Kate & Other Stories or 'Kate' as the book is often referred to, had its place in photographic history cemented in 2005 when the International Center of Photography in New York included the book in their exhibition The Open Book: A History of the Photographic Book from 1878 to the Present. November Girl contained key image collages which formed the basis of many graphic and surrealist experiments in the 1970s and 1980s. African Imagewas a visual homage to the indigenous people, culture, landscape and wildlife of sub-Saharan Africa. The images represent a lifelong interest in photographing graphically stimulating environments and formally document his passion for the indigenous craft. He broke bones on river rapids and wrote off two Volvo saloon cars on African dirt roads while shooting the book. Despite its international award, this meticulously constructed book, celebrating a love for sub-Saharan Africa, is probably the least known of his major creative projects, but it is coveted by serious collectors of African art and photography. In 1968, Haskins moved to London and ran a studio in Glebe Place just off the King's Road. He worked as an advertising photographer for international consumer brands Asahi Pentax, Bacardi, Cutty Sark whisky, Honda, BMW, Haig whisky, DeBeers, British Airways, Unilever and Zanders, and specialised in the art direction and shooting of calendars, especially for Asahi Pentax in Japan. Although he endorsed Hasselblad for a short period in the late 1960s and early 1970s, his loyalty to the medium format 6x7 camera and lenses from Asahi resulted in a rare long-term association between a camera manufacturer and photographer. From 1970 to 2000, Asahi Optical (later Pentax) produced 30 calendars, of which Haskins shot and art-directed 15 editions including the millennium calendar. No other photographer was invited to contribute more than once. He is still involved with the Pentax Forum Gallery in Tokyo, which hosts his exhibitions. His first contact came in 1967, when Asahi Optical presented him with a 35 mm camera after hearing that he had shot African Image with various competitors' products. In 1972, he produced his first colour book, Haskins Posters. The large-format publication contained pages printed on one side using thick stiff paper and a soft glue perfect binding allowing the pages to be removed and used as posters. Haskins and Alida successfully published the book internationally through their own company, Haskins Press. The book won a gold award at the New York One Show. At the time the best-known image from Haskins Posters, a girl's face superimposed on an apple with a bee near the stem, appeared on the cover or in editorials of almost every major photographic magazine around the world. This image was part of a well-publicised visual and graphic experimentation with the apple theme in the 1970s that for a while resulted in photographic journalists nicknaming him 'Sam the Apple man'. He suffered a stroke on 19 September 2009 the opening day of his exhibition to launch Fashion Etcetera at Milk Gallery in New York, and died at home in Bowral, Australia, nine weeks later.Source: Wikipedia
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