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Arthur Fields
Arthur Fields

Arthur Fields

Country: Ireland
Birth: 1901 | Death: 1994

Arthur Fields was an Irish street photographer of Ukrainian descent. He took more than 180,000 photographs of pedestrians on the south end of Dublin's O'Connell Bridge, over more than 50 years. Fields was born into a Ukrainian Jewish family. His family fled antisemitism in Kiev in 1885, and later settled in Dublin.

Fields originally ran a sound studio where people could make a recording of their own voice, but later began his photography when he bought a box camera. Fields switched to a Polaroid instant camera later in his career. Field's brother was also a photographer on the bridge. Fields' extensive photographs are recognised as a social record of Dublin from the 1930s to the 1980s, depicting the changing fashions and shopfronts of the city. Nelson's Pillar often featured in Field's photograph until its destruction by Irish republicans in 1966.

Fields took an estimated 182,500 photographs of pedestrians on the bridge from the early 1930s until 1985. Notable people photographed by Fields on the bridge included the playwright Brendan Behan, the actors Margaret Rutherford and Gene Tierney, and Prince Monolulu, who claimed to be a chief of the Falasha tribe of Abyssinia, and who wore a headdress and a fur coat.

Fields lived in the Dublin suburb of Raheny, and would walk seven miles to and from the bridge each day to work. Field's modus operandi would be to "pretend to take a picture of a passer-by and, when they stopped, he'd take the real one. Then he'd give them a ticket and they could collect the photograph from a nearby studio run by his wife; she developed all the photos."

Arthur Fields' work has been documented on the interactive documentary website, Man On Bridge: 50 Years as a Photographer on O’Connell Bridge produced by El Zorrero Films. The website encourages the public to submit their photographs to an online archive. The web project which features an image archive and documentary videos won best website at the Digital Media Awards in 2015. The Man on Bridge project was also a winner of the Arthur Guinness Projects. In December 2014 an exhibition of 3,400 photographs collected for the project was held at the Gallery of Photography in Dublin

Source: Wikipedia


 

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Annie Leibovitz
United States
1949
Annie Leibovitz is an American portrait photographer best known for her engaging portraits, particularly of celebrities, which often feature subjects in intimate settings and poses. Leibovitz's Polaroid photo of John Lennon and Yoko Ono, taken five hours before Lennon's murder, is considered one of Rolling Stone magazine's most famous cover photographs. The Library of Congress declared her a Living Legend, and she is the first woman to have a feature exhibition at Washington's National Portrait Gallery.Source: Wikipedia Annie Leibovitz was born on October 2, 1949, in Waterbury, Connecticut. While studying painting at the San Francisco Art Institute, she took night classes in photography, and in 1970, she began doing work for Rolling Stone magazine. She became Rolling Stone’s chief photographer in 1973. By the time she left the magazine, 10 years later, she had shot 142 covers. In 1983, she joined the staff at Vanity Fair, and in 1998, she also began working for Vogue. In addition to her magazine editorial work, Leibovitz has created influential advertising campaigns for American Express and the Gap and has contributed frequently to the Got Milk? campaign. She has worked with many arts organizations, including American Ballet Theatre, the Brooklyn Academy of Music, and the Mark Morris Dance Group, and with Mikhail Baryshnikov. Her books include Annie Leibovitz: Photographs (1983), Photographs: Annie Leibovitz 1970–1990 (1991), Olympic Portraits (1996), Women (1999), American Music (2003), A Photographer’s Life: 1990–2005 (2006), Annie Leibovitz at Work (2008), Pilgrimage (2011), Annie Leibovitz: Portraits 2005-2016 (2017), The Early Years, 1970–1983 (2018), and Wonderland (2021). Exhibitions of her images have appeared at museums and galleries all over the world, including the National Portrait Gallery and the Corcoran Gallery, in Washington, D.C.; the International Center of Photography, in New York; The Brooklyn Museum; the Stedelijk Museum in Amsterdam; the Centre National de la Photographie, in Paris; and the National Portrait Gallery in London. Leibovitz has been designated a Living Legend by the Library of Congress and is the recipient of many other honors, including the Barnard College Medal of Distinction and the Infinity Award in Applied Photography from the International Center of Photography. She was decorated a Commandeur in the Ordre des Arts et des Lettres by the French government. She lives in New York with her three children, Sarah, Susan, and Samuelle.Source: Vanity Fair Leibovitz became Rolling Stone’s chief photographer in 1973, and by the time she left the magazine, she had amassed 142 covers and published photo essays on scores of stories, including the 1975 Rolling Stones tour. Moments of freedom and an unyielding imagination fed the evolution of Leibovitz’s photography. The monumental body of work taken during her thirteen-year tenure at Rolling Stone blurred the lines between celebrity and civilian, interviewer and interviewee, artist and subject, dissolving the boundary separating Leibovitz from those captured in her photographs. Documenting fellow reporters and photographers in addition to their subjects, Leibovitz highlighted those hidden behind the camera and brought them to the forefront. Leibovitz recorded major political moments of the Seventies in the United States, including the 1972 presidential campaign, which she covered with the writer Hunter S. Thompson. In a haunting photograph taken when President Richard Nixon resigned, on August 9, 1974, Leibovitz’s camera records his helicopter as it takes off from the White House lawn. Her immersion within the political landscape extended to photographs from the 1976 election, when figures such as Jerry Brown and Jimmy Carter seized national attention. The artist photographed the Democratic National Convention in New York City, showcasing candid moments with Dianne Feinstein and journalists such as Sally Quinn and Dan Rather. Leibovitz’s unobtrusive lens implicates both the photographer and her colleagues as significant actors and contributors to cultural moments. When traveling with the Rolling Stones to document their tour of the Americas in the summer of 1975, Leibovitz entered the band’s world to such a degree that only her camera served as a reminder of her identity. It was Leibovitz’s distinct ability to immerse herself in varying environments that enabled a direct engagement with her subjects, revealing their true, honest, and perhaps most vulnerable selves. Leibovitz began using a medium-format camera that produced square photographs and was appropriate for shooting set-up portraits with a strobe light. The planned portraits were based on a straightforward idea often stemming from a deeply personal collaboration with her subjects. Evidencing a level of uncanny intimacy and an uncommon depth of engagement, this relationship can be seen in one of her most celebrated photographs, in which a naked John Lennon clutches Yoko Ono. The portrait, made on December 8, 1980, was meant to serve as an intimate emblem of the couple’s relationship. When Lennon was killed just hours after the photo was taken, the image became a powerful visual memorial. In 1983, when Leibovitz joined the staff of the revived Vanity Fair, she was established as the foremost rock-music photographer and an astute documentarian of the social landscape. At Vanity Fair, and later at Vogue, she developed a large body of work – portraits of actors, directors, writers, musicians, athletes, and political and business figures, as well as fashion photographs. Leibovitz’s portraiture reflects a signature technique she developed early in her career, as she consciously and consistently fit style to subject through collaborating with her subjects, photographing them in their homes or in a location that meant something to them, where friends, lovers, children, and other personal markers might appear. Annie Leibovitz’s prolific output and her inventive approach to photography itself position her distinctly within the traditions and trajectory of American portraiture during the twentieth century. Her unique photographic language dovetailed with – and advanced – the medium’s evolution as a force for art making. The singularity of her vision, which included combining portraiture with photojournalism that captured historical and cultural touchstones throughout the United States and abroad, places her within a lineage of some of her personal heroes – artists like Andy Warhol and Richard Avedon, both innovators of their mediums. Influences such as Robert Frank and Henri Cartier-Bresson inspired Leibovitz to turn the tide on photography’s reception. Combining Frank’s highly personal and emotional style of photographic reportage with Cartier-Bresson’s Surrealist and even sculptural art photography, Leibovitz embraced her own inclination toward personal journalism. The artist’s large and distinguished body of work encompasses some of the most well-known portraits of our time.Source: Hauser & Wirth
Denis Church
United States
1949
I grew up on an Iowa (USA) farm and drove trucks, tractors, and heavy machinery at a very young age. I loved being out in the weather and open-air fields. One of my earliest memories is riding with my parents when they took a drive to look at area agricultural crops freshly planted and growing in the springtime. These trips inspired my current desire to make car trips to see the world. I studied psychology and sociology in college and was planning a career as a counseling psychologist. These experiences formed my inclination to photograph in public outdoor areas and investigate how the world is “painted and put together”. I acquired a very good expensive camera on a total whim a long time ago, and something radical shifted for me. I left graduate school six credits shy of a master’s degree to pursue the art of photography, which I intuitively felt was my path to truth, instead of the science. I have held many jobs: farm hand, gas station attendant, auto dealer parts manager, car salesman, government employee in two different states, free-lance commercial photographer, real estate investor, landlord, property developer, and photography instructor. Photography has been my main energizing activity for fifty years, for both commercial clients and for myself, pursuing and refining my personal vision of the world. My photographic aesthetic is based on observational street/documentary photography. I currently have several self-assigned documentary projects that I am pursuing. My interest is producing photo-books as a depository for my work, that have availability to future generations. AMERICOLOR - Exploring Urban Color Fields The series or project is a retrospective look at my work from 2007 to 2024. I saw a large exhibition of Color Field painters in early 2024 at The NSU Art Museum Fort Lauderdale, Florida. A painting by Frank Stella particularly enthralled me and I was puzzled why it had such a strong hold on me. A few days later while I was editing photographs I came across my photograph, Bonita Springs, Florida 2012, and I immediately felt a connection and the reason why the Stella painting was so entrancing. I found that many of my photographs have a similar feel with layered subjects and a planar feel: some more, some less. I decided to edit a group of photographs into a book paying homage to the color field painters, therefore my title, AMERICOLOR: Exploring Urban Color Fields. Recently in 2024, I published this book in collaboration with Palm Beach Atlantic University where I also presented an exhibition of about one third of the 116 photographs in the book.
Billy & Hells
Billy and Hells are two photographers: Anke Linz, Billy (Nürnberg, 1965) and Andreas Oettinger, Hells (Munich, 1963). They met in 1986, found a shared interest in photography and became partners in life and work. Inspired by the photographs of Irving Penn and Helmut Newton, Billy und Hells started to work in the field of fashion photography. Accidentally, they came across a technique that would define their future works. By forgetting to take a black and white negative out of a Wühltisch developer, they developed a beautiful Baryt picture. This process is now known as a Lithprint. Later on they discovered that combining a black and white slidefrom a colour negative with a colour picture, a beautiful photograph emerged with fantastic effects. Because of this technique, the colours are reduced but give an intense effect. This technique reduces the colours but results simultaneously in an intensity, which they were unable to reach with regular photography. The results were unexpected but very satisfying. In 1999 they started working professionally for adverting campaigns and magazines. However, this branch of photography did not provide them for the artistic freedom they were looking for. In 2000 they settled in Berlin and started a studio there. This is also the year that they started to work with digital cameras, taking advantage of all the benefits these provide. Amongst others they exhibited in Tokyo and Berlin. One of their photographs, Nabil, was used in a fashion exhibition on the Ideal Man in the Gemeentemuseum in The Hague. Another work, Sophia, featured in the National Portrait Gallery’s advertisement campaign for the exhibition of the Photographic Portrait Prize 2007. Source: Morren Galleries Billy & Hells’ photographs exist in a world of in-betweens. Their deceptively simple, straightforward portraits convey a certain complexity. The archetypal characters depicted in their photographs—mothers, soldiers, cowboys, nurses, and teachers— possess an underlying sense of mystery, hinting at the duality of the sitter as well as the fictional world they inhabit. Although Billy & Hells’ images call upon historical and art historical references, their portraits are not burdened by the stipulations of historical recreations. Instead, seamlessly blending past and present, reality and fantasy, their photographs become a nostalgic diary, purposefully left open for interpretation. The duo discovered what has become their signature visual style via a typical lab-accident story— by forgetting to take a black and white negative out of the developer, they inadvertently produced an intense image with colors that appear simultaneously rich and muted. Their portraits combine elaborate, hand-painted backgrounds and draw inspiration from countless samples of fabrics, color compositions, and clothing that generate the distinct mood for each portrait. In a special issue on Young German Photography, Deutsch magazine described the experience of viewing a Billy & Hells photograph as the following, “Inevitably, without warning, you enter a unique world of images. Each scene becomes a kind of pseudo-dwelling for the person contemplating it. The situations seem to be familiar, but you are never absolutely sure just what is happening in front of you, who the characters are, where to place the individual scenes. The commonplace is bristling with exceptions, the direction of narrative changes continually and leads you astray. Trivial things are combined with the bizarre. The mixture deriving from this casts a spell on us.” (Deutsch, “Young German Photography”, 2000 Published by Kruse Verlag, Hamburg) Billy & Hells were nominated in 2007 for The National Portrait Gallery’s Taylor Wessing Photographic Portrait. The series Blue Moon was recently featured in the photographic quarterly Eyemazing. Their work has been exhibited and collected internationally. Anke Linz and Andreas Oettinger live and work in Berlin.Source: Fahey/Klein Gallery
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