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Yasuhiro Ishimoto
Yasuhiro Ishimoto

Yasuhiro Ishimoto

Country: Japan/United States
Birth: 1921 | Death: 2012

Yasuhiro Ishimoto was a well-known Japanese-American photographer known for his distinct style and contributions to the field of modernist photography. Ishimoto was born in San Francisco on June 14, 1921, and spent his childhood in Japan before returning to the United States in 1939 to further his education.

Ishimoto enrolled at the Chicago Institute of Design in the early 1940s, where he studied under influential photographers such as Harry Callahan and Aaron Siskind. During this time, Ishimoto developed his signature style, which is distinguished by dynamic compositions, bold geometric forms, and a keen sense of light and shadow.

In both Japan and the United States, Ishimoto's work frequently focused on architecture. He photographed the interplay of lines, shapes, and textures to investigate the relationship between humans and their built environment. His images of famous architectural landmarks, such as the Katsura Imperial Villa in Kyoto, demonstrated his ability to infuse tranquillity and contemplation into his photographs.

Ishimoto documented street scenes and everyday life in both Japan and America, in addition to architectural photography. He had an uncanny ability to capture candid moments and the essence of the people he met, providing a glimpse into the cultural and social fabric of the time.

Ishimoto received numerous awards and accolades for his work throughout his career. His photographs have been shown all over the world, and he has written several books, including Katsura: Picturing Modernism in Japanese Architecture and Chicago, Chicago. Ishimoto's work helped to bridge the gap between Eastern and Western photographic traditions.

Yasuhiro Ishimoto died on February 6, 2012, but his photographs will live on. His artistic vision and technical mastery continue to inspire photographers all over the world, and he has left a body of work that reflects his commitment to capturing the beauty and essence of the world around us.

 

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More Great Photographers To Discover

Morris Engel
United States
1918 | † 2005
Morris Engel (April 8, 1918 - March 5, 2005) was an American photographer, cinematographer and filmmaker best known for making the first American film "independent" of Hollywood studios, Little Fugitive (1953), in collaboration with his wife, photographer Ruth Orkin, and their friend, writer Raymond Abrashkin. Engel was a pioneer in the use of hand-held cameras and nonprofessional actors in his films, cameras that he helped design, and his naturalistic films influenced future prominent independent and French New Wave filmmakers. A lifelong New Yorker, Morris Engel was born in Brooklyn in 1918. After joining the Photo League in 1936, Engel had his first exhibition in 1939, at the New School for Social Research. He worked briefly as a photographer for the Leftist newspaper PM before joining the United States Navy as a combat photographer from 1941 to 1946 in World War II. After the war, he returned to New York where he again was an active Photo League member, teaching workshop classes and serving as co-chair of a project group focusing on postwar labor issues. In 1953, Engel, along with his girlfriend, fellow photographer Ruth Orkin, and his former colleague at PM, Raymond Abrashkin, made the feature film Little Fugitive for $30,000, shooting the film on location in Coney Island with a hand-held 35 millimeter camera Engel had designed himself. This camera was compact and lightweight so it would be unobtrusive shooting in public. As such, it did not allow simultaneous sound recording; the sound was dubbed later. The film, one of the first successful American "independent films" earned them an Academy Award nomination for Best Writing, Motion Picture Story and a Silver Lion at the Venice Film Festival. The film told the story of a seven-year-old boy, played by Richie Andrusco, who runs away from home and spends the day at Coney Island. Andrusco never appeared in another film, and the other performers were mainly nonprofessional. Though their first film was a critical success, Engel and Orkin, who had since married, had a hard time finding funding for their next film, Lovers and Lollipops, which was completed in 1956. The film was about a widowed mother dating an old friend, and how her young daughter complicates their budding relationship. Like the first one, Lovers and Lollipops was filmed with a hand-held compact 35 mm camera, with sound dubbed in post-production. This was followed two years later by the more adult-centered Weddings and Babies, a film about an aspiring photographer than is often seen as autobiographical. This was Engel's first film to have live sound recorded at the time of filming, and is historically the first 35 mm fiction film made with a portable camera equipped for synchronized sound. In 1961, Engel directed three television commercials, including an award-winning one for Oreo cookies. The other two were for Ivory soap and Fab detergent. A half-hour short film The Dog Lover was made the following year, a comedy about a shop merchant whose life is turned upside down by the stray dog his kid brings home. He made a fourth feature in 1968 called I Need a Ride to California, which followed a group of young hippies in Greenwich Village. Post-production was shelved until 1972 when it was finally completed, but for unknown reasons, it was never released during his lifetime. It finally received its premiere in October 2019 at New York's Museum of Modern Art (MoMA); it was first released on home video in March 2021. In the 1980s, Engel began taking panoramic photographs on the streets of New York City. Engel and Ruth Orkin remained married until Orkin's death in 1985. In the 1990s, he returned to filmmaking, this time working on video. He completed two feature-length documentaries: A Little Bit Pregnant in 1994 and Camellia in 1998, each revolving around a different child in the Hartman family. First, in A Little Bit Pregnant Engel focused on the 8-year-old Leon's reactions, anxiety and wonderment to the impending birth of his baby sister Camellia. For the second film, two years later, Engel returned to the same family, who gave him a year of access to the now 2-year-old daughter Camellia, capturing her daily life and routines, and her relationships with her family and others. Both films were shown in private screenings, but never had a public release due likely to the Hartman family presumably holding the rights. Engel died of cancer in 2005.Source: Wikipedia Morris Engel was born in Brooklyn to immigrant parents from Lithuania. An early interest in photography led him to enroll in a class at New York’s Photo League, a group dedicated to raising social consciousness through modern photography. Some of the most influential photographers of the time were associated with the Photo League; Engel worked closely with Aaron Siskind on the project Harlem Document from 1936-40 and later assisted Paul Strand in filming Native Land. Like many Photo League photographers, Engel documented life in New York City, producing and exhibiting photo essays on Coney Island, the Lower East Side and Harlem. In 1939 he had his first exhibition at New York’s New School. In 1940 he joined the staff of the newspaper PM, but he left the publication one year later to sign on with the U.S. Navy as a member of a combat photo unit. He participated in the D-Day invasion of Normandy. In 1951 Engel momentarily quit still photography to pursue a career in filmmaking. He made a series of low-budget films with a custom 35 mm camera. His first feature film, Little Fugitive (made with his wife, the renowned photographer Ruth Orkin), earned an Academy Award nomination in 1953 for Best Original Screenplay and was screened in more than 5,000 theaters across the United States. Engel’s photographs are widely exhibited and found in the collections of the International Center of Photography (New York), the Museum of the City of New York, the Museum of Modern Art (New York) and the National Portrait Gallery (Washington, D.C.). His films continue to be screened at venues such as the Whitney Museum of Art (New York), the Brooklyn Museum and the American Museum of the Moving Image (New York).Source: American Photography Archives Group
Bruce Mozert
United States
1916 | † 2015
Robert Bruce Moser (November 24, 1916 – October 14, 2015), known as Bruce Mozert, was an American photographer. He was considered to be a pioneer of underwater photography and his images of Silver Springs, Florida, were widely circulated during the early and mid 20th century. Mozert was born in Newark, Ohio, to Fred and Jessie Moser. He was the youngest of three children and the only son. The family moved to a farm in Scranton, Pennsylvania, while he was still young, where his father became the superintendent of the Scranton Stove Works. He graduated high school and took a job as a truck driver that brought coal to New Jersey, but quickly decided he was "too sensitive to be a truck driver" and moved to New York City to live with his sister, the well-known model and pin-up artist Zoë Mozert. Through Zoë, Bruce met Victor de Palma, a lead photographer for Life magazine, who hired him as a film developer and helped him into the field. He joined the Freelance Photographers Guild and worked for Pic. In 1938, while he was on an assignment to photograph women's shoes in Miami, Florida, Mozert heard about the filming of one of Johnny Weissmuller's Tarzan movies in Silver Springs. He traveled to meet the cast and ended up staying in Ocala, becoming the official photographer of Silver Springs for the next 45 years. He served in the U.S. Army Air Forces during part of World War II and there learned aerial photography. Mozert took advantage of the extremely clear water of Silver Springs by taking underwater photographs with specially constructed waterproof camera housings. He built his first such housing in the early 1940s. The novelty and clarity of his underwater photographs were major advertisements for Silver Springs and the distribution of the photos over wire services helped the attraction bring in visitors from 1940 to 1970. Most of his photographs feature submerged women doing ordinary tasks that would be done on land, such as cooking, reading newspapers and mowing lawns. Most of the women were actually employees of Silver Springs and one of his most frequently shot models, Ginger Stanley, was an underwater stunt double for Creature from the Black Lagoon. Physical tricks were often used to make the underwater scenes appear more realistic. He also took underwater movie stills for the many productions filmed in Silver Springs. Above the water, he took pictures of visitors going on glass bottom boat tours, developed the film while they were on the tour, and then had the photos ready to sell to visitors when they returned. Mozert spent his last years working out of his studio in Ocala, Florida, where he digitized film. His pictures have been featured in publications such as Huffington Post, National Geographic, Life, Look, Pic and Smithsonian Magazine. Mozert died at his home in Ocala on October 14, 2015 at the age of 98. Source: Wikipedia
Patrick Wack
France
1979
Patrick Wack was born in Cannes in 1979 and grew up in the Paris suburbs. A former top sportsman, he has a degree in foreign languages and a diploma from the Ecole Supérieure de Commerce de Paris. His studies took him to the United States, Sweden and Germany. A self-taught photographer, he left Berlin in 2006 for China with the ambition of documenting its emergence, and the hope of living a life off the beaten track. He was based in Shanghai for eleven years as a freelance photographer alternating between commissions for the international press and institutional clients. He also worked on long-term documentary projects on themes important to the understanding of our times. These include urban change and forced modernisation in China, the Tibetan question, inter-ethnic tensions in the Balkans and the 'pioneering front' of the New Silk Road in its aesthetic, social and political dimensions. After eleven years in China, he now divides his time between Europe, China and Russia. His reports have been published in Time magazine, The Sunday Times, Géo, The British Journal of Photography and Courrier International, among others. He is one of the co-founders of the photographic cooperative Inland. DUST Dust, a monographic book by photographer Patrick Wack on the Uyghur communities. The monograph DUST gathers four years of work by French photographer Patrick Wack shot in the areas of Central Asia known as East Turkistan or Xinjiang Uyghur Autonomous Region under the current Chinese administration. In recent years, the region has been at the centre of an international outcry following the mass-incarceration of its Uyghur population and other Muslim minorities. This body of work captures a visual narrative of the region and is a testimony to its abrupt descent into an Orwellian dystopia. In 2016 and 2017, Wack spent more than two months in Xinjiang photographing Out West, his first long-term project about the region. He decided to return in 2018, upon reading reports of the mass arbitrary detention system being set up there. In 2019, he travelled to Xinjiang on two separate occasions for another project, The Night Is Thick. This second reportage aimed at documenting life under acute repression among the Uyghur minority alongside the disturbing simultaneous increase of Han-Chinese tourism in the region. These images have been widely published and exhibited over the past four years, illustrating the situation in the region, and have received numerous accolades. Recent events in Xinjiang are now considered some of the most severe crimes against humanity currently unfolding in the world and this project is possibly the most complete photographic documentation of the region in recent years. Find out more about DUST
Raghu Rai
India
1942
Raghu Rai (born in December 1942) qualified as a civil engineer, started photography at the age of 23 in 1965. He joined The Statesman newspaper as their chief photographer (1966 to 1976), and was then Picture Editor with Sunday—a weekly news magazine published from Calcutta (1977 to 1980). In 1971, impressed by Rai’s exhibition at Gallery Delpire, Paris, the legendary photographer Henri Cartier Bresson nominated him to Magnum Photos, the world’s most prestigious photographer’s cooperative which Rai could start only in 1977, Rai took over as Picture Editor-Visualiser- Photographer of India Today, India’s leading news magazine in its formative years. He worked on special issues and designs, contributing trailblazing picture essays on social, political and cultural themes of the decade (1982 to 1991). He was awarded the "Padmashree" in 1972 for the body of works he produced on Bangladesh refugees, the war and its surrender. In 1992 he was awarded “Photographer of the Year” in the United States for the story “Human Management of Wildlife in India” published in National Geographic. In 2009 he was conferred Officier des Arts et des Lettres by French Government. His photo essays have appeared in many of the world’s leading magazines and newspapers - including Time, Life, GEO, Le Figaro, Le Monde, Die Welt, The New York Times, Sunday The Times-London, Newsweek, Vogue, GQ, D magazine, Marie Claire, The Independent and The New Yorker. He has been an adjudicator for World Press Photo contest, Amsterdam and UNESCO’s International Photo Contest for many times. Currently, Raghu Rai lives in New Delhi and is working on his 57th book.Source: raghuraifoundation.org Rai has specialized in extensive coverage of India. He has produced a lot of books, including Raghu Rai's Delhi, The Sikhs, Calcutta, Khajuraho, Taj Mahal, Tibet in Exile, India, and Mother Teresa. His photo essays have appeared in many magazines and newspapers. For Greenpeace, he has completed an in-depth documentary project on the chemical disaster at Bhopal in 1984, which he covered as a journalist with India Today, and on its ongoing effects on the lives of gas victims. This work resulted in a book, Exposure: A Corporate Crime and three exhibitions that toured Europe, America, India and southeast Asia after 2004, the 20th anniversary of the disaster. Rai wanted the exhibition to support the many survivors through creating greater awareness, both about the tragedy, and about the victims – many who are still uncompensated – who continue to live in the contaminated environment around Bhopal. In 2003, while on an assignment for Geo Magazine in Bombay City, he switched to using a digital Nikon D100 camera "and from that moment to today, I haven't been able to go back to using film." In 2017, Avani Rai, his daughter followed her father on one of his trips to Kashmir to get an insight into his life and know him better. She documented this journey and released a documentary on it called Raghu Rai: An Unframed Portrait. It depicts a historical narrative through Raghu Rai's photographs through time, as he tells some of his unique experiences that not only affected him deeply but also important landmarks in the young yet crucial history of India. It was executive produced by Anurag Kashyap.Source: Wikipedia Rai was awarded the "Padmashree" in 1971, one of India’s highest civilian awards ever given to a photographer. In 1992, his National Geographic cover story Human Management of Wildlife in India won him widespread critical acclaim for the piece. Besides winning many national and international awards, Rai has exhibited his works in London, Paris, New York, Hamburg, Prague, Tokyo, Zurich and Sydney. His photo essays have appeared in many of the world’s leading magazines and newspapers. He has served three times on the jury of the World Press Photo and twice on the jury of UNESCO’s International Photo Contest. Raghu Rai lives in Delhi with his family and continues to be a correspondent of Magnum Photos.Source: Magnum Photos
Ralph Gibson
United States
1939
Ralph Gibson is an American art photographer best known for his photographic books. His images often incorporate fragments with erotic and mysterious undertones, building narrative meaning through contextualization and surreal juxtaposition. Ralph Gibson studied photography while in the US Navy and then at the San Francisco Art Institute. He began his professional career as an assistant to Dorothea Lange and went on to work with Robert Frank on two films. Gibson has maintained a lifelong fascination with books and book-making. Since the appearance in 1970 of The Somnambulist, his work has been steadily impelled towards the printed page. To date he has produced over 40 monographs, his most current projects being State of the Axe published by Yale University Press in Fall of 2008 and Nude by Taschen (2009). His photographs are included in over one hundred and fifty museum collections around the world, and have appeared in hundreds of exhibitions. Gibson has received fellowships from the National Endowment for the Arts (1973, 1975, 1986), a Deutscher Akademischer Austauschdienst (D.A.A.D.) Exchange, Berlin (1977), a New York State Council of the Arts (C.A.P.S.) fellowship (1977), and the John Simon Guggenheim Memorial Foundation (1985). The Rencontres d'Arles festival presented his work in 1975, 1976, 1977, 1979, 1989 and 1994. I embrace the abstract in photography and exist on a few bits of order extracted from the chaos of reality. -- Ralph Gibson His book Syntax received a mention for the Rencontres d'Arles Book Award in 1983. He was decorated as an Officier de L'Ordre des Arts et des Lettres (1986) and appointed, Commandeur de L'Ordre des Arts et des Lettres (2005) by the French government. His awards include: Leica Medal of Excellence Award (1988), "150 Years of Photography" Award, Photographic Society of Japan (1989), a Grande Medaille de la Ville d'Arles (1994) and the Lucie Award for lifetime achievement (2008). Gibson also received an honorary doctorate of Fine Arts from the University of Maryland (1991), and a second honorary doctorate from the Ohio Wesleyan University (1998). He has worked exclusively with Leica for almost 50 years. Gibson currently lives in New York and travels frequently to Europe and Brazil.Source: Wikipedia Having begun his acclaimed photographic career as an apprentice to the great documentarians Dorothea Lange and Robert Frank, Ralph Gibson is known for his highly distinctive vision in still photography. By intensifying contrast and emphasizing the grain of the film in his prints, Gibson concentrates on the minute details: the edge of a café table, the arc of a hip, the glint of a fork. Gibson’s works are both formally vigorous and eternally evocative. His photographs are in major private and public collections worldwide, including the Metropolitan Museum of Art, the Museum of Modern Art, and the Bibliothèque Nationale de France.Source: Weston Gallery I’m interested in producing truncated shapes in proportion to the frame and composition, shapes that are preferably luminous. I’m not interested in the full-figure. I want to abstract forms. -- Ralph Gibson
Julian Wasser
United States
1938
Julian Wasser started his career in photography in the Washington DC bureau of the Associated Press. While at Associated Press he met Weegee and rode with the famous news photographer as he shot photos of crime scenes in Washington. Weegee was a major influence on Wasser’s style of photography. After serving in the Navy in San Diego the former AP copyboy became a contract photographer for Time Magazine in Los Angeles doing assignments for Time, Life, and Fortune. His photographs have appeared in and been used as covers of Time, Newsweek, and People magazines in the United States. He has done cover assignments for The Sunday Telegraph, and The Sunday Times colour supplements in London. His photos have appeared in US Magazine, Vanity Fair, TV Guide, Paris Match, Der Spiegel, Oggi, Hello, Playboy, Elle, Vogue, and GQ and in exhibitions in galleries and museums.Source: www.julianwasser.com Perhaps his most notorious photo session was of groundbreaking artist Marcel Duchamp playing chess with a naked Eve Babitz in 1963 at the Pasadena Museum of Art during Duchamp’s first retrospective. Organized by Walter Hopps, then director of the museum (now the Norton Simon Museum), the exhibition was the first comprehensive survey of Duchamp’s storied career, which began in 1911 at the legendary Armory show in New York. Duchamp, by this time, was the most influential artist in the world, having revolutionized the modern art world with his unconventional concepts. At the time, he had retired from being an artist to pursue his passion for chess. His numerous works had never been shown collectively, and the landmark show is still considered to be one of the seminal exhibitions of all time. The opening night was a who’s who of the most highly-regarded artists and collectors of the era, and effectively inaugurated the establishment of the Pop art movement. Among the group of up-and-coming artists who attended were Andy Warhol, Billy Al Bengston and Ed Ruscha.Source: Juxtapoz In 1963 a long overdue retrospective for Marcel Duchamp, arguably the most significant and influential artist of the 20th century was held at the Pasadena Art Museum. The exhibition, curated by art world renegade and acting museum director, Walter Hopps, was Duchamp’s very first museum retrospective in the United States and a coup for the West Coast art world. Having produced some of the most groundbreaking examples of conceptual art since the early part of the century, Duchamp was a legendary figure by the 1960s and his presence in California was a pivotal moment in L.A. history and lore. Artists and luminaries including Ed Ruscha, Billy Al Bengston, Larry Bell, Dennis Hopper and a very boyish Andy Warhol flocked to the opening gala of Duchamp’s retrospective and Time Magazine sent L.A. based photographer, Julian Wasser to cover the event. At the time, Wasser, who began his career as a teenager shooting crime scenes in Washington D.C., was unaware of Duchamp’s significance in the pantheon of art. But known for being in the right place at the right time and catching formative moments in L.A. history with an unmistakable eye, Wasser not only captured the energy of Duchamp’s opening reception, but produced several of the most iconic pictures of the artist ever made. Duchamp posing next to his groundbreaking readymade Bicycle Wheel, originally conceived in 1913 and Duchamp playing chess with a nude Eve Babitz were among the images Wasser took while on assignment. Though Time never published Wasser’s pictures, the latter photograph, inspired by one of Duchamp’s master paintings Nude Descending a Staircase and the artist’s obsession with chess, went on to become one of the most recognizable staged photographs of the 20th Century. The exhibition Julian Wasser : Duchamp in Pasadena Revisited brought the quintessential photographs of Julian Wasser, together with an installation of appropriated works of art produced primarily by L.A. based artist Gregg Gibbs to create an exclusive experience of the 1963 Duchamp retrospective at the Pasadena Art Museum. Works on view originally produced by Duchamp and appropriated by Gibbs included early works such as Bicycle Wheel, Nude Descending a Staircase, I.H.O.O.Q, 1919; With Hidden Noise, 1916, and one of Duchamp’s masterworks (The Large Glass) The Bride Stripped Bare of Her Bachelors, Even 1915-1923. The piece de resistance was a life-sized recreation of Wasser’s now-infamous photograph of Marcel Duchamp and Eve Babitz playing chess at the museum in 1963.Source: Robert Berman Gallery
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