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Pablo Trilles Farrington
Pablo Trilles Farrington
Pablo Trilles Farrington

Pablo Trilles Farrington

Country: Spain
Birth: 1979

Since I was little I was fascinated by animals, especially wildlife. I loved learning about them, their habits, behaviors, most remarkable characteristics such as size, speed, height, feeding, etc. As I grew up, that passion for wildlife began to fall asleep, giving way to other types of concerns. During my youth, my father gave me his SLR camera with interchangeable objects and taught me the basics of photography. I liked taking photographs of all kinds, from portraits to landscapes. They weren't good pictures, although it amused me. But after a few years, when I lived in my apartment, they broke in and took the photographic equipment. That was the end of my adventure in photography. Many years passed until, on a work trip I had to make to Guatemala, I managed to visit the Mayan ruins of Tikal recommended by my father, which he visited in the past. That trip, in the middle of the jungle and surrounded by wild animals, reawakened in me the passion for wildlife and the adventure of exploring natural places. At the same time, smartphones appeared and with them photography within everyone's reach. So I took pictures again this time with my mobile. The mobile was fitted with mini lenses for macro photography. Then I bought a zoom lens that connected to the mobile via Bluetooth. From there it went to a 70-200 lens connected to the phone, which I took on safari to Kenya and the Corcovado peninsula in Costa Rica. I finally understood that my passion for photography and wildlife justified investing in a mirrorless camera as well as better lenses. Until today I have two cameras and seven lenses that I have been using in my travels through Uganda, UAE, Morocco, Svalbard, etc. Always learning to achieve photographs that transmit and connect with the observer. Although in recent years I have obtained prizes, recognitions and honorable mentions that have sweetened the path, the real prize is the opportunity to live unique experiences and to invest the vital energy in this art called photography.
 

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Félix Bonfils
France
1831 | † 1885
Félix Adrien Bonfils was a French photographer and writer who was active in the Middle East. He was one of the first commercial photographers to produce images of the Middle East on a large scale and amongst the first to employ a new method of colour photography, developed in 1880. He was born in Saint-Hippolyte-du-Fort and died in Alès. Félix worked as a bookbinder. In 1860, he joined General d'Hautpoul's expedition to the Levant, organized by France following the massacre of Christians in the civil conflict between Christians and Druze in Mount Lebanon and Damascus. On his return to France, it is thought that Félix was taught the heliogravure printing process by Abel Niépce de Saint-Victor and opened a printing office in Alès in 1864. Soon after returning from Lebanon, he became a photographer. In 1857, he married Marie-Lydie Cabanis. When his son, Adrien, fell ill, Félix remembered the green hills around Beirut and sent him there to recover, being accompanied by Félix's wife. The family moved to Beirut in 1867 where they opened a photographic studio called "Maison Bonfils". Source: Wikipedia Félix Bonfils and his wife Lydie (1837-1918) came from Saint Hippolyte du Fort in the Gard. As a binder, then a printer, and finally a photographer trained by Niépce de Saint Victor, Félix Bonfils stayed in Lebanon in 1860 during France’s military expedition. He soon decided to transfer his activity there, and so Bonfils’s photographic studio was founded in Beirut in 1867. Bonfils was not a pioneer photography, yet he was the first Frenchman to open a studio in Beirut. His wife, soon assisted by their son Adrien (1861-1929), produced portraits and genre scenes as they travelled throughout Lebanon, Palestine, Egypt, Turkey and Greece before bringing back their shots. The Bonfils studio was above all renowned for its landscapes, sites and views of architecture made first of all for artists, wealthy travellers, art historians and archaeologists, then for an increasing number of tourists. Bonfils immediately became extremely active: at the beginning of the 1870s his catalogue included some fifteen thousand shots, five hundred and ninety-one negatives from Egypt, Palestine, Syria and Greece, and nine thousand stereoscopic views. In 1876, Constantinople was added. A new catalogue resuming these images was published in 1876. These shots were sold one by one on demand, but also brought together in albums. In 1872, Bonfils started out by presenting Architecture antique. Egypte. Grèce. Asie Mineure. Album de photographies published by Ducher in Paris and including fifty albumen originals tipped onto cards with printed captions. For the Paris World Fair in 1878, he produced a series of five volumes entitled: Souvenirs d’Orient : album pittoresque des sites, villes et ruines les plus remarquables… published by their author in Alès in 1877-1878 and covering the Orient from Egypt and Nubia (volumes I and II) to Athens and Constantinople (volume V). Each album included around forty original, tipped-in photographs, as well as an “historical, archaeological and descriptive notice opposite each plate”. These collections were thus offered to the buyers in a finished form, a little like the engraved keepsakes from the 1830s. They won a medal at the World Fair and the department of Stamps at the then Bibliothèque Impériale acquired the entire collection. At this time, the firm, which was now divided between Alès and Beirut, was renamed Bonfils et Cie. This enterprise had a commercial rationale: it was important for it to offer as broad an offer as possible covering all the countries of the Middle East, with all the sites, monuments and landscapes sought-out by its clientele. For this reason, Félix Bonfils was soon unable to do everything on his own. Apart from his wife and son, he took on the help of assistants who have mostly remained anonymous, as well as local photographers also from the Gard, such as Tancrède Dumas (1830-1905) and Jean-Baptiste Charlier (1822-1907) who sold on their shots to him. In 1875 Félix Bonfils felt the need to distribute his prints from Europe, even if he also had a network of foreign correspondents as can be seen in their often bilingual captions. He left his wife and son to manage the Beirut studio and moved back to Alès in the Gard to organize mail ordering of all the images they produced on the banks of the Mediterranean. After his death in 1885, the firm which had opened up several subsidies around the Middle East, was run by his wife and son, until 1895 when the latter turned towards the hotel business. It was only at the death of Lydie Bonfils in 1918 that Abraham Guiragossian, who had been an associate since 1909, brought up the business, which finally closed in 1938. The entire catalogue of works provided by the Bonfils company is as large as it is interesting, especially because these images marry a documentary concern with an aesthetic approach to composition and framing. The large number of photographers explains the obvious fluctuations of quality. The great demand, trade requirements, and the interest of the clientele in the obviously picturesque explains why a part of the production can be judged to be rather mediocre, unjustly obscuring pieces of great quality. This huge production spread out over more than half a century explains why Bonfils’s photographs are today heavily present in French public collections (the BnF, Médiathèque de l’Architecture et du Patrimoine, Musée Niépce…).Source: Bibliothèque Nationale de France
Aline Smithson
United States
After a career as a New York Fashion Editor and working along side the greats of fashion photography, Aline Smithson discovered the family Rolleiflex and never looked back. An artist now represented by galleries in the U.S. and Europe and published throughout the world, Aline continues to create her award-winning photography with humor, compassion, and a 50-year-old camera. She has exhibited widely including solo shows at the Griffin Museum of Photography, the Center of Fine Art Photography, the Fort Collins Museum of Contemporary Art, the Lishui Festival in China, the Tagomago Gallery in Barcelona and Paris, and the Wallspace Gallery in Seattle and Santa Barbara. In addition, her work is held in a number of museum collections. Her photographs have been featured in publications including The New Yorker, PDN (cover), the PDN Photo Annual, Communication Arts Photo Annual, Eyemazing, Soura, Visura, Fraction, Artworks, Lenswork Extended, Shots, Pozytyw, Incandescant, Square and Silvershotz magazines. amongst others. In 2012, Aline received the Rising Star Award through the Griffin Museum of Photography for her contributions to the photographic community. She also was presented with the 2014 Excellence in Teaching Award from CENTER. In 2014, Aline's photographs were selected for the Critical Mass Top 50, the PDN Photo Annual, and Review Santa Fe. In 2015, she was awarded First Place Portraiture in the 7th Edition of the Julia Margaret Cameron Awards for Women Photographers and again received the Julia Margaret Cameron Award in the 8th Edition. Aline founded and writes the blogzine, Lenscratch, that celebrates a different contemporary photographer each day and offers opportunity for exhibition. She has been the Gallery Editor for Light Leaks Magazine, a contributing writer for Diffusion, Don't Take Pictures, Lucida, and F Stop Magazines, has written book reviews for photoeye, and has provided the forwards for artist's books by Tom Chambers, Flash Forward 12, Robert Rutoed, Nancy Baron, Meg Griffiths amongst others. Aline has curated and jurored exhibitions for a number of galleries, organizations, and on-line magazines. She was an overall juror in 2012 for Review Santa Fe, a juror for Critical Mass from 2009-2016, a juror and curator for Flash Forward, and is a reviewer at many photo festivals across the United States. Aline is also a founding member of the Six Shooters collective. In the Fall of 2015, the Magenta Foundation released a retrospective monograph of Aline's photographs. She lives and works in Los Angeles and considers her children her greatest achievement. Discover Aline Smithson's Interview Find out more about Self & Others
Randall Romano
Canada
1957
Randall has been making photographs for over 45 years, initially in the nature/landscape genre, eventually evolving to run a commercial photography business focused on interior and exterior architectural clients. Since 2015, after closing the business, he focused solely on photographing subjects and projects that are of personal interest. These consist largely of street and documentary subjects. He has also been active in lecturing about photography, to a wide variety of Ontario camera groups. These presentations sought to stir up and challenge traditional notions on photography, bringing to light the work and importance of master photographers. A recent book publication: Reaching a Higher Level in Photography (2023) has come out of these presentations. I believe the camera’s strength is its ability to capture fleeting moments, to stop time and create a sense of curiosity in the viewer. If a still image is to be successful it has to illustrate something missed and something fleeting. Chasing this fleeting moment of uniqueness allows me to better saviour life. A father of four children, Randall and his wife Catherine live on a rural property near Peterborough, Ontario, Canada. Statement Photography represents much more to me than only exploring the world. It is the ability to capture a moment of time, to rip a unique page from the book of life. Photographs at their best tell a story or reveal a penetrating statement, not only through an individual picture but also through groups of photographs. The camera provides a means to document and freeze a passing juncture, perhaps capturing an important instant, a blink of vision that without the camera would be gone forever. The simple act of making a photograph encourages the photographer to stop and carefully look at the complexity of life. This uncomplicated act opens up details of the world lost to others. At its true essence, the camera is a persistent companion documenting a unique view of the world and travelling along through our life journeys. The techniques I use to capture these moments of life and narratives are not based on technological prowess, because to me the camera is only a tool to be harnessed. Photographs reflect and document the real world and are a contemplation of things as they are. Technology is only a means to capture this reality. The ultimate success of the process is the strength and validity of the final product, and the need it creates in the viewer to linger and explore. Winner AAP Magazine #30 Shadows
Alamsyah Rauf
Indonesia
1982
Alamsyah Rauf was born in a small district in south sulawesi precisely in Kab.Sinjai, maybe that's why this photographer is less known among photographers in Indonesia but his work has won dozens of world-class photo contest. After graduating high school, this man married in 2001 on the will of his parents, this makes him unable to continue college. After married Alamsyah worked in his parents' photo studio. Alamsyah Learning DSLR cameras just look at the camera manual and learn self-taught to techniques of composition, tone, and lighting via internet. In 2004 Alamsyah Rauf set up his own Photo Studio and hire 3 photographers. As a freelance photographer, Alamsyah takes part in various photography communities, photo exhibitions and participate in various national and international photo contest. Awards: 2nd Place (Best of Show) 2012 Photoshare Photo Contest (Baltimore USA) 2nd Price Sony WPO 2013 category National Award Best in Action at Australian Art Sales (Australia) FIAP GOLD MEDAL in Photo Salon Soul 2013 (Macedonia) FIAP Silver Medal 4th International Photo Exhibition Photo Focus 2013 (Russia) PAM Gold Medal at 2nd International exhibition of art photography SOUL 2014 (Macedonia) Second Winner General category HIPA 2014 Dubai 1st Place Portrait at 7th Annual Masters Cup 2014 (Beverly Hills USA) 1st Place (Portrait category) the 7th Annual International Color Awards 2014 FIAP Gold Medal at 38th EX HIBITION OF PHOTOGRAPHY "CHILD 2014" Serbia SALON praise 38th EXHIBITION OF PHOTOGRAPHY "CHILD 2014" Serbia FIAP Gold medal, FIAP Silver medal, PSA Gold Medal, PSA Ribbon in 2nd Cairo Int. Photographic Art Exhibition - CIPAE 2014 Awards (Cairo, Egypt) Ozone zone Gold Medal (Happiness), FIAP Ribbon (monochrome) Ozone zone International Photo Contest 2014 (Canada) RPS Gold Medal, 2nd Photovivo Singapore International Photography Award (PIPA) 2014 FIAP Silver Medal (Open Color) 1St GIFSAD INTERNATIONAL PHOTO CONTEST 2014 (TURKEY) Champaign 1 colorful alfaink photo contest nusantara 2015. "Grand Prize" Winner at The Shutterview International Photography Competition 2015 (Australia ) 2nd Place (people category) Fine Art Photography Award 2015 Grand Winner Xposure International photo contest 2016 (Sharjah UAE) First Place Proify Annual International Photography Awards 2016 Merit Medal Recipient "THE CHALLENGE" HIPA 2017 UAE 5th Place All About Photo Awards 2018
Joel Sternfeld
United States
1944
Joel Sternfeld (born June 30, 1944) is an American fine-art color photographer. He is noted for his large-format documentary pictures of the United States and helping establish color photography as a respected artistic medium. Sternfeld's work is held in the collection of the Museum of Modern Art in New York. Sternfeld earned a BA from Dartmouth College and teaches photography at Sarah Lawrence College in New York. He began taking color photographs in 1970 after learning the color theory of Johannes Itten and Josef Albers. Color is an important element of his photographs. American Prospects (1987) is Sternfeld's most known book and explores the irony of human-altered landscapes in the United States. To make the book, Sternfeld photographed ordinary things, including unsuccessful towns and barren-looking landscapes. On This Site: Landscape in Memoriam (1997), is about violence in America. Sternfeld photographed sites of recent tragedies. Next to each photograph is text about the events that happened at that location. From 1991 to 1994 Sternfeld worked with Melinda Hunt to document New York City's public cemetery on Hart Island, resulting in the book Hart Island (1998). Sternfeld has also published books about social class and stereotypes in America: Stranger Passing (2001), an abandoned elevated railway in New York: Walking the High Line (2002), and Sweet Earth: Experimental Utopias in America (2006). When It Changed (2007) contains close-up portraits of delegates debating global warming at the 2005 United Nations Climate Change Conference in Montreal.Source: Wikipedia Joel Sternfeld is an artist-photographer whose work is concerned with utopic and dystopic possibilities of the American experience. Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. It is a melancholic, spectacular, funny and profound portrait of America. The curator Kevin Moore has claimed that the work embodies the “synthetic culmination of so many photographic styles of the 1970s, incorporating the humor and social perspicacity of street photography with the detached restraint of New Topographics photographs and the pronounced formalism of works by so many late-decade colorists” (Kevin Moore, Starburst: Color Photography in America 1970-1980). On This Site (1996) examines violence in America while simultaneously raising significant epistemological questions about photographs as objects of knowledge. Sweet Earth: Experimental Utopias in America (2006) “can be seen as a generous respite from the traumatic history in On This Site... It is a survey of American human socialization, alternative ways of living, of hopeful being” (Elin O’Hara Slavik, 2018). All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. All of his books and bodies of work converse with each other and may be read as a collective whole. His work represents a melding of time and place that serves to elucidate, honor, and warn. The images hold a certain urgency, as their histories survive solely through their photographic representation— they are an archive for the future. Sternfeld is the recipient of two Guggenheim Fellowships and spent a year in Italy on a Rome Prize. He teaches at Sarah Lawrence College, where he holds the Noble Foundation Chair in Art and Cultural History.Source: www.joelsternfeld.net Joel Sternfeld is well known for large-format color photographs that extend the tradition of chronicling roadside America initiated by Walker Evans in the 1930s. Sternfeld's projects have consistently explored the possibility of a collective American identity by documenting ordinary people and places throughout the country. Each project he embarks on is bound by a concept that imbues it with subtle irony, often through insightful visual juxtapositions or by pairing images with informational text. Another characteristic aspect of Sternfeld's work is that color is never arbitrary; it functions in highly sophisticated ways to connect elements and resonate emotion. Sternfeld earned a BA in Art from Dartmouth College in 1965. He began making color photographs in the 1970s after learning the color theory of Johannes Itten and Josef Albers. He initially made street photographs with small- and medium-format cameras, but by the time he produced what would become a seminal project, American Prospects (1987), he was working with an eight-by-ten-inch camera. This enabled him to achieve the crisp details his work is known for. Sternfeld's style-his careful attention to visual qualities combined with an insightful and often ironic view of his subjects was first articulated in American Prospects. One of his best-known images, for example, depicts a fireman shopping for a pumpkin as a house burns in the background. The pumpkins' vibrant oranges match the autumnal colors of the countryside, and ironically, the fire's flames.Source: The J. Paul Getty Museum
Shannon Taggart
United States
Shannon Taggart is an artist and author based in St. Paul, MN. In a past life, she contributed to printed publications including TIME, Newsweek, New York Times Magazine, Discover, New York, Wall Street Journal and Reader’s Digest. Her work has been exhibited internationally and recognized by PDN, Nikon, Magnum Photos + Inge Morath Foundation, American Photography, International Photography Awards and the Alexia Foundation for World Peace. Her first monograph, SÉANCE (Fulgur Press), was published in 2019. Currently, she is working on an illustrated book about The Society for Research on Rapport and Telekinesis (SORRAT), one of the most exotic cases within the history of psychical research.Source: www.shannontaggart.com As a teenager, photographer Shannon Taggart was introduced to the world of spiritualism after a medium told her cousin details about her grandfather’s death that proved to be true. The reading had taken place at the Lily Dale Assembly in New York, the world’s largest spiritualist community. Curious but with reservations, Taggart headed to Lily Dale to delve into the history of spiritualism thinking she would learn what all the tricks of the trade were, but she didn’t end up getting the explanations she thought she would. Instead, she discovered a mysterious world she began to document with her camera. She certainly wasn’t the first photographer to do this, as spiritualism and spiritualist photography have long been connected. Both surfaced in the mid-1800s in Rochester, N.Y.,—home of Kodak. At the time, spiritualists naturally gravitated toward this new technology in hopes of recording what they had been experiencing. One of the most well-known spiritualist portraits of this era purports to show the ghost of President Abraham Lincoln with his hand placed nonchalantly on the shoulder of his wife, Mary Todd Lincoln. When Taggart first began taking photos at Lily Dale, she remained an observer. After the first year, she became involved as a student and a participant while continuing her photography. Although at first she had a hard time understanding spiritualism, Taggart was curious and said she has since experienced numerous mysterious experiences that have helped her tap into her own creative process. One of these inexplicable events occurred during one of her first visits to the Lily Dale Museum. Taggart said that a large purple orb appeared on the shoulder of a woman she was photographing, but she wasn’t shooting into the sun. “When I brought a copy back for her, she calmly said, ‘Oh, that’s Bob,’ her deceased husband. She was thrilled with the picture,” Taggart said. Taggart was also interested in physical mediumship, which claims to involve perceptible manifestations—such as loud raps or voices—and is practiced outside the New York community. While at Lily Dale, she met a medium who suggested she visit England, where, along with other parts of the United Kingdom and Europe, a “new age of physical mediumship” was happening. Taggart said one of the strangest things she witnessed happened during the mediumship of Gordon Garforth, a deep trance and physical medium in Stansted, England. Garforth told Taggart that his hands enlarge during his séances. About 20 minutes into one, Garforth’s wife, who operates as his “spirit control,” said that the spirits were going to work with his hands. While seated under a dim red light, Garforth held out his hand to Taggart. “Unbelievably to me, it seemed to effortlessly stretch, and the entire hand became large, instantly. I gasped and yelled ‘Oh my God!’ ” Taggart remembered. She said that the 30 other people in the room also reacted with amazement; she worried the experience was merely “hypnotic” and that her camera, set to one-second exposures, wouldn’t capture the growth. “The photographs made seem to confirm a distorted large hand … I was able to sit with Gordon on two additional occasions and I saw the same thing,” Taggart said. While some of her experiences struck Taggart as downright supernatural, some of her images were more straightforward, including her photo of bent spoons. It may not come as a surprise to learn the spiritualists bend them with their hands as a sort of symbolic connection to what they believe to be possible. “It is taught as an exercise of the power of the mind, a physical example of our ability to do things that seem impossible,” said Taggart of her most asked-about image.Source: Slate
Jacqui Turner
United States
1955
Art enables us to find ourselves and lose ourselves at the same time. - Thomas Merton I am a Fine Art Photographer residing in Monterey Bay. My work consists of abstracts, surrealism, still lifes, landscapes, architecture, and portraits. I strive to create works of art that exhibit beauty, timelessness, and meaning. My photography has been nourished by my career as a dancer/choreographer. Engaging in the elements of shape, form, design, light, and emotion, empowers me to express reflections of our experience of reality. As I pick up my camera, a creative evolution begins. Approaching the natural world with awe and wonderment, I am transported. My photographs express what I am feeling within, what I am drawn to, what touches me, then I frame it, and the final interpretation is left up to the viewer. I am a longtime member of the Center for Photographic Art Carmel, CA and ImageMakers of Monterey, in which I was Director for 6 years. I also teach photography and art to youth, and have been a photography assistant for several local photography workshops over the years. My work has been displayed at the New York Center for Photographic Art, A. Smith Gallery, SE Center for Photography, RI Center for Photographic Art, Center for Photographic Art, Praxis Gallery, All About Photo, Pacific Grove Art Center, Monterey Maritime Museum, ArtVale Gallery, Alvarado Gallery, Marjorie Evans Gallery, Carmel Visual Arts, Homescapes, Carl Cherry Center, Spider Awards Online Exhibits, Triton Museum Online Exhibit, Merit Award Black And White Magazine, and other venues. Statement I spent most of my life as a dancer and a choreographer, and now I find that I respond to the visual world through that lens. In shapes and forms, I see grace, mystery, fluidity, and emotion. Through this series, Veiled in Light, the leaves created their own dance, a dance expressed through the use of light, form, texture, and dimension. Within these images, light and dark reveal the sensuality of objects from the natural world. Working with a minimalist intent, I created this series to encompass what I love about nature. There is a transformation in the free flowing forms, evoking nature's seductiveness while instilling a sense of peace and serenity, a combination that I perceive as a dance, a performance, a celebration of the beauty of the natural world.
Candida Höfer
Germany
1944
In the realm of contemporary photography, Candida Höfer stands as a luminary, renowned for her captivating exploration of architectural spaces. Born on June 28, 1944, in Eberswalde, Germany, Höfer's journey into the realm of imagery commenced at the renowned Kunstakademie Düsseldorf, where she studied under the tutelage of influential photographers such as Bernd and Hilla Becher. It was within this environment that Höfer's distinctive style began to take shape, influenced by the meticulous attention to detail and structural composition instilled by her mentors. Throughout her career, Höfer's work has been characterized by an unwavering dedication to capturing the essence of spaces. Her photographs transcend mere documentation, evoking a profound sense of contemplation and introspection within the viewer. Through her lens, mundane environments are transformed into captivating scenes, inviting exploration of the intricate interplay between form, function, and human presence. One of Höfer's most notable series, "Interiors," delves into the architectural heritage of culturally significant spaces such as libraries, museums, and theaters. Through meticulous composition and masterful use of light, she imbues these environments with a sense of solemn grandeur, inviting viewers to immerse themselves in the rich tapestry of history and culture encapsulated within each frame. Höfer's oeuvre extends beyond the boundaries of her native Germany, encompassing a diverse array of global locales. From the opulent halls of Versailles to the austere corridors of contemporary office buildings, her photographs offer a poignant commentary on the universal themes of human existence, identity, and collective memory. In addition to her solo exhibitions, Höfer's work has been featured in prestigious institutions and galleries worldwide, solidifying her status as one of the most influential photographers of her generation. Awards and accolades, including the prestigious Erasmus Prize in 2010, further underscore the profound impact of her contributions to the world of photography. Beyond her artistic achievements, Höfer's legacy also resides in her role as a mentor and educator, inspiring countless aspiring photographers to push the boundaries of their creativity and develop a deeper appreciation for the nuances of visual storytelling. As Candida Höfer continues to navigate the ever-evolving landscape of contemporary photography, her unwavering commitment to capturing the essence of spaces ensures that her work will endure as a timeless testament to the beauty and complexity of the built environment.
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