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Myrtie Cope
Myrtie Cope
Myrtie Cope

Myrtie Cope

Country: United States
Birth: 1950

Myrtie Cope is an Atlanta photographer with a focus on architecture and nature. Ms. Cope completed the Summer Intensive and Advanced Intensive certificate programs at Rocky Mountain School of Photography. She is pleased to have both architectural and nature photos in several private and public collections around Atlanta including the Hartsfield-Jackson Atlanta Airport, Emory University Hospital, Broadstone Yards, and the Huntley on Park Avenue. Ms. Cope was honored to receive the Denis Diderot Scholarship to Chateau Orquevaux Artist Residency in Orquevaux, France, in October 2021 and was accepted to the Atelier AIR artist residency in Dangeau, France for Fall 2023.

Ms. Cope's work has been included in numerous group exhibitions both nationally and internationally. Her ongoing project photographing historic theaters in the Southeast - ''Second Act'' -was exhibited at Spalding Nix Fine Art in September-November 2021. Ms. Cope was the Nonprofessional winner of the Nature Category in the 19th Julia Margaret Cameron Award for Women Photographers, and she recently won Honorable Mentions in both the Nonprofessional - Nature Category and the Architecture Category in the 20th Julia Margaret Cameron Award for Women Photographers which will be exhibited in Barcelona, Spain.

Ms. Cope recently began combining her photography with her sewing skills by embroidering her photographs and creating quilts with cyanotypes on fabric. She is still exploring these techniques and discovering new ways of looking at photography.

Gallery

Spalding Nix Fine Art

Websites

www.myrtiecopephoto.com

@mcopephoto

 

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More Great Photographers To Discover

Bieke Depoorter
Bieke Depoorter
Belgium
1986
Bieke Depoorter (born 1986) is a Belgian photographer. She is a member of Magnum Photos and has published four books: Ou Menya, I am About to Call it a Day, As it May Be, and Sète#15. Depoorter received a master's degree in photography at the Royal Academy of Fine Arts in Ghent in 2009. The relationships Depoorter establishes with the subjects of her photographs lie at the foundation of her artistic practice. Accidental encounters are the starting point, and how these interactions naturally develop dictate the nature of Depoorter’s work. Many of her self-initiated projects are about intimate situations in families and in peoples' homes. For her graduation project and her first book, Ou Menya (2011), she made three trips to Russia, photographing people in their homes that she met whilst travelling around. The series won the 2009 Magnum Expression Award. Bieke Depoorter made the work for her second book, I am About to Call it a Day (2014) in a similar way whilst hitchhiking and driving around the U.S. However several recent projects have been the result of Depoorter questioning the medium. In As it May Be, she gradually became more aware of her status as an outsider, both culturally and as a photographer. So, in 2017, she revisited Egypt with the first draft of the book, inviting people to write comments directly onto the photographs. In Sète#15, and also Dvalemodus, a short film she co-directed together with Mattias De Craene, she began to see her subjects as actors. Although she portrayed them in their true environments, she tried to project her own story onto the scenes, fictionalizing the realities of her subjects in a way that blurred the lines between their world and hers. In the ongoing project Agata, a project about a young woman Depoorter met at a striptease bar in Paris in October 2017, she explores her interest in collaborative portraiture. It’s an example of Depoorter’s interest in finding people that can work with her in telling a story. These stories are always partially hers, and partially theirs. In her latest project Michael, she investigates the disappearance and life of a man she met on the streets of Portland in 2015. After giving her three suitcases full of scrapbooks, notes and books, everyone lost sight of him. Bieke Depoorter became a nominee member of Magnum Photos in 2012, an associate member in 2014, and a full member in 2016. She is the fourth Belgian member of the agency, after Carl De Keyzer, Martine Franck, Harry Gruyaert... Depoorter has won the Magnum Expression Award, The Larry Sultan Award and the Prix Levallois.Source: Wikipedia For the past six years, Bieke Depoorter has spent countless nights photographing perfect strangers—people that she encounters on the street who are willing to open their homes to Depoorter and her camera. The project began when she was travelling on the Trans-Siberian Railway, in 2008. She didn’t speak the language, so photography became her mode of communication. (She carried a letter that a friend wrote in Russian that explained her intent.) After publishing the work as a book, called Ou Menya, Depoorter headed to the United States, in 2010, where she hitchhiked and drove around the country, creating the collection found in her latest book, I Am About to Call It a Day. The project, both intimate and removed, hinges upon Depoorter’s ability to build trust within a tight timeframe. In many of the photographs, she seems to go unnoticed, capturing the unguarded moments found only in the privacy of one’s own home. “I like the atmosphere of the night,” Depoorter told me. “When people go to sleep, I think it’s most real. No one is looking at them, and they become their true selves.” She told me that her process is intrinsic to the success of her images. “I try to not hope for a picture,” she said. “I am there as a person first, and a photographer second.”Source: The New Yorker
Peter Sekaer
Peter Sekaer
Denmark
1901 | † 1950
Peter Sekaer was a Danish photographer and artist. Born in Copenhagen, Denmark, Sekaer came to New York in 1918 to seek freedom and opportunity. By 1922 he had a reputation as a master sign painter and had his own successful business producing posters. Several years later he began to take classes at The Art Student's League. Sekaer soon became acquainted with Ben Shahn, who may have been the one to introduce him to photography and who later introduced him to Walker Evans. After 1933, he devoted himself exclusively to photography, studying with Berenice Abbott at the New School for Social Research, and assisting Walker Evans on the project of photographing the Museum of Modern Art's African sculpture collection. In 1936 Sekaer accompanied Evans, who was hired by the Resettlement Administration (RA, later to become the FSA) on a photographic journey throughout the South, often shooting the same subject. Like many of his contemporaries, Sekaer sought to capture the real world with photographs that combined artistic expression with a personal commitment to social change. From 1936 to 1942 Sekaer became a professional photographer and was hired by the federal government agency, the Rural Electrification Administration (REA), and later became the head of the REA's graphic department. In 1938 the REA sent Sekaer to the United States Housing Authority (USHA). The photographs Sekaer made for the USHA, an agency primarily concerned with the removal of city slums and sponsorship of public urban housing, reveal his continued interest in the richness of human experience and environment. Transferred again in 1940 Sekaer photographed Navajo and Pueblo Indians for the Office of Indian Affairs. That same year, he worked as photographic researcher and still photographer for the REA film Power and the Land. After 1942 he continued working for other federal agencies photographing briefly for the Office of War Information (OWI), and the American Red Cross-agencies whose agendas conflicted with his own, and limited his freedom in artistic expression. Continually frustrated by this, Sekaer left Washington, DC for New York where he freelanced for several years, doing fashion and editorial assignments until he died of a heart attack at the age of 49 in 1950. Although Sekaer's photographs were widely published and exhibited during his lifetime, his work largely became forgotten after his death until an exhibition held in 1980 at the Witkin Gallery in New York and later in 1990 at the Royal Library in Copenhagen for which a catalog was published. Many of Sekaer's photographic prints can be seen in the public collection of the Royal Library in Copenhagen. The High Museum of Art in Atlanta acquired a trove of more than seventy rare vintage prints by Sekaer, the largest holding of its kind in any American art museum. Many of these works have never been on public view. From June 2010 until January 2011, the museum staged an exhibition of Sekaer's work titled Signs of Life.Source: Wikipedia
Amanuel Sileshi
Amanuel Sileshi
Ethiopia
Amanuel Sileshi is a photojournalist based in Ethiopia currently working for AFP. He loves documenting the change and the effect that humanity brings with conflicts, wars, political reforms. photojournalism is a tool in which we can tell realities in one singular photo.
Julian Wasser
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
Francesco Fantini
Francesco Fantini
Italy
1983
Francesco Fantini is an Italian photographer from Forlimpopoli, now based in London. His work spans intimate portraiture, vibrant street photography, and evocative behind-the-scenes film stills. He holds a Master’s degree in Photography from the Fine Arts Academy of Bologna and a Bachelor’s degree in Film Studies from the University of Bologna. Blending a cinematic eye with a documentary approach, his portraits capture raw humanity, while his street photography offers spontaneous glimpses into everyday life, often tinged with subtle humor or tension. His experience on film sets continues to influence his visual storytelling, where he quietly observes and preserves moments of unspoken narrative. Fantini’s work has appeared in British Journal of Photography's Portrait of Britain and Portrait of Humanity publications, as well as in Marie Claire Korea. His photography has been exhibited internationally, with his next major show taking place at the National Portrait Gallery in London as part of the upcoming Taylor Wessing Photo Prize exhibition in November 2025. He has been awarded in several international photography contests, most notably the Sony World Photography Awards and the Eyeshot Magazine Open Call. Awarded Photographer of the Week - Week 38, 2025 AAP Magazine AAP Magazine 52 Street
Souichi Furusho
Souichi Furusho
Japan
1977
I live in Kumamoto-Japan, and work as a graphic designer in the field of advertising media. I discovered iPhoneography on Facebook and Flickr a couple of years ago, about the same time I bought my iPhone. That was followed by a variety of delightful encounters with people online. I have since participated in exhibitions in "Spain, The Netherlands, and California" along with iPhonegraphers from various countries. Although I had no prior experience whatsoever as a photographer, I was familiar with working with photographs as part of my career in graphics. My style is what I call "freedom & simple", and I approach it from many different angles. This style is the result of pursuing my own vision, which is represented by my works. iPhoneography has provided interesting opportunities for my new form of representation. The umbrella has become a symbol essential to my work. For me, the umbrella embodies the thoughts and dreams of people. This is a series of images using the umbrella as “a vehicle which carries a dream.
Antonio Masiello
Antonio Masiello
Italy
1987
Antonio Masiello was born in Rome on 1987. Journalist since 2013, he documented the Kosovo and Lebanon for the foreign mission of Italian army between 2013 and 2014. On 2015 he began a collaboration with the photo agency Nurphoto, for which he follows the main international news. His works are currently published in the main foreign magazines, among others: TIME Magazine, The Wall Street Journal, Newsweek USA and Europe, The week USA, Vanity Fair USA, Fortune, Mashable, Frankfurter Allgemeine, The Guardian, The Times, The independent, Die Zeit Magazine, The Sun, The Telegraph, Internazionale, Panorama. With his work on the refugees in Greece, he won the Award of Excellence at the Picture of the year international (POYi) and is a Finalist in the LensCulture Exposure. He is based and works in Rome.
Stuart Franklin
Stuart Franklin
United Kingdom
1956
Stuart Franklin is a British photographer. He is a member of Magnum Photos and was its President from 2006 to 2009. Franklin was born on June 16 1956 at Guys Hospital in London. He studied drawing under Leonard McComb in Oxford and Whitechapel, London, and from 1976 to 1979 photography at West Surrey College of Art and Design, where he graduated with a BA. Moreover, between 1995 and 1997, he studied geography at the University of Oxford, first receiving a BA and the Gibbs Prize for geography. He received a doctorate in Geography from the University of Oxford in 2000. Stuart Franklin was awarded a professorship in documentary photography in 2016. He teaches photography and visual storytelling at Volda University College, Norway. From 1980 until 1985, Franklin worked with Sygma in Paris. During that time he photographed the civil war in Lebanon, unemployment in Britain, famine in Sudan and the Heysel Stadium disaster. Joining Magnum Photos in 1985, he became a full member in 1989. In the same year, Franklin photographed the uprising in Tiananmen Square and shot one of the Tank Man photographs, first published in TIME Magazine, as well as widely documenting the uprising in Beijing earning him a World Press Photo Award. In 1989 Franklin traveled with Greenpeace to Antarctica. He worked on about twenty stories for National Geographic between 1991 and 2009, subjects including Inca conqueror Francisco Pizarro and the hydro-struggle in Quebec and places such as Buenos Aires and Malaysia. In addition, he worked on book and cultural projects. In October 2008, his book Footprint: Our Landscape in Flux was published by Thames & Hudson. An ominous photographic document of Europe’s changing landscape, it highlights Franklin's ecological concern. During 2009 Franklin curated an exhibition on Gaza - Point of No Return for the Noorderlicht Photo Festival. Since 2009 he has focused on a long-term landscape project in Norway published as Narcissus in 2013. More recently he has worked on documentary projects on doctors working in Syria, and immigration in Calais. Franklin's most recent book, The Documentary Impulse was published by Phaidon in April 2016. It investigates the nature of truth in reporting and the drive towards self-representation beginning 50,000 years ago with cave art through to the various iterations and impulses that have guided documentary photography along its differing tracks for nearly 200 years. Franklin was the general chair of the World Press Photo jury 2017.Source: Wikipedia How Stuart Franklin took his Tank Man photograph In our book, The Documentary Impulse, the acclaimed photographer Stuart Franklin explores the human drive behind documentary photography, whether it's the passion to record the moments we experience, or the need to bear witness to forces that we want to change. The second of those two drives spurred Franklin in the summer of 1989, when he shot Tank Man, the unnamed, and to-this-day still unknown pro-democracy protestor who stood in the way of the Chinese army’s tanks, as they tried to clear Tiananmen Square. Franklin's film was smuggled out of Beijing to Magnum's Paris office by a French student in a box of tea, and, following its development and distribution, his picture moved world leaders across the globe, including the then US president George H W Bush. Here’s how he got that photograph. “I remember lying prone on a balcony on the sixth floor of the Beijing Hotel with the Newsweek photographer Charlie Cole, photographing the event around noon on 4 June,” Franklin recalls. “Earlier that day Tiananmen Square had been cleared by the Chinese Army. However, a group of civilians lined up to face a double row of soldiers who themselves stood in firing positions in front of a column of tanks. These civilians were shot at repeatedly, leaving at least twenty casualties. As the bodies were carried away the standoff died down and a column of tanks broke through, moving slowly eastwards. Waiting for them a few hundred metres down the road was a man in a white shirt and dark trousers, carrying two shopping bags. Alone he blocked the path of the tanks, watched by groups of nervous bystanders and perhaps fifty journalists, camera crews and photographers on balconies on almost every floor of the hotel." Franklin captured the most widely distributed image of the event. Yet, after the taking the shot, he wasn’t convinced of the image’s power. “On the balcony after the event, which lasted less than three minutes, a conversation ensued with a writer for Vanity Fair, T.D. Allman. Allman insisted on the significance of the spectacle,” Franklin writes. “I recalled images from 1968 in Prague and Bratislava where protesters stood up bare-chested against Russian tanks, and similar accounts from China during the Japanese invasion. Tank man felt very distant by comparison." Thankfully, once his film was out of the country, the world looked favourably on the photograph. “My rolls of film were smuggled out of China the following day packed in a small box of tea and carried to Paris by a French student,” he recalls. “The transparencies were later processed, duplicated and distributed from Magnum’s office in Paris." “Images and reports of the tank man incident emerged slowly. The first the world saw of the tank man was on television on 5 June. Television drew the world’s attention to the incident. George Bush Senior referenced it after watching CNN. ‘I was very moved today’, Bush said at a news conference on the morning of 5 June, ‘by the bravery of that one young individual that stood alone in front of the tanks, rolling down the avenue there.’”Source: Phaidon
Christopher Felver
Christopher Felver
United States
1946
Christopher Felver (born October 1946) is a photographer and filmmaker who has published several books of photos of public figures, especially those in the arts, most notably those associated with beat literature. He has made numerous films (as director, cinematographer, or producer), including a documentary on Lawrence Ferlinghetti, Ferlinghetti: A Rebirth of Wonder, released in 2013. Christopher Felver has photographed numerous writers, intellectuals and filmmakers such as Charles Bukowski, William Burroughs, Noam Chomsky, Gregory Corso, Clint Eastwood, Lawrence Ferlinghetti, Allen Ginsberg, Dennis Hopper, Oliver Stone, Elizabeth Taylor, Hunter S. Thompson and Kurt Vonnegut. His photography has been exhibited internationally, with solo photographic exhibitions at the Arco d'Alibert, Rome (1987); the Art Institute for the Permian Basin, Odessa, Texas (1987); Torino Fotografia Biennale Internazionale, Turin, Italy (1989); Centre Georges Pompidou, Paris (1994); Roosevelt Study Center, Middelburg, Netherlands (1998); Fahey/Klein Gallery, Los Angeles (2002); the Maine Photographic Workshop (2002); Robert Berman Gallery, Los Angeles (2007); the San Francisco Public Library (2018)[3] and other galleries and museums. His works have also appeared in major group exhibitions, including The Beats: Legacy & Celebration, New York University (1994) and Beatific Soul: Jack Kerouac On The Road, New York Public Library (2007). A collection of his photographs is held by the University of Delaware. Source: Wikipedia Christopher Felver is a cultural documentarian. His distinctive visual signature is a lasting contribution to the legacy of our national cultural community. Felver’s films & photographs reads like a roster of American mid-century avant-garde. Aside from portraits, Christopher Felver has also produced another body of work entitled: Ordered World. About this body of work, curator, James Crump writes, “Mr. Felver celebrates the elemental essences manmade and natural objects that tend to elude observation. Working in a manner not unlike Karl Blossfeldt, Albert Renger-Patzsch and the New Objectivity artists of 1920s and ’30s Germany, Felver asserts his own contemporary vision here. His pictures are informed by Minimalism and the keen, refined observation of a poet unwilling to discard the mundane or topical content that surrounds us but, nevertheless, is overlooked in the quickened pace of our technologically frenzied age. The series, while concerned with monumentalizing and focusing our attention on the ordered and structured surfaces of objects, resists any historical referencing to the hardened gaze of the twentieth century. It asks the viewer to ruminate on the overlooked beauty which surrounds us, the wonderment that unfolds, with careful and refined examination.” In 1994 Felver attended a Connecticut gathering of Native American dancers in ceremonial dress. These 20 photographs capture a traditional gathering of Northeastern tribes in Felver’s direct portrait style. As visiting artist in 1988 & 1989 at the American Academy in Rome, Christopher Felver made over 250 portraits of European artists across the continent. Felver’s 1350 portraits represent American and European cultural icons. In 1984 Christopher Felver traveled as a journalist to Japan, Hong Kong and Beijing documenting the customs and social conditions. Writers Lawrence Ferlingetti, Robert Creeley, David Amram, Amiri Baraka, George Plimpton, David Shapiro, Luc Sante, Lee Ranaldo, William Parker, Douglas Brinkley, Gary Snyder, Lance Henson, Linda Hogan and Simon Ortiz have written introductions for Christopher Felver’s books. Source: chrisfelver.com "With his gravelly voice, Felver would have made a great gumshoe in a mystery serial during the Golden Age of American radio, which ended around 75 years ago. Luckily for us, he did not miss his calling, which is to take portraits of the people who make up the cultural backbone of America — its artists, writers, composers, and musicians — people in the public eye, even if that audience is tiny." "Felver didn’t just take a photograph, as each portrait is accompanied by a short poem or line of poetry written by the subject in his or her own hand. He finds another way to be a witness." "I cannot think of another person who has given us such intimate portraits of Sherman Alexie, Amiri Baraka, Louise Erdrich, Lawrence Ferlinghetti, Allen Ginsberg, Joy Harjo, Eartha Kitt, Jasper Johns, Toni Morrison, Patti Smith, and Anne Waldman. He has made photographic portraits of Native American writers, and of composers and musicians from John Cage and Doc Watson to Mavis Staples and Ozzy Osbourne. He spent a week in Nicaragua in early part of 1984 with Lawrence Ferlinghetti, five years after the 1979 July revolution there. The photographs in Felver’s book, The Late Great Allen Ginsberg (2002), were taken between 1980 and 1997, in which various other people make appearances: Philip Glass, Ray Manzarek, Ed Sanders, Norman Mailer, Robert Frank, and Gary Snyder." "Each of these projects reveals another side of Felver’s capacity to engage with others and the world, as well as to stand aside and let his subjects speak. I cannot think of anyone who has been as devoted as Felver has been to his subjects. Perhaps it is time we find a way to return that devotion." -- John Yau Source: Hyperallergic
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