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Federico Borobio
Federico Borobio
Federico Borobio

Federico Borobio

Country: Argentina
Birth: 1961

I was born and currently reside in the city of Buenos Aires, Argentina. Since I was young I understood that I wanted to have many lives, that one life would not be enough to satisfy my desire to experience different realities. I was a lawyer, journalist, audiovisual producer, co-director of an alternative cultural space and a short film festival, cultural manager, teacher and, for more than eight years now, my obsession is to go out with my camera to let myself be surprised by people, places, situations, serendipities and that kind of beautifully unpredictable things.

I love walking the streets, they are my jungle. I enjoy observing their dynamics and details, talking to people, learning about their lives, strengthening bonds, and that permeates my work. I see everything transforming in front of me in combinations of people, lights, colors, shadows. Besides, I always felt like a fish in water among the crowds, whether at a sporting event, a popular festival or a protest demonstration. That energy lifts me up.

If I have to define genres, I could say that I do street, documentary and social photography, although I don't care about these kinds of labels. I wander, I interact, I search and search for myself, that's all. At this stage, in this life, what interests me most is to continue transforming myself through these experiences and evolving along with my photography.

Website

@federico.borobio

 

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Lisette Model
Lisette Model
Austria/United States
1901 | † 1983
Lisette Model was an Austrian-born American photographer. She began her creative life as a student of music. Through avant-garde composer Arnold Schönberg, with whom she studied piano, she became exposed to the Expressionist painters of early twentieth-century Vienna. She never formally studied photography but took it up in the 1930s while living in Paris. An early piece of advice received from a colleague "Never photograph anything you are not passionately interested in", became her motto. Model's images can be categorized as "street photography," a style which developed after the invention of the hand-held camera, which made quick, candid shots possible. Through her own complicated personal history, she found intensely empathetic connections with her disparate subjects. Model eventually settled in New York, where she met with quick success as a commercial photographer for Harper's Bazaar magazine and as an artist with her work exhibited at the Museum of Modern Art. For thirty years she taught photography in New York, where she instructed and befriended Diane Arbus.Source: J.Paul Getty Museum Lisette Model was born Elise Amelie Felicie Stern in the family home in the 8th district of Vienna, Austria-Hungary. Her father, Victor, was an Italian/Austrian doctor of Jewish descent attached to the Austro-Hungarian Imperial and Royal Army and, later, to the International Red Cross; her mother Felicie was French and Catholic, and Model was baptized into her mother's faith. She had a brother, Salvatór, who was older by one year. Due to growing anti-Semitism in Austria and her father's struggle with his Jewish-Austrian identity, he had their last name changed to Seybert in February 1903, and six years later, her younger sister Olga was born. According to interview testimony from her older brother, she was sexually molested by her father, though the full extent of his abuse remains unclear. She had a bourgeois upbringing, was primarily educated by a series of private tutors, achieving fluency in Italian, German, and French. Her private education even when the family suffered financial strain after WWI. Despite her privileged upbringing, she frequently recalled her childhood as difficult. At age 19, she began studying music with composer (and father of her childhood friend Gertrude Arnold Schönberg, and was familiar to members of his circle. "If ever in my life I had one teacher and one great influence, it was Schönberg", she said. There is little known about her art education, but her connection with Schönberg exposed her to the contemporary art scene and leading avant-garde artists such as Gustav Klimt. Early exposure to Expressionism was what perhaps influenced her interest in observing people, and subsequently, photography. Model left Vienna with Olga and Felicie for Paris after her father died of cancer in 1924 to study voice with Polish soprano Marya Freund in 1926. Felicie and Olga moved on to Nice, but Lisette stayed in Paris, the new cultural hub after WWI, to continue studying music. It was during this period that she met her future husband, the Jewish, Russian-born painter Evsa Model (1901-1976), whom she went on to marry in September 1937. In 1933, she gave up music and recommitted herself to studying visual art, at first taking up painting as a student of Andre Lhote (whose other students included Henri Cartier-Bresson and George Hoyningen-Huene). From 1926 to 1933 she underwent psychoanalysis for childhood trauma, but little is known about what exact issues to she went for other than that it is believed she was molested by her father in her childhood. These years were referred to as her lonely period, as she frequented cafés alone and struggled to immerse herself into a radically different social group than the bourgeoisie class she had grown up surrounded by. Model bought her first enlarger and camera when she went to Italy. She had little training or interest in photography initially; it was Olga who taught her the basics of photographic technique. Model was most interested in the darkroom process, and wanted to become a darkroom technician. She used her sister as a subject to start her photography. Model claimed that "I just picked up a camera without any kind of ambition to be good or bad", but her friends from Vienna and Paris would go on to say that she had high standards for herself and a strong desire to excel at whatever she did. She also stated that the only lesson she ever got in photography, other than from her sister, was from Rogi André, who told her "Never photograph anything you are not passionately interested in", a quote she would rework later and become well-known for in her teaching career: "Shoot from the gut". André showed Model how to use the Rolleiflex, expanding her practice. Her decision to become a professional photographer came from a conversation in late 1933 or early 1934 with a fellow Viennese émigré and former student of Schönberg, Hanns Eisler (who had previously fled Germany once Hitler came into power). He warned her about the need to survive during a time of high political tension, pushing her to earn a living by photographing. Visiting her mother in Nice in 1934, Model took her camera out on the Promenade des Anglais and made a series of portraits - published in 1935 in the leftist magazine Regards - which are still among her most widely reproduced and exhibited images. These close-cropped, often clandestine portraits of the local privileged class already bore what would become her signature style: close-up, unsentimental and unretouched expositions of vanity, insecurity and loneliness. Model's compositions and closeness to her subjects were achieved by enlarging and cropping her negatives in the darkroom. Additionally, her use of a 2+1⁄4 inch square negative and larger print size were stylistic choices considered unique at a time when a proliferation of street photographers were embracing what was called the minicam. Later examination of her negatives by archivists reveals that the uncropped images include much of the subjects' physical surroundings. Model's edits in the darkroom eliminate those distractions, tightening the focus on the person and excluding extraneous background information. After the publication of the Promenade des Anglais images, or the Riviera series, Model resumed her Paris street photography practice, this time focusing on the poor. Neither Evsa nor Lisette was in possession of French citizenship, and they were well aware of building political tension in Europe, so they emigrated to Manhattan in 1938. Their first home was the Art Deco Master Apartments, but it soon became too expensive and they moved several times in their first few years in New York. The couple, especially Evsa, were known to be very social, frequenting cafés, and especially places with performers that Lisette liked to photograph. Model claimed that she did not take any photographs in the first 18 months she lived in New York, but an envelope dated 1939 contained many negatives of Battery Park, Wall Street, Delancey Street, and the Lower East Side depicting ordinary American people. She quickly became a prominent photographer, and by 1941, she had published her work in Cue, PM's Weekly, and U.S. Camera. She was captivated by the energy of New York City, which she expressed through her separate series Reflections and Running Legs. Interested in American consumerism and a culture very different from her own, Model began photographing Reflections, a series that explored manufactured images, and products or consumers in window reflections. She was recognized for her radical deviation from traditional viewpoint, and preoccupation with notions of glamour and anti-glamour. This series along with her work Running Legs attracted the attention of editors Carmel Snow and Alexey Brodovitch from Harper's Bazaar, a magazine she went on to work for from 1941 through 1955. One of her first assignments was to photograph Coney Island, in which she took some of her most recognized works such as Coney Island Bather". Her vision was of great interest to the editors at Harper's Bazaar, but by the 1950s, her involvement decreased dramatically, and she only published two assignments: A Note on Blindness and Pagan Rome. In 1944, she and Evsa became naturalized U.S citizens. Letters dated that same year revealed Model's family was financially struggling in Europe, and that her mother had died of cancer on October 21. Model eventually became a prominent member of the New York Photo League and studied with Sid Grossman. Despite the League's effort to maintain that it was a cultural, photographic organization, political pressure led to the League's demise in 1951. During its existence, Model was an active League member and served as a judge in membership print competitions. In 1941, the League hosted her first solo exhibition. From 1941 to 1953, she was a freelance photographer and contributed to many publications including Harper's Bazaar, Look, and Ladies' Home Journal. Model's involvement with the New York Photo League became the cause of much strife for her during the McCarthy Era of the 1950s, when the organization came under scrutiny by the House Un-American Activities Committee for suspected connections to the Communist Party. Though the League was not officially a political organization, many of its members used photography as a means for social awareness and change, but Model did not identify herself as a political or documentary photographer. The League was eventually classified as a communist organization by the FBI, who interviewed Model personally in 1954 and attempted to recruit her as an informant. She refused to cooperate with the Bureau, leading to her name being placed on the National Security Watchlist. Because many clients were reluctant to hire somebody who was under FBI suspicion, Model encountered increased difficulty finding opportunities to work, which played a role in her focus shift towards teaching. In 1949, she taught photography at the San Francisco Institute of Fine Arts. She left for California to teach in part for economic reasons and due to her friendship with Ansel Adams, who extended an informal invitation to a teaching position. She stayed from August until at least November of that year as a "Special instructor in documentary photography" in the Department of Photography. She did not produce much of her own work at that time, possibly because of her failure to receive the Guggenheim Fellowship the previous year. In spring 1951, Model was invited to teach at the New School for Social Research in New York City, where her longtime friend Berenice Abbott was also teaching photography. The New School had a liberal, humanistic approach to education and a high number of European refugees on staff. Known for her straightforward way of addressing her students, and unorthodox teaching style, Model realized she had a talent for teaching. Her teaching notebooks make frequent references to using children's art as example to show that art was an exploration of the world, and not a replication of what was already in place. She strongly focused on challenging her students to strive for the subjective experience and the utmost creativity, sometimes inspiring students, but alienating others. She did not tolerate lukewarm effort, and was ruthlessly critical of students' work that lacked passion. She also offered private workshops with Evsa from their apartment. Model's best known pupil was Diane Arbus, who studied under her in 1957, and Arbus owed much of her early technique to Model. Arbus's husband Allan was quoted attributing her development as an artist to Model: "That was Lisette. Three sessions and Diane was a photographer." Larry Fink, Helen Gee, John Gossage, Charles Pratt, Eva Rubinstein and Rosalind Solomon were also students of Model's. For twenty years she taught the program with little variation and routinely followed the same principles. She continued to teach in New York after the passing of her husband Evsa in 1976, both at the New School and at the International Center of Photography. In 1981 she was awarded an honorary Doctorate of Fine Arts by the New School. In 1964, Model once again applied for the Guggenheim Fellowship, and in 1965 she was awarded the fellowship of $5,000 for a period of one year. In 1966 she went to Los Angeles and Las Vegas, with the intention to photograph anti-glamour of American culture. She also went to photograph in Italy, but due to ill health she returned to New York earlier than anticipated, and was diagnosed and successfully treated for uterine cancer. In the 1970s, Model developed rheumatism in her hands, but continued to diligently teach and photograph. The first book of Model's photographs was published in 1979 by Aperture and included a preface by Berenice Abbott. Marvin Israel designed the book. Fifty-two photographs made from 1937 to 1970 were reproduced at a large enough scale to correspond with her preferred dimension of 16 × 20 inches. In early 1970 she applied to the Ingram Merrill Foundation and was awarded $2,500, and in March 1973 she received a Creative Artists Public Service Program award for $2,500. In the later half of her career, Model's work underwent a steep drop in print production. She hadn't stopped shooting photographs; she had simply stopped printing them. Much like some of the hazier details of her biography, the reason for this change has not been conclusively identified. Speculation points toward declining health and self-efficacy, increased energy directed towards teaching, and precarious financial situation as some of the primary causes. Nevertheless, Model continued to shoot and teach until her death. She was especially inspired to photograph when away from home, such as her photographs of students in Berkeley in 1973, Lucerne in 1977, Venice in 1979, and so on. She even returned to Nice, France, for the first time in nearly thirty years. However, she did not find the same inspiration there that she once had when photographing her first influential series Promenade des Anglais. Model's image is included in the iconic 1972 poster Some Living American Women Artists by Mary Beth Edelson. In January 1976, Evsa suffered a heart attack, which required that he be constantly taken care of and monitored. His health continued to decline until his death later that same year. His death deeply affected Lisette, who continued to live in their basement apartment they had shared for many years. Even in her twilight hours, her work was exhibited in Germany, Japan, and the Netherlands, to name a few, and in 1982 she received the Medal of the City of Paris. On March 4, she gave her last lecture at Haverford college, and she died at New York Hospital on March 30, 1983 from heart and respiratory disease.Source: Wikipedia
Louise Dahl-Wolfe
Louise Dahl-Wolfe
United States
1895 | † 1989
Louise Dahl-Wolfe was an American photographer. She is known primarily for her work for Harper's Bazaar, in association with fashion editor Diana Vreeland. Louise Emma Augusta Dahl was born November 19, 1895 in San Francisco, California to Norwegian immigrant parents; she was the youngest of three daughters. In 1914, she began her studies at the California School of Fine Arts (now the San Francisco Institute of Art), where she studied design and color with Rudolph Schaeffer, and painting with Frank Van Sloan. She took courses in life drawing, anatomy, figure composition and other subjects over the next six years. After graduating, Dahl-Wolfe worked in designing electric signs and interiors. In 1921, Dahl-Wolfe met with photographer Anne Brigman, who inspired her to take up photography. Her first dark-room enlarger was a makeshift one she built herself, which used a tin can, an apple crate, and a part of a Ghirardelli chocolate box for a reflector. She studied design, decoration and architecture at Columbia University, New York in 1923. From 1927 to 1928, Dahl-Wolfe traveled with photographer Consuelo Kanaga, who furthered her interest in photography. Her first published photograph, titled Tennessee Mountain Woman, was published in Vanity Fair (U.S. magazine 1913–36). In 1928 she married the sculptor Meyer Wolfe, who constructed the backgrounds of many of her photos. Dahl-Wolfe was known for taking photographs outdoors, with natural light in distant locations from South America to Africa in what became known as "environmental" fashion photography. Compared to other photographers at the time who were using red undertones, Dahl-Wolfe opted for cooler hues and also corrected her own proofs, with one example of her pulling proofs repeatedly to change a sofa's color from green to a dark magenta. She preferred portraiture to fashion photography. Notable portraits include: Mae West, Cecil Beaton, Eudora Welty, W. H. Auden, Christopher Isherwood, Orson Welles, Carson McCullers, Edward Hopper, Colette and Josephine Baker. She is known for her role in the discovery of a teenage Lauren Bacall whom she photographed for the March 1943 cover of Harper's Bazaar. One of her favorite subjects was the model Mary Jane Russell, who is estimated to have appeared in about thirty percent of Dahl-Wolfe's photographs. She was a great influence on photographers Irving Penn and Richard Avedon. One of her assistants was fashion and celebrity photographer, Milton H. Greene. From 1933 to 1960, Dahl-Wolfe operated a New York City photographic studio that was home to the freelance advertising and fashion work she made for stores including Bonwit Teller and Saks Fifth Avenue. From 1936 to 1958 Dahl-Wolfe was a staff fashion photographer at Harper’s Bazaar. She produced portrait and fashion photographs totaling 86 covers, 600 color pages and countless black-and-white shots. She worked with editor Carmel Snow, art director Alexey Brodovitch and fashion editor Diana Vreeland, and traveled widely. In 1950, she was selected for "America's Outstanding Woman Photographers" in the September issue of Foto. From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals. Louise Dalhl-Wolfe lived many of her later years in Nashville, Tennessee. She died in New Jersey of pneumonia in 1989. The full archive of Dahl-Wolfe's work is located at the Center for Creative Photography (CCP) at the University of Arizona in Tucson, which also manages the copyright of her work. In 1999, her work was the subject of a documentary film entitled Louise Dahl-Wolfe: Painting with Light. The film featured the only surviving modern footage of Dahl-Wolfe, including extensive interviews. It was written and directed by Tom Neff, edited by Barry Rubinow and produced by Neff and Madeline Bell.Source: Wikipedia Born in Alameda, California, Dahl-Wolfe studied at the San Francisco Institute of Art. In 1921, while working as a sign painter, she discovered the photographs of Anne Brigman, a Pictorialist based in California and associated with the Stieglitz circle in New York. Although greatly impressed by Brigman's work, Dahl-Wolfe did not take up photography herself until the early 1930s. Travel with the photographer Consuelo Kanaga in Europe in 1927-28 piqued her interest in photography once again. In 1932, when she was living with her husband near the Great Smoky Mountains, she made her first published photograph, Tennessee Mountain Woman. After it was published in Vanity Fair in 1933, she moved to New York City and opened a photography studio, which she maintained until 1960. After a few years producing advertising and fashion photographs for Woman's Home Companion, Saks Fifth Avenue, and Bonwit Teller, she was hired by Carmel Snow as a staff fashion photographer for Harper's Bazaar in 1936. Dahl-Wolfe remained with the magazine until 1958, after which time she accepted freelance assignments from Vogue and Sports Illustrated until her retirement in 1960. Dahl-Wolfe was especially well-known during the infancy of color fashion photography for her exacting standards in reproducing her images. Her insistence on precision in the color transparencies made from her negatives resulted in stunning prints whose subtle hues and unusual gradations in color set the standard for elegance in the 1940s and 1950s. In addition, she pioneered the active yet sophisticated image of the "New Woman" through her incorporation of art historical themes and concepts into her photographs.Source: International Center of Photography "I believe that the camera is a medium of light, that one actually paints with light. In using the spotlights with reflecting lights, I could control the quality of the forms revealed to build a composition. Photography, to my mind, is not a fine art. It is splendid for recording a period of time, but it has definite limitations, and the photographer certainly hasn't the freedom of the painter. One can work with taste and emotion and create an exciting arrangement of significant form, a meaningful photograph, but a painter has the advantage of putting something in the picture that isn't there or taking something out that is there. I think this makes painting a more creative medium." — Louise Dahl-Wolf, 1984 Dahl-Wolfe preferred portraiture to fashion work, and while at Harper's she photographed cultural icons and celebrities including filmmaker Orson Wells, writer Carson McCullers, designer Christian Dior, photographer Cecil Beaton, writer Colette, and broadcast journalist Edward R. Murrow. In addition to her Harper's responsibilities, Dahl-Wolfe was able to pursue her own vision in the studio and sometimes even while on assignment. For example, she asked a model to pose for the unpublished Nude in the Desert while on location in California's Mojave Desert shooting swimsuits that would appear in the May 1948 edition of Harper's. From 1958 until her retirement in 1960, Dahl-Wolfe worked as a freelance photographer for Vogue, Sports Illustrated, and other periodicals. Major exhibitions of her work include Women of Photography: An Historical Survey at San Francisco Museum of Modern Art; The History of Fashion Photography and Recollections: Ten Women of Photography at International Museum of Photography, George Eastman House, Rochester, New York; and Portraits at the Center for Creative Photography, University of Arizona, Tucson. Retrospectives include shows at Grey Art Gallery, New York University; Cheekwood Fine Arts Center, Nashville, Tennessee; and Louise Dahl-Wolfe: A Ninetieth Birthday Salute at the Museum of Contemporary Photography, Chicago. Louise Dalh-Wolfe lived many of her later years in Nashville, Tennessee, though she died in New Jersey of pneumonia in 1989.Source: International Center of Photography
Chiara Felmini
Chiara Felmini
Italy
Born in Turin in 1965, I have been a photographer since the age of 8, when I received my first camera as a gift (which I still own); since then I have never stopped looking at the world from behind a lens with an ever growing interest in travel and the environment. Animals have been part of my life, professionally and otherwise, for over 30 years and photographing them has been an absolutely natural path. Only later did my love for travel lead me to discover a passion for documentary and reportage photography. Photographer to tell stories, for an aesthetic and emotional research; the constant search for light, for color, for the moment, but above all for the interaction with the people I meet, gives me a great boost to sharing and understanding human nature and it is an activity that is now indispensable for me.
Dougie Wallace
Dougie Wallace
Scotland
Dougie Wallace, also known as 'Glasweegee', is a Scottish street photographer, based in east London. He was born and raised in Glasgow, lived in Blackpool for a couple of years in the 1980s before enlisting in the army, and has lived in Shoreditch, east London, for 15 years. For two-and-a-half years beginning in October 2010 Wallace made 30 trips to Blackpool to complete his first book Stags, Hens & Bunnies: A Blackpool Story (2014), photographs of the stag and hen parties that visit the town, "lads and lasses on their worst behaviour, partying away in a bawdy sea of L-plates, handcuffs, blow-up dolls and uniformed fancy dress in various states of undress and drunkenness; revelling in bars, puking in the street, refuelling at chip shops." Wallace spent 15 years photographing in the Shoreditch area of East London, a series published in his second book, Shoreditch Wild Life (2014). He photographed the disappearing Premier Padminis in Mumbai for his series Road Wallah.Source: Wikipedia Scottish photographer Dougie Wallace is internationally recognised for his long-term social documentary projects and a distinct direct style of expressive street photography. He has won prestigious awards, exhibited as a solo artist or in joint exhibits in world-renowned institutions and photographic festivals, authored a number of books, all critically acclaimed. London-based, his assignments and personal work take him around the world. To coincide with BBC Season of Photography, in March 2017, BBC4 broadcast a 30-minute programme about Dougie, as part of the What Artists Do All Day series, providing insights into the lives of outstanding artists. The programme follows Dougie on the streets of Knightsbridge, as he completes the photographs for the book Harrodsburg. Available here to watch. More recently, Dougie was commissioned by Sky Art 50 to create a film, which explored what it means to be British in the light of the EU referendum. It was showcased at The BALTIC Centre for Contemporary Art and the Barbican. It was also broadcast on Sky Arts channel on the night of the original Brexit leaving date (March 29th, 2019). Dougie attributes his unique vision to his Glasgow up-bring and experiences lived or perceptively witnessed over two decades of residing in east London, from the uninhibited party days, when the area was a cultural wasteland through to its on-going urban regeneration, turning this district into a fashionable destination and tourist Mecca. "Living in Shoreditch has helped me develop an eye for the tragi-comic, messy side of uninhibited human behaviour. My Glasgow upbringing has shaped my style, which has been described as 'visually exaggerated' and 'hard-edged'. What motivates my pictures is human behaviour. People’s interactions and emotions fascinate me. My stories are thematic. They have similarities of expressions running through them. My work is informed by societies’ trends and incongruities and translating what I see through the lens into wit, criticism and humorous vignettes. I’d like to think that my photos convey a point of view that believable and absurd." This idiosyncratic point of view comes to life in his books, which have all equally generated critical attention and viral buzz. His books Stags, Hens and Bunnies: A Blackpool Story (Dewi Lewis Media, 2014) and Shoreditch Wild Life (Hoxton Mini Press, 2014), each a distinctive spin on hedonism and excess, turned Dougie into a household name among taste-makers. Road Wallah (Dewi Lewis, 2016), which offers a unique insight into the world of Bombay cab drivers has been exhibited at numerous photo festivals and gallery shows and was shortlisted for 2015 European Book Publisher’s Award. Followed Harrodsburg, which won the inaugural 'Magnum Photography Award 2016'. Well Heeled (Dewi Lewis, 2017) is an observation about the cultural shift among dog owners (Dewi Lewis, 2017). Goan to the Dogs is to be published by Dewi Lewis in 2020. East Ended is a reflection on gentrification and its ambiguous and fraught relationship with street art and local communities. Newly published by Dewi Lewis. Dougie is sought after for opinion, project assignments, editorial features and ad-hoc opportunities. His work has been featured in assignments and publications for magazines and newspapers, including, The Sunday Times Magazine, D Repubblica, The Economist, Le Monde, The New Yorker, Stern, The Guardian, New York Times, The Independent, International New York Times, Observer, GQ, Dazed, Hunger, Vice, BBC, CNN, Itsnicethat, Marie Claire, Die Zeit, Süddeutsche Zeitung, El País, Der Spiegel, Macleans, NZZ, Die Tageszeitung, Neon, dS Magazine - De Standaard. As well as numerous photography magazines, BJP, GUP, Amateur Photographer, Professional Photographer, F2, Fotografia Magazine, Lens Culture, Leica LFI, L’Oeil, Fotomagazine, European Photography and Photo International. Dougie continues to shoot fashion for the likes of Tatler, Balenciaga and Dazed. Dougie Wallace has conducted workshops both in the UK and overseas. He regularly donates his work to his chosen charities each year.Source: www.dougiewallace.com
Robert Heinecken
Robert Heinecken
United States
1931 | † 2006
Robert Heinecken was an American artist who referred to himself as a "paraphotographer" because he so often made photographic images without a camera. Born in Denver in 1931, Heinecken grew up in Riverside, California, the son of a Lutheran minister. He joined the Navy in 1954 and served as a fighter pilot (though too short, he passed a height test by padding his socks with paper). Heinecken later served as an officer in the Marines, discharged as a captain in 1957. Heinecken completed his bachelor's and master's degrees in art at UCLA, where he studied printmaking as well as photography. Heinecken was known for appropriating and re-processing images from magazines, product packaging or television. In Are You Rea series from 1964 to 1968, for instance, he created a portfolio of images filled with unexpected and sometimes surreal juxtapositions by placing a single magazine page on a light table, so that the resulting contact print picks up imagery from both sides of the page. In the late 1960s, he also began cutting up popular magazines such as Time and Vogue and inserting sexual or pornographic images into them. He would place his collage-publications back on newsstands in Los Angeles to be sold to unsuspecting buyers. In 1962, he founded the photography program at UCLA. He taught there until 1991. In 1964 he helped found the Society for Photographic Education, an organization of college-level teachers. He also taught at the School of the Art Institute of Chicago, where his second wife, Joyce Neimanas, was on faculty. They split their time between the two cities for several years before they moved to New Mexico in 2004. As a professor at UCLA, Heinecken was a prime mover in the Los Angeles art photography scene. His influence was felt by many students and associates. Among them were John Divola, Eileen Cowin, Graham Howe, Jo Ann Callis and Ray McSavaney. Many of them, in turn, became influences on succeeding generations of art photographers. From 1971 on he started to expose food directly on light-sensitive materials. He realized these "documentary photograms" first on black and white paper and later in color in the series Various Lunches on positive Ilfochrome paper. In 1983/84 he created such Foodograms even on large polaroid sheets (20x24 inches) in collaboration with John Reuter in San Diego and Boston. In the 1980s, he created several series on American news television that involved photographing images on the television or exposing the light of a television set directly to paper to create what he called "videograms." During his life he was mainly shown in traditional photography galleries, but two contemporary art galleries in L.A. began staging exhibitions of his work after his death: Marc Selwyn Fine Art and Cherry and Martin. Curators like Eva Respini at the Museum of Modern Art now place his work in a conceptual art lineage, associating him with Pictures Generations artists such as Cindy Sherman, John Baldessari and Richard Prince.
Randall Romano
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
Sumit Gupta
Sumit Gupta
India
1983
While a software engineer by profession, Sumit has been capturing and sharing the stories of cities and cultures since 2013. He finds the experience of walking around the city streets with a camera almost therapeutic and meditative. Inspired by the human condition, Sumit has photographed mostly in India and Europe. Sumit's photographs are inspired by a personal desire to find meaning in the world around us and attempt to draw attention to the poetic and inspirational nature of human life all around us. All about the project 'The River' The Kumbh Mela is the largest religious gathering of humans on our planet. Over the two month period that this festival happens, once every 12 years in 4 Indian cities, millions of people come from all over the country (and outside of it) to take an auspicious bath in the holy waters of the river Ganga. I'm interested in portraying how the contemporary experience of the Kumbh Mela is influenced by aspects such as globalization, consumption and current trends of social behavior. People from all over India come to this event as a pilgrimage to wash away their sins, but they're also cohabiting with people that see this as a cultural attraction, as a possibility to experience a foreign culture and filter it through social media. What's the impact of hyper-communication and advertising in the collective atmosphere of this spiritual gathering? The project tries to reflect on those ideas by working through the psychological climate of the different people that are present in the event. The images evidence the paradoxical and complex nature of a spiritual event that feeds on tradition when young people seem to drift away from old collective habits. The river, the sacred area where people transcend their humanity, is the perfect metaphor for the current situation; affected by mass production and consumerism, the polluted river is still worshipped as a place for cleansing; time will tell if the memory that holds this identity will keep flowing through the divine water, or if it will drown to the mirage of pleasures that float in the immediacy of today's world.
Christian Vizl
Christian Vizl
Mexico
1972
CHRISTIAN VIZL was born in México City and has been a photographer for over three decades. He has won dozens of international professional awards including Wildlife Photographer of the year, International photographer of the year and Sony World Photography awards. He has served as judge in several international underwater photography contests and his images have been published in numerous outlets including National Geographic and Ocean Geographic. Artist Statement "Every since I was a kid, as far back as I can remember, I was attracted to the sea. I dreamt about what lay beneath the waves, and how would it look if suddenly all the water vanished, leaving in stasis all the animals and living creatures. In this way, I could walk inside the ocean and see them all, suspended for a moment in time and space. I have devoted my life to exploring and contemplate the amazing beauty of the ocean and it has been an incredible journey that has brought me a deep feeling of connection with nature, but sadly during my lifetime I have witness the ever-increasing devastation that we humans are creating in this planet. Today the world's Ocean is in grave danger. Overfishing, pollution, plastics, radiation, climate change, acidification and other human pressures threaten the fundamental nature of the ocean and it's animals are being pushed to near extinction. The time to act and reverse our negative impact is now, before it's too late risking loosing everything. The majority of humans see marine animals merely as tons of food, but I see them as so much more than that. They don't have a voice that we can understand, so the higher purpose of my images is to be a voice of the ocean and for the ocean, hoping that people can get a glimpse of who they really are, beautiful sentient individuals, with feelings and different personalities, with complex behaviors and interesting lives that science is only starting to understand. I believe Photography is capable of real service to humanity, promoting empathy and initiating change, so my main purpose as a photographer is to create poetic images showing the incredible beauty of these animals knowing they carry the power of changing our perception and spark the love and empathy that we all have inside. If we want to have a future in this planet, we need to understand that our lives are interconnected to all living animals, and our own well being is directly linked to the well being of these animals. As Dr. Sylvia Earl stated, "No blue no green, if the oceans die, we die" All the images where taken in their natural environment, with great respect to the animals, and for postproduction I only use basic settings in Lightroom." Photography is all about light, and in my opinion, it is the single most important aspect when it comes to creating appealing, inspiring and touching images. Beyond technical issues, what's most important is how I apply and manipulate the light that's available in order to create pictures with dramatic effect, carrying depths of emotion and using contrast and tonalities as means to emphasize form and structure of the scenery. I focus on the emotional impact of the final shot that will connect on a deeper level with the people that observe these photographs. Just as a poet uses words to create poetry, a photographer uses light to create images. So when I'm underwater taking pictures, one of my goals is to create poetic images through the use of light. I try to capture sublime moments of the marine environment, the essence of being there, in that experience and in the presence of that particular animal, capturing their splendor and soul. It's sheer beauty and poetry with images that inspire, make us vibrate through the beauty in every corner of the ocean, an epic sight that make us dream of a better world, where we value and care for all expressions of life.
Ulka Chauhan
Ulka Chauhan
India
1976
Street and documentary photographer Ulka Chauhan grew up in Mumbai, finished high school in Switzerland, college in Boston and lived and worked in New York and South Africa before anchoring herself in Zurich and Mumbai. These varied geographies come together to inform her work and shape her visual language. While the terrain of her photographic practice is vast, a large body of Ulka's images chronicles life across Switzerland and India. She moves with an ease between the two starkly different worlds, seeing them with 'fresh eyes' every time she visits. Ulka uses her own voice to tell stories inspired by the two diverse spaces she occupies. Time and space are bystanders in her images as she moves literally and metaphorically between the linear structured world of Switzerland and the cyclical and chaotic world of India. Her style morphs fluidly with her choice of subject. Using a minimalist narrative, there is an artistic reduction to her compositions as she focuses on just the essential elements to make us look at old things in new ways. Ulka Chauhan is the sum of all her parts; being rooted on two grounds contouring her identity and compassionate world view. Her camera is the lens through which she sees the world, and in the process, herself. A Thousand Dreams
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