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FINAL Deadline Today: WIN A Solo Exhibition this December!
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Mark Tuschman
Mark Tuschman

Mark Tuschman

Country: United States

Over the years I have become more motivated to use my photography to communicate in a more socially conscious way—in a way that exposes people to both the degree of human suffering that exists in today’s world and to the courage and fortitude that people manifest to overcome it. In my travels I can easily imagine that I could have been born into completely different circumstances and my worldview would have been radically different, having been influenced by a completely, radically dissimilar environment and culture. Indeed, I know I have been privileged and fortunate to have been born into an affluent culture with tremendous opportunities. I believe that it is especially important for people in our society to understand other cultures and the enormous difficulties that people in other countries face daily in order to simply survive. The human condition is wrought with great uncertainty and suffering, and yet the human spirit and the hope for a better life can grow stronger in the face of adversity. I am constantly inspired by the profound fortitude of people living in difficult conditions and the empathy and commitment of the many who give counsel and aid to those less fortunate. I believe it as my moral obligation to use whatever talents I have as a photographer to transcend our limited worldviews and to help bridge the gap between cultures of affluence and poverty. Photography is a universal language and it is my hope that my images will move viewers to respond not only with empathy, but also with action. It is my intention to photograph people with compassion and dignity in the hope of communicating our interrelatedness. In the words of Sebastiao Salgado whose work I greatly admire, “If you take a picture of a human that does not make him noble, there is no reason to take this picture. That is my way of seeing things.”
 

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More Great Photographers To Discover

Deb Achak
United States
Raised in New Hampshire, Deb Achak holds a master's degree in social work and is a self-trained photographer and filmmaker. She lives in Seattle, WA with her husband and sons in a grand old home that was once a bed and breakfast. Deb's fine art photography explores natural elements of water and grasses - earth elements with clean, simple compositions meant to calm and soothe. Her children are also a growing subject of her fine art work. Her photographs have been exhibited at the Black Box Gallery, Portland, OR; Sante Fe Photographic Workshops, Sante Fe, NM; the SE Center for Photography, Greenville, SC: and Vermont Center for Photography, Brattleboro, VT. About She Told Us To Trust Our Intuition My mother's last words to my siblings and I before she died were "trust your gut instincts". It's struck me over the years how profound and revolutionary that one simple phrase is. It has become my mantra - my north star. When we still our mind, free it of conscious thought, intuition can be heard and felt, and becomes the perfect guide. Some years ago, I started to notice that when I am in a deep flow with my art, it becomes a meditation and I am able to hear my inner voice with complete clarity. In this series I use water, color, movement and the human form to express the meditative quality I feel when I am in synch with the flow of creating. I seek to capture that single moment where my camera, my intuition, and the natural world are perfectly aligned, and to give gratitude to my mother for bestowing such a powerful parting gift. All the Colors I Am Inside
O. Winston Link
United States
1914 | † 2001
Ogle Winston Link (December 16, 1914 – January 30, 2001), known commonly as O. Winston Link, was an American photographer, best known for his black-and-white photography and sound recordings of the last days of steam locomotive railroading on the Norfolk & Western in the United States in the late 1950s. A commercial photographer, Link helped establish rail photography as a hobby. He also pioneered night photography, producing several well-known examples including Hotshot Eastbound, a photograph of a steam train passing a drive-in movie theater, and Hawksbill Creek Swimming Hole showing a train crossing a bridge above children bathing. O. Winston Link and his siblings, Eleanor and Albert Jr., spent their childhood in the borough of Brooklyn, New York City, where they lived with their parents, Albert Link, Sr. and Anne Winston Jones Link. Link's given names honor ancestors Alexander Ogle and John Winston Jones, who had served in the U.S. House of Representatives in the 19th century. Al Link taught woodworking in the New York City Public School system, and encouraged his children's interest in arts and crafts, and first introduced Winston to photography. Link's early photography was created with a borrowed medium format Autographic Kodak camera. By the time he was in high school, he had built his own photographic enlarger. After completing high school, Link attended the Polytechnic Institute of Brooklyn, receiving a degree in civil engineering. Before his graduation in 1937, he spoke at a banquet for the institute's newspaper, where he served as photo editor. An executive from Carl Byoir's public relations firm was present and was impressed by Link's speaking ability. He offered Link a job as a photographer. O. Winston Link worked for Carl Byoir and Associates for five years, learning his trade on the job. He adapted to the technique of making posed photographs looking candid, as well as creatively emphasizing a point. On his first major assignment, to photograph part of the state of Louisiana in the summer of 1937, he found himself in New Iberia, the location where Cecil B. DeMille's 1938 movie "The Buccaneer", about Jean LaFitte was being filmed. Here he met his future first wife, a former Miss Ark-La-Tex, now actress/model/body double, Vanda Marteal Oglesby, who stood-in for lead actress Franciska Gaal. They 'took a shine' to one another and later that year she posed for some of his photographs in the French Quarter of New Orleans. They eventually married in 1942, but later divorced. Some of Link's photographs from this time included an image of a man aiming a gun at a pig wearing a bulletproof vest, and one eventually known as What Is This Girl Selling? or Girl on Ice, which was widely published in the United States and later featured in Life as a "classic publicity picture. According to Thomas Garver, a later assistant to Link, during his employment at Byoir's firm, Link "clearly defined a point of view and developed working methods that were to shape his entire career." While in Staunton, Virginia, for an industrial photography job in 1955, O. Winston Link's longstanding love of railroads became focused on the nearby Norfolk and Western Railway line. N&W was the last major (Class I) railroad to make the transition from steam to diesel motive power and had refined its use of steam locomotives, earning a reputation for "precision transportation." Link took his first night photograph of the road on January 21, 1955, in Waynesboro, Virginia. On May 29, 1955 the N&W announced its first conversion to diesel and Link's work became a documentation of the end of the steam era. He returned to Virginia for about twenty visits to continue photographing the N&W. His last night shot was taken in 1959 and the last of all in 1960, the year the road completed the transition to diesel, by which time he had accumulated 2400 negatives on the project. Although it was entirely self-financed, Link's work was encouraged and facilitated by N&W officials, from President Robert Hall Smith downwards. Besides the locomotives, he captured the people of the N&W performing their jobs on the railroad and in the trackside communities. Some of his images were of the massive Roanoke Shops, where the company had long built and maintained its own locomotives. O. Winston Link's images were always meticulously set up and posed, and he chose to take most of his railroad photographs at night. He said "I can't move the sun — and it's always in the wrong place — and I can't even move the tracks, so I had to create my own environment through lighting." Although others, including Philip Hastings and Jim Shaughnessy, had photographed locomotives at night before, Link's vision required him to develop new techniques for flash photography of such large subjects. For instance, the movie theater image Hotshot Eastbound (Iaeger, West Virginia), photographed on August 2, 1956 [negative NW1103], used 42 #2 flashbulbs and one #0 fired simultaneously. Link, with an assistant such as George Thom, had to lug all his equipment into position and wire it up: this was done in series so any failure would prevent a picture being taken at all; and in taking night shots of moving trains the right position for the subject could only be guessed at. Link used a 4 x 5 Graphic View view camera with black and white film, from which he produced silver gelatin prints. From 1960 until he retired in 1983 Link devoted himself to advertising. Among notable pictures taken during this period are those recording construction of the Verrazano-Narrows Bridge and other views of New York Harbor including the great ocean liners. In retirement, Link moved to South Salem, Westchester County, New York. In 1996, Link's second wife, Conchita, was arrested for (and later convicted of) stealing a collection of Link's photographs and attempting to sell them, claiming that Link had Alzheimer's disease and that she had power of attorney. She served six years in prison. After being released, she again attempted to sell some of Link's works that she had stolen, this time using the Internet auction site eBay. She received a three-year sentence. Conchita was also accused of imprisoning her husband. However, this allegation is disputed by some, and it never led to any criminal charges against Conchita. The story of Winston and Conchita became the subject of the documentary "The Photographer, His Wife, Her Lover" (2005) made by Paul Yule. Link made a cameo appearance as a steam locomotive engineer in the 1999 film October Sky. He was actively involved with the planning of a museum of his work when he suffered a heart attack near his home in South Salem. He was transported to Northern Westchester Hospital in Mt. Kisco, Westchester County, NY where he died on January 30, 2001. Mr. Link was interred adjacent to his parents in Elmwood Cemetery, Shepherdstown, Jefferson County, West Virginia.Source: Wikipedia Link's reasons for shooting at night were simple. For one, it was more romantic and dramatic. For Link the trains were comparable to Garbo and Dietrich at their most glamorous. Secondly, steam from the trains against a night sky photographed white. Against a day sky it came out a dirty grey. Whatever the circumstances, Link's pictures were an intense labor of love. Indeed, he discovered, shortly after starting the Norfolk and Western project, that no one was much interested in photographs of a fast disappearing mode of transport. This was, after all, the beginning of the era of the great American car. At first Link's photographs were appreciated for their combination of nostalgia, technical virtuosity, and – partly due to Link's famously cranky character and disposition - almost outsider artist's vision. But as photography has moved on, Link's work is increasingly seen and appreciated for the degree to which he controlled, planned, and constructed each image, prefiguring such well known contemporary artists as Gregory Crewdson and Jeff Wall, both of whom willingly acknowledge their interest in and appreciation of Link's work. His work has been exhibited throughout the U.S., Europe and in Japan and is present in numerous major museum collections around the world. His rail photography is exhibited at the O. Winston Link Museum in Roanoke, Virginia, refurbished by the famous industrial designer, Raymond Loewy, which opened in 2004.Source: Danziger Gallery
Filip Gierlinski
United Kingdom
My uncle is a very accomplished craftsman and very keen and skilled amateur photographer. I always loved to see him draw, paint, design and gave me my fist Minolta x370 35mm manual camera when I was about 8, so it started there. At school and Uni I studied art subjects. I graduated in Graphic Design, worked for a year as a junior designer, but all the time thought I wanted to be the guy who came into our office with a contact sheet of commissioned photography, and not the guy sitting at a screen and designing the layouts for his photos. A friend was working in a Commercial Photo studio and needed some summer intern cover, and I jumped at the chance. 3 months tuned into nearly 4 years at the studio, and I learnt the skills, techniques, discipline, equipment and it opened my eyes to the industry and business of commercial photography. I have always had a passion for travel and I was eager to get outside, into the sun, and shoot people and places...we worked on products, catalogues and room sets at the studio which was an amazing experience and training, but not what I most desired to be shooting. I was fortunate enough to learn my trade in the days of film, and came to professional photography just as digital was breaking in and the industry was opening up and shifting. This gave me the technical skills of shooting on film for many years, and the ability to by my first semi-pro digital slr and advertise online for freelance jobs - so I had the best of (understanding) both worlds. After some travel and teaching TEFL with my wife, we came back to the UK and I started to freelance, shooting mostly art projects, working for the Arts Council and delivering educational programmes, and all the time slowly building up my freelance business. So since about 2003 I have worked as a commercial and corporate photographer, covering a wide range of subjects and industries and have had the opportunity to work with some amazing and diverse clients. The work as a tutor gives me the opportunity to travel and practice my craft and I bring that inspiration back to my business. Part of my early freelance work was shooting business portraits, and so I started to advertise specifically for Corporate Headshots and Portraits as a separate arm of my work, and this has become the main source of my income and commissions over the past few years. I have shot for huge companies with 1000's employees, as well as small businesses, professionals and entrepreneurs. I try to bring a sense of style and creativity, and an editorial feel to the ‘Corporate Headshot' and think that defines me with a distinctive look and product. I enjoy bringing a bit of creativity and style into the corporate world in my own little way, and years of shooting 1000s of people means I can read with my sitters quickly, make them feel at ease and connect with them which is something that shows through in my portraits. The skill is to do that within the 4 or 5 minutes I have with each person, sometimes up to 60-100 times a day! Most recently I shot a campaign for a bowling alley company, working with a sports marketing agency, and so in between my corporate work and travels, I work with agencies for hospitality, sports and automotive industries. Working on set with director Shane Meadows was a great experience, as well as shooting the bands I loved since I was a kid from the press pit and back stage at rock festivals - a real pinch yourself moment. As I often photograph a lot of faces and people in my daily work, it is always nice to get a luxury hotel commission where it's all about the rooms and design, architecture and details and make for a pleasurable change of pace. I was born in Poland in 1977, at 2 months packed into basket and flown to Tunis as my father was a civil engineer and contracted out there for a few years. We then lived in Poland and France and then moved to the UK when I was a child and so travel is in my blood. Since then I have been lucky to visit so many amazing countries. I have never really had money to just go travel, but always seeked out jobs where I could see the world. I have spent time as a tour guide in South America, teaching English in Nepal and India, and more recently working as a tutor has taken me all over the world. I have been lucky enough to be able to balance seeing the world, with a family life and earning here in the UK. I don't shoot travel stock or go with any intent to produce a commercial library, but more to see the people, to document their lives, to capture a story, as I feel my travel images are much more personal stories and of a more editorial feel than commercial. This may all change as i shoot new projects and seek to follow my vision. It is still my dream to find a way to move more towards travel and editorial commissions but I am lucky to be able to make ends meet through a job that I love every day.
Diane Fenster
United States
1948
I view myself as an alchemist, using alternative process, toy camera and digital tools to delve into fundamental human conditions and issues. My work is literary and emotional, full of symbolism and multiple layers of meaning with a style that marries photography with evocative and fragmented imagery. I am currently exploring several antiquarian processes including lumen printing and photo-encaustic. My work (exhibited since 1990) first received notice during the era of early experimentations with digital imaging and has appeared in numerous publications. I have been a guest lecturer at many and various seminars and conferences. My work has been internationally exhibited and is part of museum, corporate and private collections. A Long History Of Dark Sleep: Anxiety and insomnia self-portraits during the pandemic of COVID-19 In this time of Covid-19, I sleep alone but fear is my lover. We embrace fretfully and stare at the ceiling. At this late hour, there is no one to call, all the lines are dead and the buses have stopped running. This is my chance to record anxiety, to photograph the noir that surrounds me and find some truth and perhaps beauty in the dead of night. The camera comes to bed with me and a flashlight is my light-source. I have never liked being photographed. A series based on self-portraits could not have happened until this moment in time. Coming face to face with potential death carried on the breeze by an invisible agent has the power to propel me to self-examination in spite of distress. My aim is fretful, the focus unsteady. It's all about chance, isn't it, what the lens captures, who gets the virus.
Oliver Curtis
United Kingdom
1963
Brought up in the Cotswolds, Curtis began his photographic education studying photography at the renowned course at Filton Technical College in Bristol. He went on to study film and television at the London College of Printing and has been balancing work in stills and moving image ever since. Curtis continues to produce stills portraiture for major broadcasters as well as generating his own projects for exhibition and publication. He sites as key influences William Eggleston, Saul Leiter and Paul Graham. He continues to plough a distinctly idiosyncratic path as Director of Photography on feature films as diverse as Clare Kilner's The Wedding Date, Frank Oz's Death At A Funeral and Joanna Hogg's Unrelated as well as experimental gallery-based installations such as Gideon Koppel's Borth. He remains in great demand worldwide shooting commercials for high profile clients such as Pantene, L'Oreal, La Perla, Ferragamo, Palmolive, Rimmel, Coca Cola, Sony, Guinness, Canon and Cadbury's. About Volte-Face: On visiting the Pyramids of Giza in Cairo in 2012, Oliver Curtis turned away and looked back in the direction he had come from. What he saw fascinated him so much that he has since made a point of turning his back on some of world's most photographed monuments and historic sites, looking at their counter-views and forgotten faces. Taken over a period of four years, Volte-face is an invitation to turn around and see a new aspect of the over-photographed sites of the world - to send our gaze elsewhere and to favour the incidental over the monumental... Curtis feels that despite the landmark not being present in the photograph, the images are still suffused with the aura of the construction. The camera lens effectively acts as a nodal point and, by giving the photograph the title of the unseen partner, this duality becomes a virtue. Volte-face will be published by Dewi Lewis featuring an essay by Geoff Dyer: https://www.dewilewis.com/collections/new-titles/products/volte-face The first exhibition of the Volte-face project was held at the Royal Geographical Society in London, Sept 2016. The collection has received a great deal of acclaim worldwide and has featured in the Financial Times Magazine (UK), NPR Radio New Hampshire (USA), Liberation (France) Wired.com and BBC World Update amongst many others.
William Ropp
France
1960
William Ropp is a contemporary photographer and photo-artist, best known for his series of portraits. Lives and works in France. William Ropp is often called not just a photographer but a photo-artist, and his style of photography is spoken of as unique, inimitable, and recognizable. For the impression they produce, his works are compared to those by painters: individuals depicted in them are as if looking at the viewer – not vice versa. Ropp is known as the Shadow Sculptor. Portraits by him — it is his work with the human body and portrait photography he is famous for — are indeed so dimensional and expressive that they look like they are sculpted from shadow and light. William Ropp began his career in the theatre three decades ago. There is something theatrical about his pictures today as well: each of them is like a speechless monologue by the character depicted in it, a play with one actor, which is encased into one instant caught by the photographer. William Ropp made his first series of black-and-white photographs in 1988: those were images of human figures reflected in distorting mirrors. Ropp continued working with the human body in the studio, experimenting with lighting and photographic technology. In the early 90’s, he found the style that would make him famous. Ropp would plunge figures of models, which, as it is, perplexed the viewer with the complexity of their intricate postures, into darkness and “paint” their body outlines with a bright beam of light. He would increase the exposure time to 10 minutes to make the image a bit blurred but would focus one’s attention on the main thing: the eyes, the facial expression, the shoulder line, or the arm’s expressive curve. In the mid-2000’s, Ropp, the already famous Shadow Sculptor, undertook a number of trips, each of which resulted in a series of portraits of people – Africans and Gypsies, inhabitants of Mexico and Russia, adults and kids. In 2010, he started working in color, portrait photography remaining the primary one in his work. Ropp is the author of several books on the art of photography; his exhibitions and workshops for photographers are staged all over the world. Works by William Ropp form part of the collections of the Musée de l’Elysée (Lausanne, Switzerland), the Museum of Fine Art (Houston, USA), the Maison Européenne pour la Photographie (Paris, France), the Museet for Fotokunst (Odense, Denmark), the New York Public Library (the Spencer Collection, New York, USA), and other public and private collections. Galleries throckmorton-nyc.com www.thephotogallery.se www.originalsong.cn www.holdenluntz.com www.galerie-stp.de jiromiuragallery.com louisegallery.be
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