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Last Call AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
Last Call AAP Magazine 54 Nature: Landscape, Wildlife, Flora & Fauna
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Jorge Pozuelo
Jorge Pozuelo

Jorge Pozuelo

Country: Spain
Birth: 1977

Born in León in 1977, he began his photographic career in the 90s. He quit his job as a telecommunications technician to devote himself to photography where he did an MA in photography from the University of Canterbury. He always wanted to find the human side in all his photographs, playing with visual aggression and silence of space. In 2009 he took an year off and traveled the world and published “Picture Easy”, a book for all rules of photography, affordable for anyone to start in the world of photography. He worked for an year as a digital photographic technician, where he met all professional teams and medium format digital market issues resolved color management studies like Ricky Dávila and Isabel Muñoz. He has done work for companies like Unidental photographic, Silken Hotels, Tinkle, Adecco, AD, Truhko Make Up, FX Magazine, Life Smile or artistic bodies festival in Spain. In October 2011 he traveled to Doha for several editorials for the magazine “Qultura” for the government of Qatar. He has done several photo exhibitions, “BodyArt”, “TattooArt” or “walls of silence”, joint exhibition of great impact in the press and on TV Carabanchel prison. He has made a joint project with the photojournalist Ervin Sarkisov titled “Back to Life” where they follow up drug abusers. His presentation was in the 2011 grenade Alandaluz Photofestival double pass and very well received. In the course of months he has now approached to teaching, he runs a photography school in Madrid and tries to instill his passion for photography. He has given seminars on photographic lighting as both white and black, making the latter a small obsession in Madrid, Cordoba and Barcelona for different associations, municipalities and companies like Elincrom and Fotocasión.
Source Artphotofeature.com

Website

www.jorgepozuelo.com

 

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More Great Photographers To Discover

Jean-Daniel Lorieux
Jean-Daniel Lorieux
France
1937
French artist, Jean-Daniel Lorieux, is one of the masters of photography of his generation, earning much respect in the realm of fashion photography. Jean-Daniel Lorieux, was born on January 21st 1937 in the 16e arrondissement of Paris. He is the great-grandson of Théodore-Marie Lorieux, vice-president of the Conseil Général des Ponts et Chaussées and Jules Goüin. He studied engineering with the Jesuits at "L'école Arts et Métiers" in Paris and then went to the "Cours Simon". (Theatre) He did his military service in Algeria alongside the spahis as a photographer/filmmaker - in charge of photographing the corpses of rebels slaughtered for identification in the region of Mostaganem. For a while he worked for the Studio Harcourt as an industrial photographer and he remembers it as being a real "photographic factory" with a Stakhanovite like tempo. He has been working as a photographer for twenty years with fashion magazines like Vogue and L'Officiel. He also worked with Andy Warhol at the Factory (Andy Warhol's New York City Studio). He launched the modeling career of Cécilia Ciganer-Albéniz (Future wife of Nicolas Sarkozy), who then became his assistant. Friend of Bernadette and Claude Chirac, he directed the poster campaign of Jacques Chirac, then Prime Minister, for the legislative elections of 1988. Lorieux worked for the advertising campaigns of Dior, Lanvin, Rabanne, Ricci, Céline and Cardin, among others. He photographed many personalities like Jacques Chirac, Nelson Mandela, Mohamed V, Frank Sinatra, James Brown, Charles Aznavour, David Lynch, Isabelle Adjani, Claudia Cardinale, Carla Bruni, Karen Mulder, Claudia Schiffer, Linda Evangelista, Milla Jovovich... In 2008, he worked on an exhibition on the theme "The Master and Marguerite" at the request of Russian billionaire Yevgeny Iakovlev, with Isabelle Adjani as Marguerite. He has also released a series of books and a documentary film, retracing the atypical path of the artist and his creative pursuits. In addition to photographic creations, Jean-Daniel Lorieux produces films and paintings that parallel his distinctive style of photography, making use of sharp lines, bold colors, and his signature highly contrasted visual compositions. His work has been exhibited worldwide but mostly in the United States and in Europe. He is also a Knight of the Order of the Arts and Letters (1997), a knight of the Legion d'Honneur (2003) and decorated of the Maintien de l'ordre for spending two years in Algeria during the war.
Helga Paris
Helga Paris
Germany
1938
Helga Steffens, daughter of Gertrud Steffens and typesetter Wilhelm Steffens, was born just over a year before the outbreak of the Second World War in Gollnow, a small town then in the north of Germany. In May 1945 she celebrated her seventh birthday, while the war ended in defeat for Germany. Her father and two brothers were still away, but in the meantime frontier changes mandated by the victorious powers and large scale ethnic cleansing forced Helga's mother to flee with her two daughters. They ended up in Zossen, a small town a little to the south of Berlin. There she was raised by a community of mostly women, many of whom worked. She is introduced to photography by her aunts who take many photographs. In Zossen she went to school and successfully passed her School leaving exams in 1956. After this, till 1960, she studied fashion design at the School of Engineering for the Clothing Industry ("Berlin Ingenieurschule für Bekleidungsindustrie") in Berlin and undertook, still in Berlin, an internship at VEB Treffmodelle. After this she worked as a fashion lecturer and as a commercial artist. In 1960 she starts to take photographs with a 6x6 Flexaret camera. It was during this time that she met the painter Ronald Paris. They were married between 1961 and 1974. Through her husband she was now quickly able to establish contacts in the East German artistic scene of the time. By now she had also acquired a passion for photography. Like many of the German Democratic Republic's leading photographers, Helga Paris is often described as self-taught. She herself believes that much of her photographic passion and skill was acquired from two aunts who were themselves, enthusiastic photographers, constantly taking pictures through the 1940s, 50s, and 60s, which now Paris herself keeps carefully stored in a collection of show boxes adapted for the purpose. Paris began taking photographs seriously around 1967. She was influenced by the work of Edvard Munch, Max Beckmann, Francis Bacon, and Werner Held. Between 1967 and 1968 she worked in the photo laboratory of Walli Baucik. Her first freelance job, in 1969, was to photograph slaughtering at a home in Thüringen; in 1970 she shot fashion photographs for the youth magazine neues leben. In 1972 she joined the National Association of Visual Artists, which was virtually a prerequisite for success in what was now her chosen career. Her professional work is wide-ranging. In 1975 she photographed scenes from productions by Benno Besson at the Berlin Volksbühne ("People's Theatre"). She presented her first personal exhibition in 1978, in Dresden at the Fine Arts Academy. By the 1980s her work was concentrated increasingly on people and streetscapes, initially in Berlin where many of her subjects were neighbours and friends. She encountered greater difficulty when undertaking an equivalent project in Halle where the people she photographed were strangers and reacted with hostility. She then took time to talk to people and ask before photographing them. Under those circumstances, citizens of Halle agreed to be photographed, though there was still reluctance to be photographed with Halle streets as background at a time when a major and long-running redevelopment project scheme involving extensive destruction of old houses was leaving the centre of the city looking badly damaged. Her 1986 exhibition Buildings and Faces: Halle 1983-1985, planned for the city's Marktschlößchen Gallery was cancelled a few days before the scheduled opening date because her pictures gave publicity to the city's misguided building policy. By the time it was cancelled a catalogue and exhibition labels for the photographs had already been printed. Her career as a free-lance photographer survived the changes of 1989/90 which led to the end of the German Democratic Republic, formally in October 1990 with German reunification, and for some commentators and others her photographs from the East German period have gained a wider interest as the period they depict has receded into history. Since 1996 Helga Paris has been a member of the Berlin Academy of Arts. In 2003 her twelve-part exhibition Self images 1981-1988 in the context of the Art in the German Democratic Republic exhibition drew much interest.Source: Wikipedia Buildings and Faces “I’ll take Halle” was Helga Paris’s spontaneous reaction when, at a meeting with colleagues and artists in East Berlin in the early 1980s, fellow photographer Arno Fischer came up with the idea of photographing East Germany systematically as photographers had done in the 1930s and 1940s for the Farm Security Administration on behalf of the US government. Helga Paris rose to the challenge and began to document Halle on her own initiative. The self-taught photographer had previously carried out several photo stories on themes relating to urban and neighborhood life as part of a personal project. She drove from East Berlin to Halle many times between 1983 and 1985. As her daughter lived there at the time, she had developed an affinity to the town. Helga Paris was fascinated by the endangered former beauty of the buildings and considered it her duty to preserve it in pictures before it disappeared completely. She decided to photograph Halle as if it were a “foreign town in a foreign country”. In doing so, she looked at it through the eyes of an explorer, who is inspired and galvanized by a new environment. She started off taking snapshots of urban life, focusing on streets with houses and passers-by. However, the local people, who felt exposed in their “everyday misery”, did not always react favorably. This prompted her to reconsider her approach and eventually to divide the project into portraits of buildings and portraits of people. Helga Paris consciously limited the moment between making contact with her subjects and pressing the shutter to ensure that their gazes were as open as possible. As a result, they seem to be poised in the very second in which they briefly pause for the photographer, but have not yet engaged mentally with the photographic situation. At the time, Halle was primarily putting money into building modern apartments, and the old town center offered a desolate picture with crumbling facades, including those of listed buildings, half-untiled roofs, and ramshackle roads and squares. All this is revealed in Helga Paris’s photographs in high-contrast black-and-white, although it was never her intention to denounce the state of things. However, the SED party leadership found that the picture of the town conveyed in Helga Paris’s images was too negative. As a result, she was barred from opening her exhibition Buildings and Faces at the last minute. Not until 1990, after German reunification, was it allowed to be shown in Halle.Source: Deutsche Börse Photography Foundation
Cedric Roux
Cedric Roux
France
1982
My name is Cedric Roux (France, 1982). I'm from Paris. I photograph the impermanence of things in this moving world. I try to show what people don't take the time to see, and that despite all the comforts we can enjoy in this day and age, our overall equilibrium is fragile and everything hangs by a thread. I'm a Leica Ambassador since 2023 and I released 2 books : My Wonderland (2022, sold out) & Before Rebirth (2024) The featured images are about this feeling of "fragility' and takes place in USA.
Consuelo Kanaga
Consuelo Kanaga
United States
1894 | † 1978
Consuelo Kanaga (born Consuelo Delesseps Kanaga) was an American photographer and writer who became well known for her photographs of African-Americans. She is one of the pioneers of modern American photography, began her career as a photojournalist in 1915 in San Francisco. In the 1920s, Alfred Stieglitz inspired her to develop a more aesthetic approach, and a trip to Europe in 1928 awakened her lifelong preoccupation with European modernist painting and the ways in which that work was influenced by the sculpture of Africa. Kanaga successfully combined a Pictorialist aesthetic with a realist strategy, producing handsomely composed and carefully printed images. She was one of few white American photographers in the 1930s to make artistic portraits of African Americans.Source: The Brooklyn Museum Kanaga was born on May 25, 1894 in Astoria, Oregon, the second child of Amos Ream Kanaga and Mathilda Carolina Hartwig. Her father was a successful lawyer and judge in Ohio. After moving to Astoria he became the district attorney for the city, and he also traveled widely, often leaving his family behind with little notice. After they moved to California in 1915 her mother became a real estate broker, a highly unusual occupation for a woman at that time. The last name "Kanaga" is of Swiss origin, and a family genealogy traces its roots back at least 250 years. She spelled her first name "Consuela," at least in the 1920s and '30s, but it is generally listed now as Consuelo, a more common Spanish name. Her middle name "Delesseps" is said to have come from her mother's admiration for Ferdinand de Lesseps, the French diplomat and developer of the Suez Canal. In 1911 the family moved from Oregon to Larkspur in Marin County, California. In 1915 Kanaga got a job as a reporter, feature writer and part-time photographer for the San Francisco Chronicle. Dorothea Lange later said that Kanaga was the first female newspaper photographer she had ever encountered. It was there that she discovered Alfred Stieglitz's journal Camera Work and decided to become a photographer. Lange encouraged her to take up photography as a career and introduced her to the growing San Francisco Bay Area community of artistic photographers, notably Anne Brigman, Edward Weston, Francis Bruguière, and Louise Dahl-Wolf. In 1919 she married mining engineer Evans Davidson, but they separated within two years. In 1922 she moved to New York in order to work as a photojournalist for the New York American newspaper. While in New York a co-worker at the newspaper, Donald Litchfield, introduced her to Alfred Stieglitz. Stieglitz worked with Kanaga to help transform her vision from photojournalism to a more artistic photographic style. By March 1923 she was living with Litchfield, although at the time she had not yet divorced Davidson. In 1924 she and Litchfield moved to California, living at times near Santa Cruz, San Francisco and Los Angeles. By the end of the year she had finalized divorce proceedings against Davidson, and she became engaged to Litchfield. The engagement lasted only six months, however, and by the end of the year they were no longer a couple. In 1926 she met Tina Modotti, who was visiting San Francisco, and she put together a small exhibition of Modotti's photographs at the Kanaga Studio on Post Street. Aided by art patron Albert Bender, she began planning a prolonged "tour" of Europe, and in 1927 she spent the latter part of the year traveling and photographing in France, Germany, Hungary and Italy. While there she met up with Dahl, and the two of them spent many weeks traveling together. While traveling to Tunisia in January 1928, she met James Barry McCarthy, an Irish writer and ex-pilot, and by March they were married. In May they returned to New York City and took up residence there. Kanaga initially found work as a photographic retoucher, but within a few months she had her own darkroom and was printing the first of her many photos from Europe. In 1930 she and McCarthy moved to San Francisco, and soon she was re-established in the photographic community there. In 1931 she met and began to employ African-American Eluard Luchell McDaniels, a young "man-of-all-trades" who worked for her as a handyman and chauffeur. She began to photograph him around her home, and as they talked she became captivated by the plight of African-Americans and their continuing fight against racism. Soon she was devoting much of her photography to images of African-Americans, their homes and their culture. In 1932 she was invited by Weston and Ansel Adams to participate in the famous Group f/64 show at the M.H. de Young Museum, and she showed four prints. There is some confusion about whether Kanaga should actually be called a "member" of Group f/64. The announcement for the show at the de Young Museum listed seven photographers in Group f/64 and said "From time to time various other photographers will be asked to display their work with Group f/64. Those invited for the first showing are: Preston Holder, Consuela Kanaga, Alma Lavenson, Brett Weston." However, in 1934 the group posted a notice in Camera Craft magazine that said "The F:64 group includes in its membership such well known names as Edward Weston, Ansel Adams, Willard Van Dyke, John Paul Edwards, Imogene [sic] Cunningham, Consuela Kanaga and several others." In an interview later in her life, Kanaga herself said "I was in that f/64 show with Edward Weston, Imogen Cunningham, Willard Van Dyke and Ansel Adams, but I wasn't in a group, nor did I belong to anything ever. I wasn't a belonger." In 1935 she moved back to New York without McCarthy, and the two apparently were divorced sometime that year. She began plans for a portfolio of African Americans and interviewed several families in Harlem with whom she hoped to live while documenting their lives. While there she encountered painter Wallace Putnam, whom she had met the last time she lived in New York. Within three months they were married. They spent part of their honeymoon visiting Alfred Stieglitz at his home at Lake George. In 1938 she joined the Photo League, where she lectured a new generation of artistic photographers and became the leader of the Documentary Group projects, including Neighborhoods of New York. Her photographs were printed in progressive publications of the time, including New Masses, Labor Defender, and Sunday Worker. By 1940 she found teaching too restrictive, and she returned to taking photographs full time. She was actively photographing and exhibiting throughout the 1940s, 50s and 60s. In the latter decade she became very active in civil rights, and she took part in and photographed many demonstrations and marches. In 1963 she was arrested in Albany, Georgia during the Walk for Peace. She finally seemed to have found the right romantic and creative partner in Putnam, and the two of them remained together for the rest of her life. They traveled frequently and spent the last half of the 1960s going back and forth to France. A review published in New York Times described that "She continued to work into her 70s, despite suffering from emphysema and cancer, which were probably caused by the chemicals used in creating her prints. Her body of work, though comparatively small, is consistently exceptional. Consuelo Kanaga died virtually unknown on February 28, 1978, but her talent endures." Her entire estate amounted to $1,345 in photographic equipment, almost 2,500 negatives and 375 prints. Everything else she had given away to friends.Source: Wikipedia
Chuck Fishman
Chuck Fishman
United States
1953
In his 40-year career, freelance photographer Chuck Fishman has focused on social and political issues with a strong humanistic concern. His work has been extensively published, exhibited, and collected worldwide, and has earned him the prestigious World Press Photo Foundation Medal four times. His photographs have appeared on the covers of Time, Life, Fortune, Newsweek, The London Sunday Times, The Economist and numerous others, and have been selected for publication in the American Photography and Communication Arts juried annuals. Chuck's work is included in the collections of the Smithsonian National Portrait Gallery, Center for Creative Photography, the United Nations, as well as private and corporate collections. Chuck's first monograph, Polish Jews: The Final Chapter, was published in 1977 in the United States. He has worked on book projects for publishers worldwide, from France to Singapore to Papua New Guinea. Exhibitions of his work include one-man shows in the United States and Europe, and in influential group exhibitions globally, including the International Center of Photography and the Pingyao International Photography Festival, among many others.v Chuck was named the "Project Ambassador" in photography for POLIN: The Museum of the History of Polish Jews in Warsaw. He lives in New York with his wife Susan. "My work is a personal approach to reportage photography. I strive to find the human in humanity, showing our wonderful gestures, secrets, flaws and desires."
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
Ofir Barak
Ofir Barak
Israel
My name is Ofir Barak, I'm a photographer based here in Jerusalem. I can honestly say that I have been an artistic person all my life. I started out as a painter and was very passionate about it from a very early age. In 2013 I was lacking the motivation to create I was frustrated and I decided to put it aside and look for a new path to express myself through art. I needed to travel somewhere and clear my mind and look for answers. In order to move beyond my struggle, I needed to surround myself with every form of art I could find - literature, poetry, paintings, architecture - anything goes. I remembered that the museums in D.C have free admission, so I decided to go there. Each day I wandered into a different museum and enjoyed the art galleries. One day, accidentally, I entered an exhibition of a photographer from the wrong side - where people exit. I didn't know who the photographer was, but I was struck by his images. At that moment, I had an epiphany - this is what I want to do. This is what I can do. I spent two hours at the gallery and realized that I just couldn't consume it all in once. I went back there three more times to learn about the photographer - Garry Winogrand and each time I focused on different photographs. In the exhibition there was also a small screening room showing his famous talk at Rice University. I took a notebook with me each visit and sat at the corner of the room - writing down what I want to achieve and how. After returning home, i decided to work on a first project of my own. Between the years 2014 and 2017, I photographed constantly and on a weekly basis the neighborhood of Mea Shearim. I attended protests, holidays and weekdays tring to present a full documentation of a religious society here in Jerusalem. After 3 years and 15k pictures, a self published book was released under the title of "Mea Shearim - The streets". The project was well received within the world of photography rewarding me a Magnum Photos prize for the street photograph of the year, and a nomination for a Hasselblad masters in 2018. Parts of the project were exhibited in different locations including the jewish museum in berlin, the Lucie foundation - Month of photography photo book exhibition in the Us and many others. After completing this project, I have realized it has now become a starting point to a much larger project regarding religion in Jerusalem and a three parts books. The book is sold here at the event and if you liked the talk, feel free to take a look in the open copy and purchase one. About the Streets of Mea Shearim During the 1870s the city within the walls of Jerusalem were undergoing a serious crisis. An increase in population, especially in the Jewish quarter, resulted in high housing prices and poor sanitation.The Ottoman government failed to remove garbage dumps and eventually the pollution seeped into the water pits, causing a rise in disease and mortality rates among the population within the walls. This drove the Jewish community to establish neighborhoods outside the walls, and by 1873 four such neighborhoods were built - "Mishkenot Sha'ananim" (1880), "Mahane Israel" (1886), "Nahalat Shiva" (1869) and "Beit David" (1873). A small group of about one-hundred young Ashkenazi Jews who believed that moving outside the walls would help them improve their standard of living, decided in 1874 to combine their resources. They were able to purchase a tract of land outside the walls for a new settlement. It would have one-hundred houses and would serve as the fifth neighborhood outside the city walls. The name which they chose for that piece of land, Mea Shearim, was derived from a verse in the Torah portion that was read in the week the neighborhood was founded: "Isaac sowed in that land, and in that year he reaped a hundredfold (Mea Shearim); God had blessed him" (Genesis 26:12). Construction began around April 1874, by both Jewish and non-Jewish workers. Contractors, builders and plasterers were Christian Arabs from Bethlehem, and Jewish craftsmen also contributed. By December 1874, the first ten houses were standing. At first Mea Shearim was a courtyard neighborhood, surrounded by four walls with gates that were locked every evening. By October 1880, 100 apartments were ready for occupancy and a lottery was held to assign them to families. Between the years 1881 and 1917, more houses and neighborhoods were built. New neighborhoods surrounded Mea Shearim and helped establish a large Jewish presence outside the walls. By the turn of the century there were 300 houses, a flour mill, and a bakery. Mandatory Palestine under British administration had been carved out of Ottoman southern Syria after World War I. The British civil administration in Palestine operated from 1920 until 1948. During its existence the country was known simply as Palestine. The British regime was welcomed by the residents of Mea Shearim, who maintained good relations with the authorities for the good of the neighborhood. As a result, access roads to the area were improved, the neighborhood markets prospered, old shops were renovated, and new shops opened. Mea Shearim continued to grow, and by 1931 it was the third largest neighborhood in Jerusalem. This growth enhanced the neighborhood's status and importance, but daily life became more difficult, as many of the houses were populated with a large number of people resulting in sanitary conditions that endangered their health. The neglect of the Ottoman regime continued to set the tone, and lack of proper drainage caused rain to flood the streets and even people homes. There was a rise in poverty, resulting not only in a deterioration of the houses outer appearance but also in a spread of diseases. The neighborhood's uniform appearance also began to change, as different kinds of constructions materials came into use, resulting in non-uniform façades. Cheap tin became an alternative to the Jerusalem stone commonly used for construction. In 1948 the Arab-Israeli war broke out and Jerusalem was divided between two countries - Israel and Jordan. The border was very close to Mea Shearim and the neighborhood suffered from military attacks and damage to buildings. Within the next 20 years ,the neighborhood would suffer from decreasing population as the children of the second founding generation moved to orthodox neighborhoods nearby, leaving as few as 170 houses occupied out of a total of 304. In later years the residents returned and the population grew once again. The population remained isolated and segregated, because it refused to cooperate with the government of Israel. Street posters (Pashkvilim) began to appear on a public walls calling on residents not to serve in the Israeli army, not to vote or be elected to the Israeli parliament, and not to participate in Israel's Independence Day celebrations. Today, Mea Shearim remains loyal to its old customs and preserves its isolation in the heart of Jerusalem while trying to stave off the modern world; it is, in a way, frozen in time. The numerous renovations of houses at the end of the 20th century hardly affected the appearance of the neighborhood. They are still common today but fewer in numbers. Houses that were built over one hundred years ago stand alongside a few new ones. The life of the Hasidic community still revolves around strict adherence to Jewish law, prayer, and the study of Jewish religious texts. The large majority of the people are Ashkenazim; there are hardly Sephardic Jews in the neighborhood. In addition to some well-to-do family there are also many needy ones, which are helped by local charity institutions. The traditional dress code remains in effect here; for men and boys it includes black frock coats and black hats. Long, black beards cover their faces and many of them grow side curls called "payots".Women and girls are urged to wear what is considered to be modest dress - knee-length or longer skirts, no plunging necklines or midriff tops, no sleeveless blouses or bare shoulders. Some women wear thick black stockings all year long, and married women wear a variety of hair coverings, from hats to wigs and headscarves. The common language of daily communication in Mea Shearim is Yiddish, in contrast to the Hebrew spoken by the majority of Israel's Jewish population. Hebrew is used by the residents only for prayer and religious study, as they believe that Hebrew is a sacred language to be used only for religious purposes. This is the story of the ongoing battle between the old and the new, the past versus the present, this is the everyday life of a city within a city. My grandmother and I had a special bond. We developed a habit that once a week, usually on Mondays, we cleared our schedule and sat down to discuss the photographs I took. We talked the stories behind the photos, the people, even how the weather affected the light in the pictures. At first, photography was something foreign for both of us and with time, we developed a passion for it. We loved our gatherings and anticipated them every week. In early 2014 things changed, we had fewer opportunities for our weekly routine as her health had begun to deteriorate. She received treatments on a weekly basis and eventually had to be under medical supervision and hospitalized. On one of the visits as I sat by her bed, I wanted to ease her mind from the treatments she received and asked if she would like to see a photograph I took the day before. She immediately said yes and was very enthused when I showed her the photograph. We ended up taking and analyzing the photo as we used to, freeing our minds from the hospital room we were in. Neither of us knew that it would be our last time together. After her death, I decided to do a project based on the last photograph she ever saw. This one photo has led me on a journey, photographing the streets of Mea Shearim. Discover The Christians of Jerusalem
Nicolas Thomas Moreno
Nicolas Thomas Moreno
France
1986
Born in 1986 in Suresnes, I moved all over France during my youth as I followed my father's professional transfers. Middle School in Languedoc, part of High School in Jura and the rest in Besancon. Back in Paris in 2010 after being accepted at the Icart School of Photography (in Levallois Perret), I obtained my diploma in 2013, finishing second with my series "Architectura". Since then, I had several internships with architectural photographers and I keep assisting others while still working on my personal projects. I started working on "Topography of Remembrance" a year ago and it allowed me to travel to more than 60 different locations from which I kept 152 images. I'm now working on a project called Brutalism.
Joakim Strömholm
Joakim Strömholm
Sweden
1947
Joakim Strömholm is a Swedish photographer, well-known for documentations of music, film and TV-productions, theater, musicals and showbiz. His father Christer Strömholm wanted him to become a restaurant chef or a doctor. "As such, you will always find a job. You can not survive as a photographer.” But he gave him a Leica and access to his darkroom, and Joakim has worked with photography since then! He has also tried professions such as guide in Paris, swimming instructor, darkroom printer, photography teacher and has worked as a "jack of all trades" on movie sets. Among other things, Joakim was Brigitte Bardots personal driver during a film shoot in Sweden 1972. Finally he became a film-set photographer and photo editor for the Swedish TV-news. He made some documentaries and photographed a lot of rock n´roll in the 80´s and 90´s. Joakim has travelled much, to do his own photo reports and on assignments for Swedish daily, weekly and specialized press. He is the CEO for ”Christer Strömholm Estate”, and curates their book publishing and photography exhibitions.
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