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Elliott Erwitt
Elliott Erwitt

Elliott Erwitt

Country: France
Birth: 1928 | Death: 2023

Born in Paris in 1928 to Russian parents, Erwitt spent his childhood in Milan, then emigrated to the US, via France, with his family in 1939. As a teenager living in Hollywood, he developed an interest in photography and worked in a commercial darkroom before experimenting with photography at Los Angeles City College. In 1948 he moved to New York and exchanged janitorial work for film classes at the New School for Social Research.

Erwitt traveled in France and Italy in 1949 with his trusty Rolleiflex camera. In 1951 he was drafted for military service and undertook various photographic duties while serving in a unit of the Army Signal Corps in Germany and France.

While in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head of the Farm Security Administration. Stryker initially hired Erwitt to work for the Standard Oil Company, where he was building up a photographic library for the company, and subsequently commissioned him to undertake a project documenting the city of Pittsburgh.

In 1953 Erwitt joined Magnum Photos and worked as a freelance photographer for Collier's, Look, Life, Holiday and other luminaries in that golden period for illustrated magazines. To this day he is for hire and continues to work for a variety of journalistic and commercial outfits.

In the late 1960s Erwitt served as Magnum's president for three years. He then turned to film: in the 1970s he produced several noted documentaries and in the 1980s eighteen comedy films for Home Box Office. Erwitt became known for benevolent irony, and for a humanistic sensibility traditional to the spirit of Magnum.

Source: Magnum Photos

 

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Jelena Jankovic
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1985
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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. 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He was appointed to a new professorship under the new regime, but he left the country in August 1918. He still pursued scientific work in color photography, published papers in English photography journals and, together with his colleague S. O. Maksimovich, obtained patents in Germany, England, France and Italy.In 1920, Prokudin-Gorsky remarried and had a daughter with his assistant Maria Fedorovna née Schedrimo. The family finally settled in Paris in 1922, reuniting with his first wife and children. Prokudin-Gorsky set up a photo studio there together with his three adult children, naming it after his fourth child, Elka. In the 1930s, the elderly Prokudin-Gorsky continued with lectures showing his photographs of Russia to young Russians in France, but stopped commercial work and left the studio to his children, who named it Gorsky Frères. He died at Paris on September 27, 1944, and is buried in the Sainte-Geneviève-des-Bois Russian Cemetery.Documentary of the Russian EmpireAround 1905, Prokudin-Gorsky envisioned and formulated a plan to use the emerging technological advances that had been made in color photography to document the Russian Empire systematically. Through such an ambitious project, his ultimate goal was to educate the schoolchildren of Russia with his "optical color projections" of the vast and diverse history, culture, and modernization of the empire. Outfitted with a specially equipped railroad-car darkroom provided by Tsar Nicholas II and in possession of two permits that granted him access to restricted areas and cooperation from the empire's bureaucracy, Prokudin-Gorsky documented the Russian Empire around 1909 through 1915. He conducted many illustrated lectures of his work. His photographs offer a vivid portrait of a lost world—the Russian Empire on the eve of World War I and the coming Russian Revolution. His subjects ranged from the medieval churches and monasteries of old Russia, to the railroads and factories of an emerging industrial power, to the daily life and work of Russia's diverse population. It has been estimated from Prokudin-Gorsky's personal inventory that before leaving Russia, he had about 3500 negatives. Upon leaving the country and exporting all his photographic material, about half of the photos were confiscated by Russian authorities for containing material that seemed to be strategically sensitive for war-time Russia. According to Prokudin-Gorsky's notes, the photos left behind were not of interest to the general public. Some of Prokudin-Gorsky's negatives were given away, and some he hid on his departure. Outside the Library of Congress collection, none has yet been found.By Prokudin-Gorsky's death, the tsar and his family had long since been executed during the Russian Revolution, and Communist rule had been established over what was once the Russian Empire. The surviving boxes of photo albums and fragile glass plates the negatives were recorded on were finally stored in the basement of a Parisian apartment building, and the family was worried about them getting damaged. The United States Library of Congress purchased the material from Prokudin-Gorsky's heirs in 1948 for $3500–$5000 on the initiative of a researcher inquiring into their whereabouts. The library counted 1902 negatives and 710 album prints without corresponding negatives in the collection.(Source: en.wikipedia.org)
Jennifer Baron
The Netherlands
1971
Jennifer Baron is a Dutch photographer based in Amsterdam. After many years in the field of education, she has decided to pursue her passion for photography. Her journey into the world of visual storytelling has culminated in the recent publication of her self published debut book, ‘Frozen August.’ ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible experiences, pain and traces left behind. In my work, abstraction alternates with intimacy and emotion.’ Statement Jennifer’s photographic work is a visual dance that encourages the viewer to explore the subtle balance between the intangible and the tangible, the distant and the immediate. It’s in the contrasting elements of her art that a strong feeling emerges, motivating people to explore their own feelings and experiences. She believes that black and white photography has a unique ability to capture the raw essence of human emotions and experiences. It gives the viewers the opportunity to fill in the colors of their own emotions and interpretations. Her work is deeply rooted in her personal experiences and emotions. ‘I translate my feelings in my work using universal themes that deal with grief, trauma, loss and healing. There is always an autobiographical element present. Making visible the experiences, the pain and the traces left behind. In my work, abstraction alternates with intimacy and emotion.’ Frozen August When you have experienced a loss, you can go a long time without dealing with it. You get carried away by everyday life. Suddenly that grief is there again. Why you can still grieve intensely even years after the death of a loved one. ‘My work gives an insight into my grieving process over the sudden death of my brother in August 1990. After 33 years of keeping silent about this, this wound is still so palpable. My world in darkness invites you to follow the trail of emotions. Body and nature become landscapes of mourning. Light and dark are about hope and despair. By combining various media; photography, sketches and publication book, my project Frozen August came about.’
Julie Blackmon
United States
1966
Born in Springfield, Missouri, Julie Blackmon studied art education and photography at Missouri State University. She has received several national awards for her photographs, including commendation in the 2004 Santa Fe Center of Photography Project Competition, a merit award from the Society of Contemporary Photography, 2005 B& W Magazine Merit Award for Single Image Contest, 2006 1st Place for Domestic Vacations from the Santa Fe Center of Photograph Project Competition, 2006 Critical Mass Book Award Winner for Domestic Vacations, and recognized as American Photo’s Emerging Photographer of 2008. Her photographs are included in the permanent collections of the Kemper Museum of Contemporary Art, Kansas City, Museum of Fine Arts, Houston, Toledo Museum of Art, Portland Art Museum, Museum of Contemporary Photography, Chicago, among numerous others. About Domestic Vacations:The Dutch proverb “a Jan Steen household” originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous family gatherings. The paintings of Steen, along with those of other Dutch and Flemish genre painters, helped inspire this body of work. I am the oldest of nine children and now the mother of three. As Steen’s personal narratives of family life depicted nearly 400 yrs. ago, the conflation of art and life is an area I have explored in photographing the everyday life of my family and the lives of my sisters and their families at home. These images are both fictional and auto-biographical, and reflect not only our lives today and as children growing up in a large family, but also move beyond the documentary to explore the fantastic elements of our everyday lives, both imagined and real. The stress, the chaos, and the need to simultaneously escape and connect are issue that I investigate in this body of work. We live in a culture where we are both “child centered” and “self-obsessed.” The struggle between living in the moment versus escaping to another reality is intense since these two opposites strive to dominate. Caught in the swirl of soccer practices, play dates, work, and trying to find our way in our “make-over” culture, we must still create the space to find ourselves. The expectations of family life have never been more at odds with each other. These issues, as well as the relationship between the domestic landscape of the past and present, are issues I have explored in these photographs. I believe there are moments that can be found throughout any given day that bring sanctuary. It is in finding these moments amidst the stress of the everyday that my life as a mother parallels my work as an artist, and where the dynamics of family life throughout time seem remarkably unchanged. As an artist and as a mother, I believe life’s most poignant moments come from the ability to fuse fantasy and reality: to see the mythic amidst the chaos.
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