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Win a Solo Exhibition in April 2026 + An Exclusive Interview!
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Jay Maisel
Jay Maisel
Jay Maisel

Jay Maisel

Country: United States
Birth: 1931

Having studied painting and graphic design at Cooper Union and Yale, Jay Maisel embarked on his photographic career in 1954. While he boasts an impressive portfolio that includes iconic figures like Marilyn Monroe and Miles Davis, Maisel is renowned for his ability to capture the essence of light, color, and gesture in ordinary life.

Among his noteworthy commercial achievements are five Sports Illustrated swimsuit covers, the inaugural two covers of New York Magazine, the cover of Miles Davis' Kind of Blue (the highest-selling jazz album of all time), twelve years of advertising collaboration with United Technologies, and accolades from esteemed organizations such as the International Center for Photography, American Society of Media Photographers, Art Directors Club, Professional Photographers of America, and The Cooper Union.

Although he ceased commercial work in the late '90s, Jay has persistently dedicated himself to personal projects. His reputation as a generous and inspiring teacher has grown through extensive lectures and photography workshops across the country. Additionally, he continues to make prints available, which can be found in private, corporate, and museum collections.

As people, we love pattern. But interrupted pattern is more interesting.

– Jay Maisel


Since he stopped taking on commercial work in 1995, Jay has continued to focus on his personal work. He has developed a reputation as a giving and inspiring teacher as a result of extensive lecturing and photography workshops throughout the country. He also hosted his own workshops at his residence at 190 Bowery in New York City, from 2008-2015, instructing more than 640 students over the eight-year period.

In 2015, Jay sold his famous six-story building where he lived and worked for 50 years. Stephen Wilkes documented Jay’s epic move out of “the Bank” that was released as a feature-length film, Jay Myself, in the summer of 2019.

Since 2015, Jay has committed himself to reviewing his last sixty years of shooting. The results can be seen on his website, jaymaisel.com. Jay continues to sell prints of his photographs, many of which can be found in private, corporate, and museum collections.

Source: International Photography Hall of Fame and Museum

Selected Books on Available on Amazon
It’s Not About the F-Stop
It's Not About the F-Stop
Jay Maisel
Jay Maisel: Light, Gesture, and Color
Jay Maisel: Light, Gesture, and Color
Jay Maisel
Jay Maisel’s New York
Jay Maisel's New York
Jay Maisel

Agency

Trunk Archive

Gallery

Peter Fetterman Gallery

Website

www.jaymaisel.com

 

Jay Maisel's Video

Selected Books

It’s Not About the F-Stop
It's Not About the F-Stop
Jay Maisel
Jay Maisel: Light, Gesture, and Color
Jay Maisel: Light, Gesture, and Color
Jay Maisel
Jay Maisel’s New York
Jay Maisel's New York
Jay Maisel

Inspiring Portfolios

Anna Biret
© Anna Biret
Svetlin Yosifov
© Svetlin Yosifov
Shinji Ichikawa
© Shinji Ichikawa
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More Great Photographers To Discover

John Haynes
John Haynes
United Kingdom
1937
I started taking photographs in1962 after being shown Henri Cartier Bresson's book (Les Européens) . Then after teaching myself photography with the aid of Andreas Feininger's book "Manual of Advanced photograhy " ( which is more about the thinking behind the photograph, than the technical) I worked for 2 years for "The Sunday Times" newspaper in London . I then started to specialise in theatre photography, taking photographs of plays using the same reportage photography I had taught myself on the streets. In house photographer for Royal Court Theatre, Hampstead Theatre London and photographed 200 plays for The National Theatre , London Exhibitions: London, New York, and Moscow National Portrait Gallery London. Samuel Beckett, Mike Leigh, and Joe Orton About Taking the Stage It may be that what really makes Haynes's photgraphs exceptional is that he has not only passively reflected a part of our theatrical tradition, but that his work has somehow contributed to it" Review by: Robert Gore Langton - Time Out About Images of Beckett "A major contribution to the way we see modernism.... the photo's show us not only what Beckett's play's looked like in original production, but also what Beckett wanted them to look like. They are the closest we can get to seeing them realized in the way he had envisaged them today" Review by: James Joyce - Literary Suppliment
Viviane Sassen
Viviane Sassen
Netherlands
1972
Viviane Sassen was born in 1972 in Amsterdam, and lives and works there. She first studied fashion design followed by photography at Hogeschool voor Kunsten Utrecht and fine art at Ateliers Arnhem. Sassen grew up in East Africa and has been taking photographs on the continent since her first return visit in 2002. Selected solo exhibitions have taken place at Forma in Milan (2009) and Foam in Amsterdam (2008). Sassen was one of six artists selected for the annual New Photography exhibition at the Museum of Modern Art, New York, in 2011. Recent group exhibitions include The Encyclopedic Palace at the 55th Venice Biennale (2013); No Fashion, Please! Photography between Gender and Lifestyle at the Vienna Kunsthalle (2011); Figure and Ground: Dynamic Landscape at the Museum of Contemporary Canadian Art in Toronto as part of the Contact Photography Festival (2011); and Six Yards: Guaranteed Dutch Design at the Museum voor Moderne Kunst Arnhem (2012). In 2007 Sassen received the first prize of the Prix de Rome, and in 2011 she won the International Center of Photography Infinity Award for Applied/Fashion/Advertising Photography. Source: www.stevenson.info
Nat Fein
Nat Fein
United States
1914 | † 2000
Nathaniel Fein (August 7, 1914 – September 26, 2000) was a photographer for the New York Herald Tribune for 33 years. Fein is known for photographing Babe Ruth towards the end of his life, winning the 1949 Pulitzer Prize for his photograph The Babe Bows Out. Fein was born and raised on the Lower East Side of Manhattan. He was a press photographer at the New York Herald Tribune from 1933 to 1966. Known for setting a scene correctly, he would climb buildings and bridges to get the shot he was after. Fein's main subject matter was New York following World War II. Albert Einstein, Ty Cobb, Queen Elizabeth and Harry S. Truman were among the many public figures that he photographed. Nat Fein won more press photo awards than any of his contemporaries. Although considered to be one of the greatest human interest photographers in journalism, he carried the distinction of having taken "the most celebrated photograph in sports history." -- The New York Times, 1992. A resident of Tappan, New York, Fein died on September 26, 2000, at the age of 86.Source: Wikipedia Babe Bows Out", photograph of Babe Ruth during a ceremony at Yankee Stadium to retire his number, 13 June 1948 (This photo won the 1949 Pulitzer Prize for photography) © Nat Fein / Public Domain Babe Ruth’s dominating influence changed the game itself. He became the face of the New York Yankees and embodied the ethos of the game of baseball, American sports culture, and New York heritage. In Babe Bows Out photographer Nat Fein captures the beloved athlete and showman in an image that has become synonymous with the immensity of its subject. Nat Fein began to work for the New York Herald Tribune as a copyboy in 1932. After investing in a camera years later, he became a press photographer for the paper, creating a working relationship that lasted 33 years. While working as a staff photographer at the Tribune, Fein had not been assigned to work on the day that the New York Yankee’s would retire Babe Ruth’s number three jersey. On the day when the Yankees would celebrate the 25th anniversary of the Yankee stadium and retire “The Great Bambino’s” number, the mainstay sports photographer for the Tribune called in sick. Thus, on June 13 of 1948, Nat Fein was set out to cover what many suspected could be Babe Ruth’s last public appearance. While other press photographers attempted to capture a portrait of the great American baseball hero wearing his uniform one last time, Nat Fein, tried to capture the iconic number on his jersey, stating: “All the photographers were in the front, and I wanted to see how he looks from the back. So I figured, well, number three is out. The Babe bows out…” – Nat Fein The final image is filled with emotion, a bidding farewell to the greatest player in baseball. Among an interminable crowd of onlookers and accompanied by current Yankees players, Ruth bows out in the stage where his legendary mythology was created. At the time of the photograph in 1948, Babe Ruth had not played for the Yankees for over a decade. Ruth had also been ill for some time, and his appearance had changed; his thin legs and face showed signs of his fragile condition. Fein’s photograph, instead of highlighting the aged features of the passing of time or sickness, captures the silhouette of the baseball giant. The picture presenting Ruth with his classic number three jersey underlines the monumental influence he exuded over the game and New York. The image not only symbolizes a sports hero but a man who was larger than life. His rough childhood with frequent visits to orphanages and hospitals, his kindness to black baseball players in a time of racial inequity, his fondness to volunteer his time for kids sick with Polio, and his larger physique, generate empathy in his farewell photograph. The photograph presents a poetic image that connects us through its resounding human and empathetic quality, connecting the viewer to an unwavering American hero. Babe Bows Out eventually became the first sports photograph to win the Pulitzer Prize. It cemented the importance of the medium of photography. It is considered one of Time Magazine’s 100 most influential images of all time and is featured in the National Baseball Hall of Fame and the Smithsonian Institute. Never surrendering to sickness or ill-health, the photograph commemorates the hometown hero. It immortalizes the strong and imposing Babe Ruth as the towering figure we remember and speak of today. A man whose recognition has reigned supreme over baseball, New York, and the world of sports for over 100 years. Nat Fein’s Babe Bows Out is one of the most excellent images of baseball lore.Source: Holden Luntz Gallery
Jerry Uelsmann
Jerry Uelsmann
United States
1934 | † 2022
Jerry N. Uelsmann (born June 11, 1934) is an American photographer, and was the forerunner of photomontage in the 20th century in America. Uelsmann was born in Detroit, Michigan. While attending public schools, at the age of fourteen, there sparked an interest in photography. He believed that through photography he could exist outside of himself, to live in a world captured through the lens. Despite poor grades, he managed to land a few jobs, primarily photographs of models. Eventually Uelsmann went on to earn a BA from the Rochester Institute of Technology and M.S. and M.F.A. degrees from Indiana University. Soon after, he began teaching photography at the University of Florida in 1960. In 1967, Uelsmann had his first solo exhibit at The Museum of Modern Art which opened doors for his photography career. Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years. The negatives that Uelsmann uses are known to reappear within his work, acting as a focal point in one work, and background as another. Similar in technique to Rejlander, Uelsmann is a champion of the idea that the final image need not be tied to a single negative, but may be composed of many. During the mid-twentieth century, when photography was still being defined, Uelsmann didn't care about the boundaries given by the Photo Secessionists or other realists at the time, he simply wished to share with the viewer the images from his imagination and saw photomontage as the means by which to do so. Unlike Rejlander, though, he does not seek to create narratives, but rather "allegorical surrealist imagery of the unfathomable". Uelsmann is able to subsist on grants and teaching salary, rather than commercial work. Today, with the advent of digital cameras and Photoshop, photographers are able to create a work somewhat resembling Uelsmann's in less than a day, however, at the time Uelsmann was considered to have almost "magical skill" with his completely analog tools. At the time Uelsmann's work first came to popular attention, photos were still widely regarded as unfalsifiable documentary evidence of events. However, Uelsmann, along with Lucas Samaras, was considered an avant garde shatterer of this popular mindset and help to expand the artistic boundaries of photography. Despite his works' affinity with digital techniques, Uelsmann continues to use traditional equipment. “I am sympathetic to the current digital revolution and excited by the visual options created by the computer. However, I feel my creative process remains intrinsically linked to the alchemy of the darkroom.”[3] Today he is retired from teaching and currently lives in Gainesville, Florida with his third wife, Maggie Taylor.[4] Uelsmann has one son, Andrew, who is a graduate student at the University of Florida. But to this day, Uelsmann still produces photos, sometimes creating more than a hundred in a single year. Out of these images, he likes to sit back and select the ten he likes the most, which is not an easy process. (Source: en.wikipedia.org)
Esther Bubley
Esther Bubley
United States
1921 | † 1998
Esther Bubley was an American photographer who specialized in expressive photos of ordinary people in their everyday life. She worked for several agencies of the American government and her work was also featured in multiple news and photographic magazines. Bubley was born in Phillips, Wisconsin, the fourth of five children of Russian Jewish immigrants Louis and Ida Bubley. In 1936, while Esther was a senior at Central High School in Superior, Wisconsin, the photo magazine Life first hit the newsstands. Inspired by the magazine, and particularly by the pictures of the Great Depression produced by the Farm Security Administration, she developed a passion for photojournalism and documentary photography. As editor-in-chief of the yearbook, she sought to emulate the style of Life. After high school, Bubley spent two years at Superior State Teachers College (now the University of Wisconsin–Superior) before enrolling in the one-year photography program at the Minneapolis School of Art (now the Minneapolis College of Art and Design). After college in 1941, Bubley moved to Washington, D.C. seeking work as a photographer. Failing to find a job in Washington, Bubley moved to New York City. During the 1941 Christmas season, she landed a position at Vogue in New York, but she didn't like the work. Early in 1942, she returned to Washington when she was offered a job as a microfilmer for the National Archives and Records Administration. In the fall of 1942, Roy Stryker hired her as a darkroom assistant at the Office of War Information (OWI), where his photographic unit had recently been transferred from the Farm Security Administration. With the encouragement of Stryker, and some of the more senior photographers, she moved to take pictures for the OWI historical section, documenting life on the home front during the war. Her most challenging assignment was a noted series on the bus system in the Midwest and South. In late 1943, when Stryker left the OWI to work on a public relations project for the Standard Oil Company (New Jersey), she accompanied him, along with other photographers, including Gordon Parks and John Vachon. The Bus Story series she produced for Standard Oil, a reprise of her earlier Bus Story for the OWI, earned the award for Best Picture Sequence in the Encyclopædia Britannica/University of Missouri School of Journalism "News Pictures of the Year" in 1948. During this period, she was briefly married to Edwin Locke, Stryker's administrative chief, but they soon divorced. By 1947, Bubley was expanding her horizons beyond Stryker and Standard Oil. She began working for the Children's Bureau, a federal child welfare agency. Over the next several years, she contributed thousands of images to their files, and her work appeared on more than thirty covers of their journal The Child. In 1949, Bubley's photo essay on mental illness for the Ladies' Home Journal was given the first place award for a feature in the Encyclopædia Britannica/University of Missouri School of Journalism contest, winning Bubley a second set of the Encyclopedia. She continued working for the Ladies' Home Journal, producing a dozen photo stories for their celebrated series "How America Lives," which ran intermittently between 1948 and 1960. In 1951, Bubley began to freelance for Life, eventually contributing 40 photo stories, including two cover stories. Bubley was one of the first women to successfully support herself by working as a freelance photographer for major magazines. In 1951, she also produced a series on the Pittsburgh Children's Hospital for Stryker, who was then establishing the Pittsburgh Photographic Library. Edward Steichen, Directory of Photography at the Museum of Modern Art (MoMA), used 13 prints from this series in the 1952 exhibition Diogenese with a Camera. He also mounted and displayed her contact sheets to show how she used every frame. This series led to medical themes becoming a major part of her portfolio. In 1953, she was hired by UNICEF and the French government to travel to Morocco to photograph a program to treat trachoma, an infectious disease that causes blindness. Bubley entered a photo from this assignment in the international division of a contest sponsored by Photography magazine in 1954. She became the first woman to win first place, and she received a trophy depicting a male photographer. In 1955, Steichen included her work in his monumental The Family of Man exhibition. A year later, Pepsi-Cola International hired Bubley to cover Latin America for their company magazine Panorama. In the mid-1960s, Pan American World Airways sent her around the world twice to make images for their corporate photographic library. In the late 1960s, Bubley reduced her workload as sales of photographic magazines declined, and she wearied off the grueling travel schedule. She spent more time at home in New York City where she pursued projects of personal interest, producing two children's books about animals and a book featuring macro photography of plants. A devoted animal lover, she spent her mornings in Central Park walking her dog, taking photographs, and making notes that she hoped to turn into a book about the park. In 1991 the Minneapolis College of Art and Design awarded Bubley an honorary doctorate. She died in New York City, of cancer, on March 16, 1998. In 2001 a retrospective exhibition of Bubley's work appeared at the UBS Art Gallery in New York City. In 2005 Aperture Foundation published a monograph about Bubley, Esther Bubley: On Assignment by photographic historian Bonnie Yochelson with Tracy A. Schmid, archivist for the Bubley Estate. In 2010, the Library of Congress published the monograph Fields of Vision: The Photographs of Esther Bubley.Source: Wikipedia
Isabelle Chapuis
Isabelle Chapuis
France
Isabelle Chapuis was born in 1982 in Paris. Since her childhood, her practice of dance and naked sketches directs her art towards the human body. In 2005, after graduating from Penninghen in graphic arts, she chose photography as a means of expression. Isabelle's work ranges from artistic photography to therapeutic photography. These two dimensions nourish and reinforce each other. In 2010, she won the Picto Price. Two years later, her work was awarded by the Bourse du Talent and was exhibited at the French National Library François Mitterrand, and are now part of its photographic collection. Since then, her creations have been regularly exhibited in galleries and institutions, including the 110 Galerie (Paris, 2022), the Palais Galliera (Paris, 2018), the Planches Contact festival (Deauville, 2018), Le Grand Musée du Parfum (Paris , 2016), the Bettina Gallery (Paris, 2013, 2015), the Contemporary Art Center of the Château des Adhémar (Montélimar, 2016). Her work is also exhibited in the United States at Snap Space (2015), as well as in Asia at the Galerie Paris 1839 (Hong Kong, 2016), within the Franco-Chinese Month of Environment (China, 2016 ) and the French May (Hong Kong, 2013).
Apostolos Kaloudis
Apostolos Kaloudis
Greece
1980
My name is Apostolos Kaloudis, and I'm an adventurer. I consider myself as an adventurer/explorer, rather than a photographer. When I was studying Medieval History, I was amazed by stories and details of military campaigns. Something that impassioned me later to go out and explore remote lands, such as the Silk Road, the vast Steppes & deserts of Central Asia & northern China or even former Himalayan Kingdoms. In 2015, I ve joined the National Geographic Photography Community (natgeoyourshot), a great "school of photography". Children of the Central Asian revolt of 1916 For thousand of years, pastoral & nomadic tribes lived across the northern steppes from Eurasia to China.This physical isolation allowed to some of them like the Kazakhs and Kyrgyz to preserve many of their oldest traditions, including the 4.000-year old art of eagle hunting. It wasn t always easy to maintain their ancestral traditions. When the Russian Empire began expanding into Central Asia during the second half of the 19th century it imposed a colonial regime upon the people of Central Asia. The attempts to settle and assimilate the nomadic tribes, the rampant corruption of the Russian colonial regime and Tsarist colonialism in all its economic, political, religious, and national dimensions are all seen as the contributing causes to an anti-Russian uprising in 1916 by the indigenous inhabitants of Central Asia. The revolt was put down with the utmost savagery, and more than hundred of thousands Kazakhs & Kyrgyz are said to have sought refuge across the Chinese and Mongolian frontiers. For the remaining Kazakhs & Kyrgyz, under the Soviet rule during the 1920s & 1930s, marked one of the darkest pages in their history. This project represent the diaspora of Kazakhs that found refuge after the events of 1916 in Western Mongolia, and managed to keep their millenniums-old traditions alive. In the future I wish to expand the project till Xinjiang China, & cover the smaller comunities in Kyrgyzstan & Kazakhstan.
MG Vander Elst
MG Vander Elst
Belgium/United States
1967
Raised In Antwerp, Belgium, MG Vander Elst is a Fine Art Photographer and holds a Certificate of Photography from The Portfolio Center in Atlanta, Ga. She worked as a photographer’s assistant in NYC and developed her Portraiture work which later expanded to include, still life, abstract and landscape work. Art was all around her growing up in Antwerp, where she regularly visited the Ruben’s house, studied the Dutch Masters, and shared her parents love for Modern Art. The light, gesture and intimacy of the Dutch masters and the minimalism of modernists still influence her work. MG’s fine art photography approach is intuitive, stemming from an idea or an emotion. Whether photographing landscape, florals or abstracts she tries to make visible what is invisible, pursuing that intimate moment between inhale and exhale. Statement MG’s latest work in florals, still life and abstract work all stem from the same place, a place of loss, identity and forging ahead. Letting go "Floral images are my new center, I use flowers that I encounter in my neighborhood and local shops, it is no surprise to learn that these flowers embody the range of emotions I have been going through, like remembrance, growth, healing, refuge, and love. Through this process I am learning that photographing the simple lines and daintiness of these flowers they become an exercise in form, in juxtapositions and in letting go. In closely observing the shifting shapes of these living forms, who then transition, mature, and wilt I witness the contrasting paradox in beauty when blossoming or dying combined with their shaggy stalk and the petal’s ethereal texture which generates this visual dissonance that captivate me. I am not frozen and no longer afraid, but instead I am finding a rise of energy in this newfound freedom of moving in a place I have never been." Finding my Way "At the onset of the Pandemic, I lost my mother, simultaneously, my eldest son was preparing to leave for college. With the loss of my mother, I became the adult, the matriarch. The guidance I trusted and the intimacy I relied on was gone, that comfort of being the child vanished. With the anticipation of my son’s departure, I was thrusted into an uncharted emotional landscape, one where I felt undefined as a mother and did not know how to move forward. So, returning to myself and turning the camera onto my body is my way forward. By abstracting my body, I examine the shapes and textures of my form; in this pause, I am able to explore and chart my new emotional landscape. This way I am relearning who I am in order to know where I am going." Conformity "When I am creating still life’s in my own domestic spaces or in my studio. I am asking questions about my life today, as a woman, as mother and as a spouse. Whose ideas about myself am I conforming to? Why do I possess a pink razor, Is this herbal tea really soothing me? By calling attention to the everyday mundane possessions, we surround ourselves with, my intention is clear from the start. In certain instances, I juxtapose them with random objects, or I deliberately leave them by themselves. But by posing these objects in specific places I am adding a tension to the image and the one-dimensional image becomes a multi-dimensional exploration of the time we live in. I am making room for consideration, focusing on what that object means to us and what it evokes in us and why we surround ourselves with it. I aim to create a pause." AAP Magazine: AAP Magazine 26 Shapes Article Silences
Hai Bo
Hai Bo
China
1962
Hai Bo (b. 1962, Changchun, China) graduated from the Printmaking Department of the Fine Art Institute of Jilin in 1984. His artistic ideals involve the restoration of the past through photography. Hai Bo’s work is less about what changes through time and more about what endures. His photography often depicts people shown in various stages of life as well as the passage of time.
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