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Last Call to Win a Solo Exhibition this February. Juror: Harvey Stein
Last Call to Win a Solo Exhibition this February. Juror: Harvey Stein
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

 

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More Great Photographers To Discover

Sarah  Ketelaars
United Kingdom
Sarah Ketelaars is a British photographer from Brighton, UK. She has a BA and an MA degree in English Literature from Jesus College, Cambridge, an MSc in Social Science from the Robert Gordon University in Aberdeen and a Diploma in photography from City College, Brighton. She began her career as a journalist and her images have appeared on book, CD and magazine cover. Her work has been exhibited nationally and internationally and is represented by Trevillion Images & Getty, and by 35 North Gallery in Brighton. In 2021 she was selected as one of the Lensculture Critics’ Choice winners for her project ‘Windows’ shot during lockdown in Houston, Texas and in 2024 she was selected as a finalist for her project ‘The 544’ in the Lensculture Art Photography Awards. The 544 This ongoing project is a memorial to 544 psychiatric patients murdered by the Nazis in 1941 in Latvia. The figurative images I’ve made are all cyanotypes. Eventually there will be one for each man, woman and child killed. My grandmother was working at the hospital from where the patients were taken. I have visited the hospital and found that although the story is known no memorial exists. The only official record seems to be a short paragraph in the Nuremberg report. So far I have found no record of the names. Using a historic photographic process feels fitting for a project examining a historical event. An ancient pagan Latvian folk symbol is drawn on by hand in gold ink to each piece. It is impossible for me to look at these images without thinking about how the lives of these people ended. However, the project is primarily intended as a memorial. I wanted the images to hint at some more celebratory moments, to remember the lives lived before these people entered the hospital; before they died. Not knowing anything about the identities of the dead, I have tried to imagine each one as a unique, precious being, and give each back a little of the character stripped from them when they were murdered and reduced by history to a number on a list of nameless victims. The project is the second in a trilogy looking at my family history, examining themes of cultural inheritance, identity and intergenerational trauma.
Soumya Sankar Bose
I am a documentary photographer based in India. I did my Post graduate diploma in photography from Pathshala South Asian Media Institute.Born in 1990 Midnapore - Lives and works in KolkataAwards and Fellowships: The Toto-Tasveer Emerging Photographer of the Year. India foundation for the Arts grant for the Project "Let's Sing an Old Song". Magnum Foundation's Photography and Social Justice Fellowship for the Project "Full Moon in a Dark night"Publications: The Telegraph, The Indian Express , Better Photography, Kindle Magazine, Mint Lounge, The Caravan, Wired, A’int-Bad Magazine, Platform, Harmony . As well as online portals such as Scroll.in, The Huffington Post, BBC Online, Gallery Carte Blanche, F-Stop Magazine, Galli Magazine, Fltr , Medium and etc. AAP: Do you have a mentor or role model? Yes, Shahidul Alam who is the principal of Pathshala .And Morten Krogvold was one of my mentor during Chobimela VII .AAP: Do you remember your first shot? What was it?I don't remember my first shot exactly but when I was 7-8 years old, I got a Kodak KB10 from my mother and then I started to capture each and everything around me.AAP: What or who inspires you?My Parents ,Friends, Barnali But mostly my Grand father whose photographs inspire me to become a photographer in my childhood.AAP: How could you describe your style?Once one of my mentor Hasib Zakaria told me that my work is about hyper real. "Hyper reality is seen as a condition in which what is real and what is fiction are seamlessly blended together so that there is no clear distinction between where one ends and the other begins."AAP: What kind of gear do you use? Camera, lens, digital, film?I like to shoot only on 35mm Prime lens in Film and Digital both.AAP: Do you spend a lot of time editing your images? For what purpose?I don't spend lot of time in editing my pictures but what I keep in mind during my editing is that I should not off-tracked.AAP: Favorite(s) photographer(s)?Alec Soth, Stfan bladh, Graciela Iturbide, Diane Arbus, Dayanita Singh and so on.AAP: What advice would you give a young photographer?I am also a young Photographer.AAP: What are your projects?My project documents retired Jatra artists (Jatra is four hundred years old Bengali folk theater which is disappearing day by day) or who have been working in Jatra for more than 25-30 years.AAP: Your favorite photo book?Calcutta Ladies by Dayanita Singh, Fauna and Flora by Dietmar Busse and so on.
Shin Noguchi
Japan
1976
Shin Noguchi, born 1976 in Shinjuku, Tokyo, Japan, is an award winning street photographer based in Kamakura and Tokyo, Japan. He describes his street photography as an attempt to capture extraordinary moments of excitement, humanism and beauty among the flow of everyday life. With his discreet, poetic and enigmatic approach to his art, Shin is able to capture the subtleties and complexities of Japanese culture without relying on staged, no-finder or hip shot photography. He has been invited to hold solo exhibitions in Russia, France, China (organized by Leica Camera) and other countries, and also He has been featured on The Leica Camera Blog many times, in Courrier Inte'l, Internazionale, Libération, The Guardian, The Independent, etc, and some assignment work has been also published in Die Zeit, Libération, etc. His new book "In Color In Japan" was published in Italy, and one of his works was used as key visual for FIFDH 2022: The International Film Festival and Forum on Human Rights. Currently, he has been selected for Leica Camera's new global campaign “M is M.” "The subjects tell me the meaning and value of life. To take a picture is to affirm the existence of peopleーthe human nature and karmaーand it's also an opportunity to affirm my own existence and accept it as it is." In Color in Japan From the introduction of the book: Like all good photographers, Shin Noguchi treats the camera as another appendage - a special sensory organ merging hand and eye that allows him to show us what he sees, and more subtly, how he sees. And his camera is always working. Noguchi is internationally respected as a "street photographer," but while he has won numerous prizes for his work in that genre, the appellation does not do justice to his omnivorous eye. His is just as likely to record tender moments with his family or newsworthy events like the typhoon as his encounters on the streets of Tokyo where he works, or Kamakura, where he lives. The connecting vein that runs throughout his work is a belief in the appearance of objectivity, a belief that first began to manifest when he discovered the work of the Magnum photo cooperative when he was still in his teens. It was, as he has said, the first time he realized that art and documentation could be merged. Noguchi knows perfectly well that what he shows us reflects his own sensibility and intellect but prefers to dial back the expressionistic impulse. It is an old trick in photography: make the viewer believe that had she been standing next to him she would have seen precisely what he saw. It’s also a difficult trick to pull off, particularly when the everyday world seems to be so full of surprises. In Noguchi-world, Giraffes wander about temples with Buddhist monks; workers dive into random circular openings in giant bushes, or burst from openings in blank walls as if transporting to or returning from another dimension; golf carts cluster like insects on neon-green lawns; objects possessed of more animate power than the people carrying them seem to propel their human cargo down the sidewalk instead of the opposite. In many images, goofy absurdity suddenly explodes from a sober social milieu in a way that seems to Western eyes particularly Japanese. Sentiment and affection are common themes, but the work is never sentimental. His new book, "Shin Noguchi, in Color in Japan," skates across the peaks of many of Noguchi’s favorite preoccupations (I personally have developed a fondness for his utterly adorable daughters) and one can only hope that we will get to explore his work more deeply in the future. - Chuck Patch museum curator, photographer and writer
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
Diana Markosian
Russia
1989
Diana Markosian is an American and Russian artist of Armenian descent, working as a documentary photographer, writer, and filmmaker. She is known for her photo essays, including Inventing My Father, about her relationship with her father, and 1915, about the Armenian genocide. Markosian was born in Moscow. In 1996, she moved to California with her mother and her brother, while her father remained in Russia. She had no contact with him until 23, when she found her father in Armenia, after 15 years of being apart. Markosian graduated summa cum laude from the University of Oregon with a bachelor of arts in history and international studies in 2008, and earned a Master of Science from Columbia University's Graduate School of Journalism in 2010 at the age of 20. In 2011, Markosian was sent to Azerbaijan as a photojournalist for Bloomberg News, but she was denied entrance to the country, which was at war with Armenia at the time. Markosian is of Armenian descent but not a citizen of Armenia. The authorities said they couldn't provide her with the "security" she would need because of her Armenian last name. Markosian began her career at 20. Her editorial and personal work has taken her to some of the most remote corners of the world. She worked on assignments for publications including National Geographic Magazine, The New Yorker and The New York Times. For her first assignment for National Geographic Magazine in 2015, she was commissioned to explore the power and legacy of the Virgin Mary. This ability to photograph "things that are no longer there" has become a signature of her work. Her images have since been published by the Financial Times, World Policy Journal, The New York Times, Foreign Policy, The Times, Human Rights Watch, Amnesty International, amongst other publications. She won the Columbia School of Journalism's annual photography prize, and was chosen as a duPont Fellow. She was selected for the Joop Swart Masterclass from World Press Photo and was the winner of the Magnum Emerging Photographer Fund in 2013. In 2015, she was selected as the first recipient of the Chris Hondros Emerging Photographer Award. The same year, the British Journal of Photography selected her in its global survey of "Ones to Watch". In 2016, Markosian became a nominee member of Magnum Photos. In 2018, she was awarded the Elliott Erwitt Fellowship to travel to Cuba, where she documented the coming of age of young girls in Havana. The work she created was exhibited as a solo show at the Grand Palais in Paris Photo and Photo Espana. She was awarded 1st Place in Contemporary Issues from World Press Photo for an image of Pura, a young girl who was diagnosed with a brain tumor as a child, and was photographed celebrating her quinceanera. Source: Wikipedia About 1915 "Holding a cane in his right hand, Movses Haneshyan, 105, slowly approaches a life-size landscape. He pauses, looks at the image, and begins to sing, 'My home... My Armenia.' It's the first time Movses is seeing his home in 98 years. A century ago, the Ottomans initiated a policy of deportations, mass murder and rape to destroy the Armenian presence in the Ottoman Empire. By the war's end, more than a million people, from what is now modern-day Turkey, were eliminated. It was one of first genocides of the 20th century, one that Turkish authorities deny to this day. Movses and his father survived. I traveled to Armenia to meet Movses and other survivors to ask them about their last memories of their early home. I then retraced their steps in Turkey to retrieve a piece of their lost homeland. One hundred years after having fled his birthplace, Movses caresses its image, as if by holding it close he will be taken back to the place he called home many years ago. This is his story, and those of other survivors. A story of home - everything they had, everything they lost. And what they have found again." -- Diana Markosian
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Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry