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Jeff Bridges
Jeff Bridges
Jeff Bridges

Jeff Bridges

Country: United States
Birth: 1949

Jeff Bridges is one of Hollywood's most successful actors and an Academy Award® winner. Over a career that spans five decades, his work has been recognized by the Academy Awards®, the Golden Globes, the Independent Spirit Awards, and the Screen Actors Guild. Truly passionate about photography, he makes behind-the-scenes pictures of the actors, crew and locations on his film sets. After completion of each motion picture, he edits the images into a book and gives copies to everyone involved. The books, which have become valued by collectors, were never intended for public sale, but in the fall of 2006, powerHouse Books published Pictures: Photographs by Jeff Bridges, a compilation of photos made on numerous film locations over the years, to much critical acclaim. Proceeds from the book benefit the Motion Picture & Television Fund, a nonprofit organization that offers charitable care and support to film industry workers.

Source: International Center of Photography

Selected Books on Available on Amazon
Jeff Bridges: Pictures Volume Two
Jeff Bridges: Pictures Volume Two
Jeff Bridges
Pictures by Jeff Bridges
Pictures by Jeff Bridges
Jeff Bridges

Gallery

Rose Gallery

Website

www.jeffbridges.com

 

Jeff Bridges's Video

Selected Books

Jeff Bridges: Pictures Volume Two
Jeff Bridges: Pictures Volume Two
Jeff Bridges
Pictures by Jeff Bridges
Pictures by Jeff Bridges
Jeff Bridges

Inspiring Portfolios

Marijn Fidder
© Marijn Fidder
Julien Chatelin
© Julien Chatelin
Marcus Yam
© Marcus Yam
Call for Entries
All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry
© Nando Morales Roca
 
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More Great Photographers To Discover

Branda Bancel
Branda Bancel
United States
Brenda Bancel is the president of the Take 5 Foundation and owner of Brenda Bancel Photography LLC. She spent ten years in the advertising industry working with clients such as Apple and IBM before realizing that she wanted to focus on nonprofit work and using her own creative talent. She is a recent graduate of the New England School of Photography, where she graduated with honors in Documentary. She hopes to use photography to bring awareness to important social issues. About Finding the Sacred on the Sacred River "When I saw it, I knew, I had to go: A workshop during the Hindu spiritual festival on the Ganges River. Agency VII was organizing and I knew immediately, that this, I had to attend. I registered, applied, got in, got a visa, got a flight and showed up. I'd never been to India. And quite honestly, before leaving I worried more about my storyline, my vaccines and my fear of flying (thinking I’d be dead before I arrived)."
Pelin Guven
Pelin Guven
Turkey
1971
Growing up in Istanbul, a city with layers of rich historical textures and architecture, beautiful sceneries of Bosphorus and a colorful palette of personalities, has inspired Pelin Guven to constantly seek for the soul of places she lives in. She uses her surroundings as her artistic inspiration and always tries to maintain a fresh exuberance when she explores the places in which she visits. She loves to capture the humanity of everyday life. Her photos are honest, direct and have a genuine approach to people. She has been living in various parts of Asia calling Seoul, Bangkok, Taipei home before moving to China. A Beijing resident since 2013, Pelin found the heart of the big capital in the hutongs where she still shoots for her on-going project 'Life in the Hutongs'. Her photographs have appeared in about 35 juried international exhibitions and she self-published books depicting the life of each city she has lived in.
Steve Dinberg
Steve Dinberg
United States
The sense of adventure that comes with exploring new places and meeting new people is what keeps me interested in street photography. A fellow photographer once told me, “There are two reasons people travel: the first is to see something new, the other is to experience something old.” I have always been a passionate photographer. I look for that decisive moment, and I am constantly in search of that special magical light, interesting faces that reveal personal history, hands that tell a story, and amazing eyes that convey emotion, but most of all, I try to capture that moment of interaction. I instinctively look for the colors, shapes, and textures in a defined area. As a lifelong traveler, I look for a street, alleyway, or even the face of a person that conveys meaning to their surroundings. Every Face Has A Story I had the opportunity to visit the country of Romania and quickly fell in love with the people, their traditions and the magical countryside villages. Traveling through these Romanian villages high in the Carpathian mountains, I learned that their life style and traditions are quickly vanishing because the younger members are leaving the hard mountain life and have moved to the larger cities where life is clearly much easier. Everyone I met and spent time with are living alone high in the mountains because they refuse to leave their homes and leave behind their Romanian traditions, and each always welcomed me into their homes. These photographs give a close-up glimpse into their life and charm of the Romanian people.
Marjorie Salvaterra
Marjorie Salvaterra
United States
Marjorie Salvaterra’s images reveal “a fine line between sanity and insanity,” according to Virginia Heckart, Associate Curator of Photography at The Getty Center. Salvaterra’s exhibitions include: Rencontres d’Arles, Arles, France; Clark-Oshin Gallery, Los Angeles, Solo Exhibit, 2011; MOPLA Opening Night Solo Exhibit - 2011, Los Angeles; "Fuck Pretty" - Robert Berman Gallery, Los Angeles, 2011, “Classic Camera Show,” Rayko Photo Center, San Francisco; “Contrast LA,” at A&I Gallery, Los Angeles; “Alternative Photography,” at Julia Dean Gallery, Los Angeles; and the “Human + Being” show at The Center for Fine Art Photography in Fort Collins, Colorado. Her work was included in the George Eastman House Museum auction at Sotheby’s, New York and she was runner-up for the 2009 and 2010 Berenice Abbott Prize for Emerging Photographers. Marjorie's great achievement is as a wife and mother of two. She makes her home in Los Angeles, California.
Jill Freedman
Jill Freedman
United States
1939 | † 2109
Jill Freedman was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of the Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale de France, Paris, among others. She appeared in solo and group exhibitions throughout the world, and contributed to many prominent publications. Jill Freedman was best known for her street and documentary photography, recalling the work of André Kertész, W. Eugene Smith, Dorothea Lange, and Cartier-Bresson. She published seven books: Resurrection City; Circus Days; Firehouse; Street Cops; A Time That Was: Irish Moments; Jill’s Dogs; and Ireland Ever. Jill Freedman lived and worked on the Upper West Side of New York City. The Joy of Photography "When I was seven I found old Life Magazines in the attic. My parents had kept the ones from the war and for a year I used to go up there after school, look at the pictures, cry, then go play softball. When my parents realized that I had found them and how they affected me, they burned them, but it was too late, those pictures had burned into my brain. Outwardly I was normal, but those images were always with me, and in my dreams. Even now I can see them, the man who had tried to escape the burning barn, the concentration camp. I majored in Sociology in college, then spent a few years traveling around Europe singing for my supper. I’d spend the days wandering around, searching for adventure, meeting all kinds of eccentric characters and loving their stories. When I ran out of money I’d sing again. I settled in New York, got a job, tried to figure out what I wanted to do. Something meaningful, not just work. I was starting to worry. Then one day I woke up and wanted a camera. I borrowed one. I had never taken a picture before, and as soon as I held it in my hands it felt good. I never had the sense of holding a machine. I read the instructions, went out into the street, shot two rolls, had them developed. I was thunderstruck. It were as though I had been taking pictures for years, but in my head, without a camera. “That’s it,” I said. “I’m a photographer.” What a relief. Photojournalism was always it for me. Those pictures in the attic had set my course. Those, and all the characters I’d met. To tell a story in the blink of an eye, have it printed so that millions of people could see it and wrap their fish in it, to have my pictures reach people the way those Life magazines had reached me, now that was doing something. I am self taught. I got a copywriting job to support myself and I started learning, devouring books and looking at good work, walking a lot, and shooting. Those early years were fired with an intensity and passion I had never felt before. I was obsessed and driven. I thought about photography all of the time. And my pictures, if no one else had liked them, it wouldn’t have mattered, I loved them. Sometimes I’d look at them and think, What if I wake up one day and it’s gone? What if it goes away like it came? With each paycheck I bought equipment and built a darkroom and when I finally made my first print, I was hooked for good. It was the first time that I had ever finished something I had started. My father used to say, “You blow hot and cold.” But it was magic, watching it come up in the developer. I still feel it. I worked hard, learning my craft. I like to work two ways, either on a specific idea or just wandering around, getting lost, snapping. Eventually, all the wanderings go together, and then I find out what I’ve been doing. Photography is magic. You can stop time itself. Catch slivers of moments to savor and share time and again. Tell beautiful silver stories, one photo alone, or many playing together to form a book. A photograph is a sharing, it says “Hey, look at this!”, it’s a miracle, is what it is. And when you’re going good and you get a new picture you love, there’s nothing better. That’s the joy of photography, and the fun." -- Jill Freedman Source: www.jillfreedman.com Freedman was born in Pittsburgh in 1939 to a traveling salesman and a nurse. After college, she traveled to Israel and England before taking up copywriting jobs in New York to sustain herself. She had not grown up taking photographs, but she said in New York one day she “woke and wanted a camera,” according to an essay she published on her website. She wrote that she was inspired by copies of Life Magazine she had pored over as a child. Looking back on a photograph from the early years of her career in a 2017 interview with The Guardian, Freedman said activism and protests had been the catalysts for her photography: "I studied sociology and anthropology and now realise that what I’ve been doing with my camera all these years is documenting human behavior. But I was taking pictures in my head long before I became a photographer. It was the Vietnam war that changed everything for me. I was angry and wanted to photograph anti-war demonstrations, so got my first camera." After her stint in activism, Freedman joined the circus for several months, taking mesmerizing photographs of clowns, chained elephants, and beartamers. Freedman applied a similar level of vigor and rigor to documenting the lives of public servants, photographing intimate moments of firefighters’ and policemen’s work. She followed firefighters in Harlem and the South Bronx for two years at a time women tended to not be allowed in these environments, offering her an unguarded view of their lives. She also took a positive view of cops and thought they faced unfair criticism. “I set out to deglamorize violence,” Freedman told the New York Times in 2015. In the 1980s, Freedman started to work less due to health complications, receiving a breast cancer diagnosis in 1988 and breaking her pelvis later. She had hoped to create one last photobook before she died, to be titled Madhattan, and was featured in the street photography documentary Everybody Street (2013), alongside the likes of Bruce Davidson and Joel Meyerowitz. The Steven Kasher Gallery organized an exhibition spanning four decades of her career in 2015 and, in 2017, a show devoted to her Resurrection City photographs.Source: Artsy
Tatiana Bormatova
Tatiana Bormatova
Russia
1993
Tatiana Bornatova is a documentary photographer from Moscow, now is based in Sevastopol. She currently engaged in personal projects in Russia. Her work focuses on topics devoted to social problems and phenomena of modern Russian society. She studied documentary photography and photojournalism at the School of Modern Photography Docdocdoc (St. Peterburg, Russia). Continues to study in the direction of post-documentary photography. Her projects were published in the REGNUM News Agenсу, IZ Magazine, FLIP Magazine, F-Stop Magazine, Dodho Magazine. Tatiana became a participant in the projection festival Nuits Photographiques d’Essaouira (Essaouira, Morocco) and World Biennial Of Student Photography (Novi Sad, Serbia). Underground In ancient underground quarries, all is in full swing by day and night. Both adventurers and serious researchers - speleologists and spelestologists - come here. Speleology is the study of naturally - occurring caves, and spelestology is the study of underground cavities not used for intended purposes. In the fourteenth century, in Outer Moscow people began mining stone underground using closed methods. It lasted until the nineteenth century. Under Stalin, entrance to the underground was strictly forbidden, but this did not stop people going on adventures. In the 1960s, the masses started to venture into the underground. Then they started to blow up the entrances to caves. Access to the underground became much more difficult, but the interest for anthropogenic underground caves did not cease to exist. Starting in the 1980s, spelestologists and enthusiasts again started to look for underground caverns, previously forbidden in Soviet times. The analysis of old rubble, digging up and exploring passages, and topographic surveys all require staying underground for several days at a time. In the caves specialists would start to allocate grottos for toilets, sleeping, eating and collecting water, as well as strengthening areas that were prone to collapsing. The walls were covered with drawings, inscriptions, artefacts and graffiti. These new traditions and rules resulted in the formation of new subcultures. Visiting caves now is very entertaining. More and more often, they are being visited by thrill seekers, people who like to drink, unofficial excursion groups, and bloggers. Often people go underground without knowing basic safety precautions. That said, the risks in underground caves are not few: one could get lost or end up in a rock collapse. Spelestologists think negatively of amateurs who try to prevent filming and unofficial tours. A few of the researchers carry out excavations and study the underground caverns, but the increase in popularity is starting to disturb their work. They try to keep the whereabouts of newly discovered caves secret. The photographs in this project were taken in the Moscow Oblast, in the Syankovsk and Novlensk caves, and also in the Kamkinsk quarry, more well-known as Kiseli.
Jean-Francois Jonvelle
Jean-Francois Jonvelle
France
1943 | † 2002
Jean-François Jonvelle, born on October 3, 1943, in Cavaillon was a French photographer of fashion, glamor and portraiture. Work on the release of 20 ans magazine and then work on Dim, Dam, Dom, Vogue, Stern, Gala, Elle. In the 1960s, Jonvelle was assistant to Richard Avedon. During his career, he made many portraits of women, often his friends: natural young people, often naked, unconcerned. Unlike other fashion and glamor photographers, who offer a provocative woman, Jean-François Jonvelle's performance is much softer, more natural, more jovial but equally sensual. He died at the age of 58 years of terminal cancer, 15 days after it was detected on January 16, 2002, in Paris.Source: Wikipedia Jean-François Jonvelle was snatched by the hand of death with a suddenness to match the photographs that were his life. Just as that life was dedicated to capturing these stolen moments, so death followed suit, carrying him off in the midst of life. A tumor was discovered in early January, a final farewell just a fortnight later. He was gone in a flash. As I turn the pages of my friend’s last book my eyes mist over. My tears dissolve Jonvelle’s photographs into the soft focus of a David Hamilton. Jonvelle’s work is often described as being – in the time-honored formula – ‘sexy but not vulgar’. I prefer his own description of what he sought out: ‘la poésie du quotidien’, ‘the poetry of the everyday’. Photographs freeze moments of truth, all you have to do is choose the ones that do it best. "I tell myself that the present and the future don’t exist", he also used to say. "Everyone, every day, creates their own past." The quality that makes his images more moving than the rest is their vulnerability. Jonvelle taught me one crucial lesson: in photography, as in literature, what counts is feeling. Eroticism and tenderness are not sworn enemies. A downy arm, the frail nape of a neck, an uptilted breast, the curve of a back beneath the sheets, damp hair, closed eyelids, the trace of a kiss on the neck all these can be arousing. Jonvelle’s women are fresh and natural because they are unaware of our gaze. Jonvelle makes adoring voyeurs of us all. He shows us why heterosexuality can be so painful: everywhere, in every house and every bathroom, paradise lurks. Paradise delicately removes her T-shirt, brushes her teeth, buttocks pert, the curve of her breasts taut, timeless. Suddenly paradise parts her legs in silence, biting her fingernails as she looks you straight in the eye, teasing you as she waits for you on the sheets. Jonvelle is in paradise now, but for him nothing has changed: he was already there in his lifetime. As I gaze in wonder, the way I always do, at these images, so far removed from the familiar clichés, my thoughts turn to the beautiful women he immortalized. Photographs fix the fleeting, immortalize the ephemeral. Many of the women Jonvelle photographed are now old or dead, but – thanks to this photographer who is now also dead – their perfection will never fade. Every one of Jonvelle’s photographs is a declaration of love. One day, at my request, he photographed Delphine Vallette, the mother of my daughter. I wanted to give this brunette whom I loved a portrait. Never have I felt such a cuckold – though in the most erotic of ways. Beauty is an evanescent mystery that some artists have the ability to capture. As I look again at these wonderful images, I’m reminded of the title of that American comedy Drop Dead Gorgeous. Jonvelle’s work as a whole is not an ode to femininity; the story it tells is of the battle to vanquish death by means of the celebration of desire. All these shoulders caught by surprise, these half-seen breasts, these finely- arched insteps, these flawless backs, this sensual solitude, this calm between two storms, all these beautiful women who don’t give a damn are simply doors softly opened, through which we may catch a glimpse of eternal life. -- Frédéric Beigbeder Jean-François Jonvelle was born in 1943 in Cavaillon, south of France. Soon he will sell famous melons to buy Hasselblad. Its inspirations will come from the painting of Balthus, Bacon, of Schiele, but the true influence comes from films from Mankiewicz, Lubitsch, Fritz Lang, Orson Welles, Arthur PEN, Minnelli and more recently of Terry Gillian of which it acknowledges to have seen eleven times the film Brazil; Finally its preferred film: Jules and Jim of François Truffaut. In 1959, it is the photographer George Glasberg who initiates him with photography while making him make the turn of France of the cathedrals. It is a photographic revelation which will leave it never again. At the age of 20 he becomes the assistant of the American photographer Richard Avedon. After this enriching experiment he becomes his own 'Master' whose favorite subject will be the woman. Her mom and her small sister of whom he always was very near will be her 'first agreeing victims'. Then come the first 'muse' and accomplice, Tina Sportolaro whom he meets in 1982 and with which he carries out some of his more beautiful images. Will be then Béatrice, Myriam and many others.Source: The Eye of Photography
Mahya Rastegar
Mahya Rastegar
Iran
1980
I am Mahya Rastegar, born 1980 in Tehran, Iran, a graduate in Photography and a Documentary Photographer, based in Tehran, Iran. I began to study Graphic Design in 2000, but quit it very soon in 2001 to find my field of interest somewhere else. After many years, in 2010, I started to study Photography, and graduated in 2013. I am mainly a social documentary photographer, most interested to capture the influential stories of women's lives.From the aspect of appearance, face and fashion, women are different from each other, but they are all the same in the way that all of them make efforts to get stronger in their inner world and possess the ability to live independently. From 2015 until now, I've been working on a long-term documentary photographing project with topic of Iranian women with influential stories. The collections of photos about each woman have the form of stories of their lives, meaning that I'm talking about the lives of these women by taking pictures of them. While holding on to the passion of presenting all type of women issues as a woman and after some serious researches and studies, I started shooting Iranian women trough different projects since 2013. In addition to all my ongoing projects, I have been working on a project called "To Remain Such a Woman" since 2016. I pictured all the women I live inside myself trough more than 10 women living under different conditions in the real/outside world (more on portfolio). This project will be released as a book soon. Some of my photos had the chance to be released on different pages and magazines such as: Panospictures, UK, L'HEBDO Magazine, France, Refinery29 Blog, PRI Org, NYTimes, women Photograph: 2018 year in Pictures, welt.de, leparisien.fr, NBC news, Euronews, Photo printing in Lens magazine 2019, Fine art photography awards 2020 (portrait nominee), Tow Phot's from NBCnews.com's November gallery of Women defying stereotypes in Iran won an AI-AP award in 2020. About Soudabeh Soudabeh was born in 27 October 1976 Soudabeh is the deputy of women bodyguards in ISBTA association. she said : "l was seeking for a sport-educational system for years to evacuate my excitements and beside that I could be able to protect myself in front of bullies and also in dangerous situations", until I got to know the international security and bodyguard training association or ISBTA. This association legally and officially works. Soudabeh's son, Pouria, was born in 25 March 1997. He was 10 when Soudabeh got divorced. Soudabeh has given motivation of independence to his son and Pouria has learned to sport and having a healthy body from his mother. The first reason I chose Soudabeh was the divorce thing.In Iran ‘s society divorce and being divorced is still a taboo for women. A divorced woman can't easily go to work and still has challenges in her work communications with men. Soudabeh and even me are divorced women and we are facing obstacles in this patriarchal society and we were able to prove ourselves with an appropriate job in this society. Which means we can continue living despite the fact that we are divorced. Soudabeh has been a body building coach for 8 years. Before being a coach she used to work in an advertising company in the graphic section. Soudabeh went to a beauty salon which is owned by one of her students. She is student of body building and she just goes to gym for sport. Soudabeh, It's right that she is doing a masculine sport but at first she is a woman and then a mother and ultimately she is a woman bodybuilder. Her position as a deputy in this organization means she can holds ISBTA bodyguard classes for women and she she can teach in this classes as a coach.
Miguel Rio Branco
Miguel Rio Branco
Brazil
1946
Miguel Rio Branco (born 11 December 1946) is a Brazilian photographer, painter, and filmmaker (director and cinematographer). His work has focused on Brazil and included photojournalism, and social and political criticism. Rio Branco is an Associate Member of Magnum Photos. His photographs are included in the collections of the Museum of Modern Art and Metropolitan Museum of Art in New York. Rio Branco was born in Las Palmas, Gran Canaria, in the Canary Islands. His parents were diplomats and he spent his childhood in Portugal, Switzerland, Brazil and the United States. In 1976 he moved to New York City, where he earned a BA, and took a one-month vocational course at the New York Institute of Photography. In 1978, he moved to Rio de Janeiro and studied at the Industrial Design College. He has been an Associate Member of Magnum Photos since 1980. He lives and works in Rio de Janeiro. Rio Branco's Silent Book (1997) is included in Parr and Badger's The Photobook: A History, Volume II.Source: Wikipedia Miguel Rio Branco (born in Las Palmas in 1946) is a Brazilian artist (photographer, painter, filmmaker and creator of multimedia installations) living and working in Rio de Janeiro. In 1966 he studied at the New York Institute of Photography and in 1968 he left to study at the School of Industrial Design in Rio de Janeiro. Between 1970 and 1972, he worked in New York as a director and cinematographer, and in the following years directed several experimental feature and short films. At the same time, he began exhibiting his photographs in 1972. From 1980 he became a correspondent for Magnum Photos and his photographic work was published in numerous magazines (Aperture, Stern, Photo Magazine). Considering the book as an essential medium of expression, he conceived many books including Sudor Dulce Amargo (Fondo de Cultura Económica, Mexico City, 1985), Natka (Fundação Cultural de Curitib, 1996), Silent Book (Cosac & Naify, 1997), Miguel Rio Branco (Aperture, 1998) and Maldicidade (Taschen, 2019). His work has been the subject of numerous solo exhibitions, including Beauty, the Beast at the Art Institute of Boston in 2003; Plaisir de la douleur at the Maison Européenne de la Photographie in Paris in 2005; Solo at Kulturhuset Stockholm in 2011; Miguel Rio Branco: Nada Levarei quando morrer at the Museu de Arte de São Paulo in 2017 and Miguel Rio Branco at the Moreira Salles Institute in São Paulo in 2020. His works can be found in many European and American public and private collections, including: Museu de Arte Moderna do Rio de Janeiro; Museu de Arte de São Paulo; Centre Georges Pompidou, Paris; San Francisco Museum of Modern Art; Stedelijk Museum, Amsterdam; Museum of Photographic Arts, San Diego; MoMA, New York.Source: LE BAL
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