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Jim Dow
Jim Dow

Jim Dow

Country: United States
Birth: 1942

Jim Dow (b. 1942, Boston, Massachusetts) is an American photographer who specializes in photographing places, not people. In the tradition of Walker Evans, Dow examines both high and low - baseball stadiums, universities, court houses, Americana, private clubs in New York. His exquisitely detailed work is printed from 8x10" negatives and brings the richness of texture and light to the forefront. Dow photographs urban and rural architectural sites--from drive-in fruit stands to Gothic cathedrals. 8x10" negatives provide extraordinary clarity and precision in his prints, either contact prints or 20x24." His newest series is called "American Studies."

Source: Wikipedia

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More Great Photographers To Discover

Laurent Baheux
Laurent Baheux
France
1970
Laurent Baheux is a French photographer born in 1970 in Poitiers. After covering unrestrained international sport news, Laurent Baheux turned towards nature and wilderness. Its been fifteen years since the photographer works on making collections of images of nature in a dense and contrasting style. Laurent Baheux tries to develop a different way of photographing nature and its faune by attempting to create portraits that depict the personality and humanity of each animal, as an individual. He adopts an animal portrayer approach where aesthetics and sensibility prevail over the documentary vision. Tight or misaligned layouts, blur or grain, raw and deep blacks, he explores all the ways possible, having as only requirement the magnification of his subject instead of just representing it. The photographer actively advocates for organizations of environmental protection such as WWF, the Foundation Good Planet, the Institute Jane Goodall or the Association Cheetah for Ever. In 2013, he became goodwill ambassador for the United Nations program for the environment on the anti-poaching campaign Wild and Precious. His photographs are exhibited in galleries and are part of books, publications and exhibitions in France and abroad. Interview Exclusive Interview with Laurent Baheux
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
Silvia Grav
Silvia Grav
Spain
1993
Born in Pais Vasco (Spain) in December, 1993. Learned to draw before she could talk and one day realizes that this is the thing she wants to do for the rest of her life. Consequently, she starts to study fine arts, but is frustrated soon and leaves during her second year to devote herself to real learning and begins to work as an artist. Since then, her art has appeared in several blogs and major journals. On top she is doing the artwork for various musicians and always is involved in some new projects. What impact has the Coronavirus Pandemic on Silvia Grav?
Laura Heyman
Laura Heyman
United States
Laura Heyman was born in Essex County, New Jersey. She received a B.F.A in photography from University of the Arts in Philadelphia, PA, and an M.F.A. from Cranbrook Academy of Art in Bloomfield Hills, MI. Heyman’s work has been exhibited at Luggage Store Gallery, San Francisco, CA, Deutsches Polen Institute, Darmstadt, DE, Ampersand International Arts, San Francisco, CA, Senko Studio, Viborg, DK, Silver Eye Gallery, Pittsburgh, PA, The Palitz Gallery, New York, NY, Light Work Gallery, Syracuse, NY, The Ghetto Biennale, Port-au-Prince, Haiti, Philadelphia Photographic Arts Center, Philadelphia, PA, The Laguna Art Museum, Laguna, CA, The United Nations, New York, NY and The National Portrait Gallery, London, UK.In 2010, she was nominated for a John Guttman Photography Fellowship, and was awarded a Light Work Mid-Career Artist Grant. She has received the Silver Eye Fellowship, a Ragdale Fellowship and multiple NYFA Strategic Opportunity Stipends. Heyman has curated exhibitions and panel discussions at Vox Pouli, Philadelphia, PA, Wonderland Art Space, Copenhagen DK and the Clocktower Gallery, New York, NY, and her work has been reviewed and profiled in The New Yorker, Contact Sheet, Frontiers, and ARTnews.Pa Bouje Ankò: Don’t Move Again uses the studio portrait to explore embedded hierarchies between photographers, subjects and viewers. The work is driven in part by longstanding questions around photographic representation, specifically those involving the voyeurism and objectification of so-called “third world” subjects by “first world” artists. Seeking to examine these questions in depth, I established an outdoor portrait studio in the Grand Rue neighborhood of Port-au-Prince, Haiti in late November 2009. Advertisements circulated news about a photography studio in the area, where members of the local community could schedule appointments to have their portraits made for free. Working in black and white with an 8x10 camera, I photographed one hundred and twenty people over a period of two weeks.Three weeks later, the meaning of those images shifted with the earthquake. They became both records and memorials. That event also changed the focus of the project, which evolved to include various expanding populations in Port-au-Prince tied to future development and reconstruction.Issues of representation, visual sovereignty and cultural protocol, central to the project from the beginning, became more complicated after the earthquake. When I first arrived in Port-au-Prince, I imagined that positioning myself as a “studio photographer” would allow me to escape or subvert the complex tangle of hierarchies at play in Haiti, as well as in the exchange between photographer and subject. Neither has been the case. Instead, layers of meaning and intention continue to reveal themselves, expanding the project's framework and engaging the myriad contradictions and impossibilities present in the work’s original question.All about Laura Heyman:AAP: When did you realize you wanted to be a photographer?I began making photographs in high school, and knew I wanted to be a photographer before going to college.AAP: Where did you study photography?At University of the Arts in Philadelphia, I studied with Jack Carnell and Alida Fish. At Cranbrook Academy of Art, where I got my MFA, I studied with Carl Toth, and also Grant Kester, who taught Critical Theory at the school during my first year there.AAP:Do you have a mentor or role model?I don’t know that I’d say I have a mentor – there are peers I look to regularly for advice and feedback on my work.AAP: Do you remember your first shot? What was it?One of my first shots was the stream in my grandparent’s backyard in Phonecia, New York. My grandfather fished there, and my older sister and I used to run around and catch salamanders and frogs.AAP: What or who inspires you?Artists like Collier Schorr, An-My Lê, Roni Horn, Robert Adams, Mark Ruwedel, Pieter Hugo; David Shrigley, Jennifer Dalton Ai Wei Wei; Richard Mosse and Liz Cohen. I’m inspired by artists whose work makes me think, those using humor in their practice, and artists who really put themselves on the line. Books and essays, movies and performance – I’m inspired by a lot of different people and things.AAP: How could you describe your style?The visual style of my work changes according to the subject – a constant is subjects or projects that can and do express a layered viewpoint, or pose a series of questions.AAP: What kind of gear do you use? Camera, lens, digital, film?While I sometimes shoot digital, mostly I work analogue, with a medium or large format camera. Lately that has meant using Ilford HP5 black and white film with a Deardorff 8X10 camera and a 300 mm lens.AAP: Do you spend a lot of time editing your images?For me, editing (by which I mean deciding what images are included in a series, not post-production) is at least fifty percent of the job. I spend as much, if not more time editing a series as I do producing it.AAP: Favorite(s) photographer(s)?Collier Schorr, Robert Adams, Rineke Djikstra, Zoe Strauss, Luc DelahayeAAP: What advice would you give a young photographer?Know what you want. Shoot twice as much as you think you should. Be prepared to shoot and re-shoot until you get what you want.AAP: Your best memory as a photographer?A number of photographs I made of some friends while we waited in a car for the ferry. It was cold out, and we were all inside, smoking. The images captured the moment and the subjects very precisely – although this was over twenty years ago, they still have an immediacy that thrills me.AAP: Your worst souvenir as a photographer?A little while ago I was shooting some portraits on a very sunny day, and forgot to flag the lens. The negatives l ended up with were completely fogged and unusable.AAP: If you could have taken the photographs of someone else who would it be?Either Robert Adams What We Bought, or Collier Schorr’s Jens F. Both books have a real hold on me – I’m completely consumed every time I open one up. And after years of looking at them, they still surprise and fascinate me.
Attila Ataner
Attila Ataner
Canada/Turkey
I am of Turkish ancestry, but born in Svishtov, Bulgaria, a small town on the Danube river. During the 1980s, my parents and I lived in Triploi, Libya, where I attended an international school for the children of expats. There, I was introduced to photography by one of my all-time best, and favourite teachers. I have been an avid amateur photographer ever since. I currently live in Toronto, Canada, with my wife and two young children. I am formerly a practicing lawyer, however I recently returned to school to pursue a PhD degree in philosophy, with my focus being on environmental philosophy and legal and political theory. My current passion for photography, and the series of photos I have been working on more recently, is partly informed by my scholarly work on environmental issues. For instance, my series titled "Landscapes of Modernity" is an attempt to translate some of my philosophical ideas into a visual/photographic format. Landscapes of Modernity This series of phots is, in part, an attempt to translate some of my academic work on environmental philosophy into visual/photographic format, an effort to express my ideas through art rather than scholarship alone. My overall project aims to reflect on the contemporary experience of dwelling in extensively built-up, "artificial" spaces. Our ancestors lived in spaces pervaded by natural landscapes, by mountains, valleys, by open skies, and the like. They were surrounded by spontaneous, self-generating, self-sustaining (i.e., so-called "natural") entities. Conversely, consequent to modernity, our visual landscapes are now largely colonized by massive, cuboid, monolithic structures; and by constricted, disrupted or otherwise occluded skies. Above all, we have surrounded ourselves with a seemingly endless array of almost exclusively human-made constructs. This is the central contrast between modernity and the modes of dwelling of our ancestors. ... And here, in this modern moment, we find astounding beauty mixed with a certain apprehension, oppressiveness and brutality - for instance, as is exemplified by the staggering scale of the seemingly omnipresent and ever-expanding character of the structures that now envelop and enframe our lives. I hope my photos manage to capture this duality in the contemporary urban landscape.
Karine Coll
Karine Coll
France
1973
Madly in love with the arts in the broad sense, greedy for words, stories, eager for esthetic experiences, passionate about theater, writing, full-time professor of letters, photographer-poet in my spare time, human being forever, Woman above all. For me, photography is the medium that allows me to get down to the essence of things, a three-step frenzied waltz in which scenography, esthetics and text all come together to create a powerful message. Driven by a desire to delve deep into the possible, i see the photo as responding to a need to go straight to the soul, with all its diversity of approaches, a way of looking at the body as a sculptured tool, a fragment of a human being, as a dreamlike narration, pictorial reality, the shots linked but not all alike, a perpetual exploration of the possible, malleable according to my desires, giving rise to sensation, to hypersensitivity. Fragments The hands, the hands as witnesses of a too long forgotten body, metonymic fragments of a neglected soul, given as food to the monster lurking in the shadows. The hands which twist in silence, those which counter blows, which protect themselves, those which heal wounds in the half-light without ever daring, cruel pantomime smothered in the hollow of a fist. A black and white, dark, realistic series featuring hands, in close-up, the body is erased, the hands alone carry the message. The image is soiled, a grain comes to invade the cliché, to soil it, drowning all humanity, all femininity. Silence, taboo, shut up! Suddenly, the hands are there, referees of the last chance, standing up timidly in a final attempt, the last ramparts against hatred ... do not lower your guard, stand up, the hands finally come together, ally because together they make sense. A glimmer of hope that seeps through clenched fingers, gradually the woman regains body, the fist crushes in an act of assumed resistance, an unexpected force at hand, carried by a desire to wake up the sorority of all . Peaux d'ombre Because the body is only a conception of the mind, a fantasy projection of our eye, erotic or plastic mass, the body dissolves in the image, becomes a play of curves, a chimera. It is in the shadow of time that the male body reveals its power, sublimating our shadow areas.
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."
Steven Stanley Manolakis
Steven Stanley Manolakis
United States
1995
Steven Stanley Manolakis is an aerial photographer based in Sydney. His images of Australian landscapes photographed from above provide a unique view of what lies surrounding us. Since he began shooting in 2018, Steven has earned more than 50 international photography awards and has been published in numerous magazines, including All About Photo, Australian Photography, and The Eye of Photography. Most notably, he was selected as a finalist in the 2020 Australian Geographic Nature Photographer of the Year, awarded eight Honorable Mentions in The International Photography Awards, and has received two Best of Best distinctions in the Creative Communication Awards two years in a row. Steven's work is admired for his uncanny ability to draw out distinct geographical features while flying over vast natural landscapes, creating images with a strong compositional emphasis on subtlety, symmetry, meaning, and minimalism. Statement "As an aerial photographer, I hire out fixed-wing airplanes and helicopters to capture remote landscapes from above. I prefer working with a medium format camera from aircraft to ensure the highest possible image quality. This allows me to print and frame my artwork in large dimensions. The images I take have been described as fine art abstract paintings. Sometimes they can appear textured by brush strokes and coloured with paint. Not all artists are capable of creating art that transcends mediums, and I feel fortunate to have the ability to do so. My work is inspired by a beautiful girl I met and fell in love with. Although we are not together, she remains someone special to me, and my photos attempt to capture the feelings I have of her. As I fly above a vast landscape, I attempt to find and draw out distinct natural features—things that remind me of her beauty, personality, and the impact she's had on me." -- Steven Stanley Manolakis
Tommy Ingberg
Tommy Ingberg
Sweden
1980
Tommy Ingberg is a self-taught photographer and visual artist, born 1980 in Sweden. He works with photography and digital image editing, creating minimalistic and self-reflecting surreal photo montages dealing with human nature, feelings and thoughts. Tommy leaves the interpretation of his work up to the viewer but says, "For me, surrealism is about trying to explain something abstract like a feeling or a thought, expressing the subconscious with a picture. The Reality Rearranged series is my first try at describing reality trough surrealism. During the two and a half years I have worked on the series I have used my own inner life, thoughts and feelings as seeds to my pictures. In that sense the work is very personal, almost like a visual diary. Despite this subjectiveness in the process I hope that the work can engage the viewer in her or his own terms. I want the viewers to produce their own questions and answers when looking at the pictures, my own interpretations are really irrelevant in this context." During the last couple of years he has received international recognition with his work shown in numerous publications and receiving awards and honorable mentions from many different competitions including International Photography Awards, Prix De La Photographie Paris and Sony World Photography Awards. In 2012 Tommy won the Lumen Prize with his picture “Torn”.
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