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Chris Anthony
Chris Anthony
Chris Anthony

Chris Anthony

Country: Sweden

Chris Anthony is an artist from Stockholm, Sweden, primarily known for his macabre and Victorian Gothic-inspired photographs. Anthony has also directed commercials for companies such as Deutsche Telekom and music videos for groups such as The Dandy Warhols. Anthony currently specializes in photography. He often uses vintage lenses produced between 1860 and 1910 to help create an "otherworldly atmosphere." He uses 5x7 and 8x10 formats in conjunction with digital scanners in order to manipulate the images in Photoshop.

Chris Anthony has won several prestigious awards including: Black Book Raw - 50 Photographers 2008 Go Indie Photo Contest/PDN Stock Photo Guide 2008 - Professional Grand Prize Winner & Category Winner for "I'm the Most Normal Person I Know" The 2007 Grand Prize in the American Photo Images of the Year competition for "Victims and Avengers" First place in the music advertising category in the International Photography Awards 2007's Professional Photographer of the Year Competition. American Photography 23rd Annual 2007, My Chemical Romance "The Black Parade".

Source: Wikipedia


Chris Anthony's world is wonderful collection of object symbols, set design, and character development. His photographs are an intersection of Renaissance set and costume design, melted with a process that employs both antique photographic equipment and technology through post-production. His work is lush and painterly guided by deep hues of color, muted and apart in time. He creates an image that is akin to filmwork in its narrative, both cinematic and containing all the elements of a story left open-ended. His characters linger in a loosely draped studio space, a century gone by, waiting, wandering, lost in thought, casting challenge to unravel the mystery of the objects that accompany.

Chris Anthony’s work has been exhibited in Los Angeles, Stockholm, Brooklyn, Hong Kong, Washington D.C., London, Bath, San Francisco and is included in many private and public collections around the world. Publications that have featured Anthony and his work include the Los Angeles Times, Washington Post, Photo District News, Eyemazing, Art News, American Photo, Blink, Paper, Photo+, GUP, Fraction Magazine, Nylon, Black Book, Juxtapoz, Zoom, Angeleno, Huffington Post, Corriere Della Sera and LA Weekly. Clients include Chiat/Day, Sony Playstation, Sony Music, Universal Music Group, Republic Records, Warner Music, Los Angeles Magazine, Hollywood Records, Reprise, Stuttgart City Ballet, Myspace Records, Dell and USC.

Born in Sweden, Anthony currently lives and works in Los Angeles, California.

Source: Randall Scott Projects


Selected Books on Available on Amazon
Seas Without a Shore
Seas Without a Shore
Chris Anthony

Galleries

Randall Scott Projects

Corey Helford Gallery

Website

www.chris-anthony.com

 

Selected Book

Seas Without a Shore
Seas Without a Shore
Chris Anthony

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More Great Photographers To Discover

Christian Vizl
Christian Vizl
Mexico
1972
CHRISTIAN VIZL was born in México City and has been a photographer for over three decades. He has won dozens of international professional awards including Wildlife Photographer of the year, International photographer of the year and Sony World Photography awards. He has served as judge in several international underwater photography contests and his images have been published in numerous outlets including National Geographic and Ocean Geographic. Artist Statement "Every since I was a kid, as far back as I can remember, I was attracted to the sea. I dreamt about what lay beneath the waves, and how would it look if suddenly all the water vanished, leaving in stasis all the animals and living creatures. In this way, I could walk inside the ocean and see them all, suspended for a moment in time and space. I have devoted my life to exploring and contemplate the amazing beauty of the ocean and it has been an incredible journey that has brought me a deep feeling of connection with nature, but sadly during my lifetime I have witness the ever-increasing devastation that we humans are creating in this planet. Today the world's Ocean is in grave danger. Overfishing, pollution, plastics, radiation, climate change, acidification and other human pressures threaten the fundamental nature of the ocean and it's animals are being pushed to near extinction. The time to act and reverse our negative impact is now, before it's too late risking loosing everything. The majority of humans see marine animals merely as tons of food, but I see them as so much more than that. They don't have a voice that we can understand, so the higher purpose of my images is to be a voice of the ocean and for the ocean, hoping that people can get a glimpse of who they really are, beautiful sentient individuals, with feelings and different personalities, with complex behaviors and interesting lives that science is only starting to understand. I believe Photography is capable of real service to humanity, promoting empathy and initiating change, so my main purpose as a photographer is to create poetic images showing the incredible beauty of these animals knowing they carry the power of changing our perception and spark the love and empathy that we all have inside. If we want to have a future in this planet, we need to understand that our lives are interconnected to all living animals, and our own well being is directly linked to the well being of these animals. As Dr. Sylvia Earl stated, "No blue no green, if the oceans die, we die" All the images where taken in their natural environment, with great respect to the animals, and for postproduction I only use basic settings in Lightroom." Photography is all about light, and in my opinion, it is the single most important aspect when it comes to creating appealing, inspiring and touching images. Beyond technical issues, what's most important is how I apply and manipulate the light that's available in order to create pictures with dramatic effect, carrying depths of emotion and using contrast and tonalities as means to emphasize form and structure of the scenery. I focus on the emotional impact of the final shot that will connect on a deeper level with the people that observe these photographs. Just as a poet uses words to create poetry, a photographer uses light to create images. So when I'm underwater taking pictures, one of my goals is to create poetic images through the use of light. I try to capture sublime moments of the marine environment, the essence of being there, in that experience and in the presence of that particular animal, capturing their splendor and soul. It's sheer beauty and poetry with images that inspire, make us vibrate through the beauty in every corner of the ocean, an epic sight that make us dream of a better world, where we value and care for all expressions of life.
Mark Power
Mark Power
United Kingdom
1959
Mark Power is a British photographer. He is a member of Magnum Photos and Professor of Photography in The Faculty of Arts and Architecture at the University of Brighton. Power has been awarded the Terence Donovan Award and an Honorary Fellowship from the Royal Photographic Society. Power was born in Harpenden, England, in 1959. He studied Fine Art at Brighton Polytechnic (1978–1981), and then travelled extensively, discovering a love for photography along the way. Upon his return, he worked as a freelance for several UK publications and charities. Power happened to be in Berlin on 9 November 1989 and photographed the fall of the Berlin Wall. He later published the photographs in the book Die Mauer ist Weg! (2014). Between 1992 and 1996, he embarked on The Shipping Forecast — a project that involved travelling to and photographing all 31 areas covered by the Shipping Forecast broadcast on BBC Radio 4. This project was published as a book and was a touring exhibition across the UK and France. He used a Volkswagen campervan as his mode of transport for the project, echoing the late Tony Ray-Jones, whose work has similarities in style and meaning to Power's. Between 1997 and 2000, Power was commissioned to document the Millennium Dome in London, a project that resulted in another touring exhibition and the accompanying book, Superstructure. Around this time his technical methods changed and he began to use colour film and a large format camera. This was followed by The Treasury Project, published in 2002, which recorded the renovation of the UK government's treasury building on Whitehall, London. In 2003, he undertook another personal project, using the London A–Z map as inspiration. The work, titled 26 Different Endings, is a collection of images examining the areas on the outer boundaries of the map. The project was exhibited at the Centre of Visual Art at the University of Brighton, and was published as a book in 2007. Between 1988 and 2002 Power was a member of Network Photographers. In 2002 he became a nominee of Magnum Photos, an associate in 2005 and a full member in 2007. Between 1992 and 2004 he was Senior Lecturer in Photography at the University of Brighton, becoming Professor of Photography in 2004, until the present. From 2004, he spent five years working on The Sound of Two Songs, on Poland's first five years as a member of the European Union. Between 2006 and 2010 Mark Power collaborated with poet Daniel Cockrill to document the rise in English nationalism. The pair undertook a series of road trips around England, culminating in the book Destroying the Laboratory for the Sake of the Experiment. In 2011 he undertook a commission from Multistory to make work that explored the social landscape of the Black Country through photography and film. He made urban landscapes; a series of photographs of elegant footwear; and a series of short films made in beauty salons, tattoo parlours and nightclubs. In 2014 Power began a self-publishing imprint, Globtik Books, with the publication of his book Die Mauer ist Weg!. Power primarily uses a digital medium format view camera, after he worked with large format film for many years. More recently he diversified into short film making.Source: Wikipedia As a child, Mark Power discovered his father's home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens. His interest in photography probably began at this moment, though he later went to art college to study life-drawing and painting instead. After graduating, he travelled for two years around South-East Asia and Australia. To support himself Power tried a number jobs (he was an English teacher, a television actor and a fish farm attendant in Hong Kong; he painted cinema murals in Bangkok; produced large numbers of identical paintings for others to sell as their own in the Australian outback (very questionable, this one!) and ended up running the camera department of a large chemist in Bankstown, in the Western Suburbs of Sydney). While travelling Power began to realise he enjoyed using a camera more than a pencil and decided to 'become a photographer' on his return to England, two years later, in 1983.Source: www.markpower.co.uk
Stephen Hoffman
Stephen Hoffman
United States
I am a documentary photographer who has who spent the last dozen years working with and photographing the people that live the housing projects in Coney Island . I mainly like to record people in their homes and places of worship. I give each person a copy of their picture. When I started this project I worked with film and would come on Saturday morning with a group of pictures and people would line at the basketball court on 24th street to see if I had their photo. Many times a mother or a sister would say that's my brother or my grandma and I would give them the picture. The projects are like one enormous family. Everyone knows everyone else. Even though I now work with digital I still make photos to give out . My greatest thrill is to go to someone's apartment and see my photos hanging on the wall.
Amanuel Sileshi
Amanuel Sileshi
Ethiopia
Amanuel Sileshi is a photojournalist based in Ethiopia currently working for AFP. He loves documenting the change and the effect that humanity brings with conflicts, wars, political reforms. photojournalism is a tool in which we can tell realities in one singular photo.
Dede Pickering
Dede Pickering
United States
1953
Dede Pickering is a photographer, storyteller and humanitarian who travels the world hoping to build a bridge between cultures with her photography. She is committed to the unshakable dignity of all people, and her photographs express a universal human spirit. Exploring the far corners of the world has been Pickering’s lifelong personal journey. Recording what she sees has given her insight into, and empathy for, other cultures and our shared human condition. Recently, Dede has found a connection with ice and the polar regions. Fueled by a curiosity and concern for our shared planet, she hopes that her work will inspire awareness and positive change.
Susi Belianska
Susi Belianska
Slovakia/Italy
1980
Susi Belianska is a photographer and artist with a passion for capturing visual stories, particularly through the art of portrait photography. Her fascination with the intricate details of the human face, the play of light and shadow that accentuates its contours, and the emotions it conveys drives her to create compelling and evocative portraits that tell unique narratives. With a background in the fashion industry, she transitioned into full-time photography in 2007, capturing diverse campaigns and catalogues for national and international brands. Her work has been featured in prominhotent publications like Condè Nast - Vogue Italia, GQ, Financial Times, Vrij Magazine, L’Officiel, D Repubblica, among others. She develops as well her personal projects within fine art. In 2013 she won the Nikon Talent Photo Contest presented and exhibited during the international contemporary art Artissima fair In 2012 she was in shortlist of the Sony World Photography Awards in fashion category. She actively participates in renowned photography festivals, including the Ancona Photo Festival 2021 and Grenze Photo Festival Verona 2022. Das Unheimliche: Das Unheimliche is a photographic project that explores the intersection between the human being and the artificial and invites us to reflect on the complex dynamics and emotional dilemmas that arise when confronted with the possibility that a man-made work can replace a living being. The photographs depict girls representing dolls, thus embodying the idea of the artificial figure hidden behind a human appearance. Each portrait captures the ambivalence of experience in front of these hybrid figures, who seem alive but lack genuine vitality. The expressions on the girls' faces convey a combination of fascination, unease and disquiet, inviting viewers to question the meaning and implications of this substitution. The idea that artificial creations can replace a person has ancient roots and can be traced across different cultures and historical periods. A significant example dates back to ancient Greece, where stories and myths have been documented involving statues or artifacts that come to life. Among these narratives, the myth of Pygmalion stands out, a famous sculptor who fell in love with his own creation: a statue of a woman. Through divine intervention, the statue came to life, highlighting the ability of artificial figures to enchant and involve human affections. Over the centuries, the idea of replacing an individual with an artificial figure has been explored in different forms of artistic expression such as in the film "Die Pupe" by Ernst Lubitsch or the short story "Sandman" by E.T.A. Hoffmann. In Lubitsch's film ,a shy young man decides to marry a mechanical doll to avoid a traditional marriage while in Hoffmann's story, a man becomes obsessed with a female automaton believing it to be alive.These works reflect on the tensions between desire, fear and the challenge of defining what is truly human. With the advent of modern technologies and artificial intelligence, the discussion around the possibility of replacing a human being has taken on a new meaning and relevance. Modern lifelike dolls and artificial intelligence interfaces, such as advanced chatbots, have become subjects of ethical and social debate. These creations raise profound questions about the nature of human relationships, affection and emotional connection, questioning our perceptions of what is authentic and genuine. Exploring the boundary between the human and the artificial has profound implications on a psychological level as well, as what approaches a living being but lacks vitality or completeness can elicit complex emotional reactions. Sigmund Freud's "Das Unheimliche" theory and Masahiro Mori's "Uncanny valley" hypothesis offer perceptive insight into these challenges and ambiguities. According to Freud's "Das Unheimliche" theory, the experience of what is familiar yet strange and disturbing can trigger a variety of psychological reactions, such as disgust or fear. When we are faced with artificial figures that resemble human appearance but without being alive, a feeling of unease can arise that challenges our understanding of what is considered authentic and genuine. Mori's "Uncanny Valley" hypothesis focuses on the concept of an emotional curve that describes our psychological responses based on the level of similarity of an artificial figure to human appearance. The project aims to capture the essence of these reflections, highlighting the contradictions and tensions that emerge. The girls portrayed represent a fascinating duality: on the one hand, they seem to reflect the dolls' ideal of perfection and control, with their delicate features and impeccable poses; on the other, they convey a feeling of foreboding and dissonance, which underlines the lack of authenticity and vitality. Each photograph is intended as an invocation of the need for a deeper connection with our own humanity and the complex emotional dynamics that emerge when we are faced with an artificial creature that seeks to emulate human affection and vitality. The project challenges us to investigate the meaning of humanity and our ability to deal with the complexities of affection, intimacy and replacement in an age characterized by rapid technological advances. It prompts us to explore our relationship to artifice and to deepen our understanding of ourselves. Stars: he focus of this project is to elevate women to a central place in the universe, symbolizing their importance, and to emphasize the need for equal treatment in social and occupational settings. The project features surreal images of women situated in an infinite cosmos surrounded by stars, emphasizing the timeless relevance of the message.The women depicted are captured without clothing to avoid association with any particular historical period, as passing time has no bearing in this context. The stars radiate upon their bodies, symbolizing the brilliance that women should exude in today's contemporary society. This project aims to celebrate those women who break the mold and call for questioning of stereotypes in a society often dominated by male culture. It highlights the strength and resilience of women who have defied non gender equal societal norms.Additionally, the project seeks to ignite discussions and raise awareness about gender inequality, addressing not only men but also women who may unknowingly undervalue their own worth, urging individuals to recognize and appreciate their own intrinsic value.
Marjory Collins
Marjory Collins
United States
1912 | † 1985
Marjory Collins was an American photojournalist. She is remembered for her coverage of the home front during World War II. She was born March 15, 1912 to Elizabeth Everts Paine and writer Frederick Lewis Collins in New York City, and grew up in nearby Scarsdale, Westchester County. She studied at Sweet Briar College and the University of Munich. In 1935, Collins moved to Greenwich Village, and over the next five years she studied photography informally with Ralph Steiner and attended Photo League events. In the 1980s she moved to San Francisco where she obtained an M.A. in American Studies at Antioch College West. Her work as a documentary photographer was taken up by major agencies. As a result of a contribution for U.S. Camera and Travel about Hoboken, New Jersey, she was invited to work for the Foreign Service of the United States Office of War Information. She completed some 50 assignments there with stories about the American way of life and support for the war effort. In line with a new emphasis on multiculturalism, she contributed to photographic coverage of African Americans as well as citizens of Czech, German, Italian and Jewish origin. In 1944 Collins worked freelance for a construction company in Alaska before traveling to Africa and Europe on government and commercial assignments. Thereafter she worked mainly as an editor and a writer covering civil rights, the Vietnam War, and women's movements. In the 1960s she edited the American Journal of Public Health. Collins was very active politically; a feminist, she founded the journal Prime Time (1971–76) "for the liberation of women in the prime of life." In 1977 Collins became an associate of the Women's Institute for Freedom of the Press. Her work is included in the collection of the Museum of Fine Arts Houston. She died in 1985 at the age of 73.Source: Wikipedia By January 1942, Collins had transferred to Washington, DC, to join Roy Stryker's famous team of documentary photographers. Over the next eighteen months, Collins completed approximately fifty different assignments consisting of three thousand photographs. Her upbeat, harmonious images reflected the OWI editorial requests for visual stories about the ideal American way of life and stories that showed the commitment of ordinary citizens in supporting the war effort. Documenting the lives of Americans, discovering my own country for the first time, I was freed of the whims of publicity men wanting posed leg art. -- Marjory Collins During World War II, race and ethnicity consciousness heightened around the globe. United States President Franklin Roosevelt issued Executive Order 8802 on June 25, 1941, to reaffirm a policy of full participation of people of every race, creed, color, and national origin in the national defense program. Multiculturalism became a topic of major importance for government agencies as the United States geared up for war. Collins worked closely with OWI colleagues John Vachon and Gordon Parks and contributed to a substantial photographic study of African Americans. Many of her assignments involved photographing "hyphenated Americans," including Chinese-, Czech-, German-, Irish-, Italian-, Jewish-, and Turkish-Americans. The photographs were used to illustrate publications dropped behind enemy lines to reassure people in Axis-power countries that the United States was sympathetic to their needs. For example, using the popular "day-in-the-life" format favored by picture magazines, Collins portrayed the Winn family at work, at play, and at home. The Winns had arrived in New York from the Czech Republic about 1939 and appeared to be thriving in October 1942. On the job, Collins gave rein to her curiosity about how the other half lived. Roy Stryker wrote in his April 13, 1943 Gossip Sheet for OWI staff, "Marjory is in Buffalo, working on women in industry. This is a special story on women workers for the London Overseas Office." "These photographs should ... portray representative types actually at work rather than posed 'cuties,'" and should show "the very important contribution made towards final victory and how they have adapted themselves to wartime conditions." For one of her topics, Collins covered a young widow (possibly giving her a fictitious name) and her six children, all less than twelve years of age. "Mrs. Grimm's" work outside the home as a crane operator forced heavy responsibility on her older children and required that her younger daughters stay in a foster home Monday through Friday. Some images reveal the family's poverty and their struggle to maintain nutrition and housekeeping ideals. With her social reform interests, Collins felt that this assignment was consistent with Stryker's encouragement to make "pictures of life as it is." She considered the Grimm Family images among her very best, but they also clashed with the glamorized Rosie-the-Riveter concept called for by the OWI. Fellow OWI photographer Alfred Palmer complained that Collins' photographs sometimes showed "the seamy side of life." Palmer and others believed that the OWI had two roles--straight news for publication in the United States and propaganda for overseas audiences. Palmer's news group wanted to clean up photographs, while Stryker's photographers wanted to show how deeply Americans sacrificed to support the war. The Grimm Family photographs are among the last images by Collins that survive in the FSA/OWI Collection. A set of almost fifty photos taken in Tunisia in May and June 1942 are credited to Collins, but no textual records have been found that explain this trip.Source: Library of Congress
Jack Montgomery
Jack Montgomery
United States
1950
"I am a photographer living on the coast of Maine, USA. I have photographed with some seriousness for many years, first with film and then transitioning (in part) to digital. My focus at present is making images by photogravure although I have employed many processes through the years including gelatin-silver, inkjet and palladium. My images are part of the permanent collection of a number of museums. A monograph of the photographs was published by Galerie Vevais (Germany) a few years ago. My images have appeared as book covers for Random House and other international publishers. A full biography and list of exhibitions and publications can be found at my website." -- Jack Montgomery
Laura Tomé
Laura Tomé
Spain
1983
Laura Tomé is a photographer from Barcelona whose passion for photography began in childhood. Her work focuses on documenting abandoned and uninhabited places—spaces rich in history that may one day be transformed and given a new purpose. Through her lens, she explores the relationship between memory, absence, and transformation, capturing details that often go unnoticed while preserving the unique atmosphere of each location. Rather than simply photographing spaces, she seeks to reveal the invisible stories they hold and invite viewers to reflect on the passage of time and the possibilities these places may offer in the future. Statement My work explores the relationship between memory and transformation through the photography of abandoned and uninhabited places. I am drawn to spaces that have been left behind, where traces of past lives remain visible despite the passage of time. These locations exist in a state of transition: they preserve memories of what once was while holding the potential to become something entirely new. Through my photographs, I seek to document this fragile balance between absence and possibility, capturing not only the physical space but also the stories, emotions, and histories embedded within it. By focusing on overlooked details and forgotten environments, I invite viewers to reflect on how places evolve, how memories endure, and how transformation can give new meaning to what might otherwise be lost. All About Photo Competitions Photographer of the Week 24, 2026
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