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Yves Marchand & Romain Meffre
© Jules Hidrot
Yves Marchand & Romain Meffre
Yves Marchand & Romain Meffre

Yves Marchand & Romain Meffre

Country: France

Marchand (b.1981) and Meffre (b.1987) live and work in Paris. Initially pursuing photography individually, they met online in 2002 and started working together with the beginning of their Detroit project in 2005. Steidl published The Ruins of Detroit in 2010. A second printing is planned for later this year.

They are currently completing their Gunkanjima book, also to be published by Steidl, and they continue to work on a project documenting American theaters that have either fallen into decay or been transformed entirely. Their work has been exhibited extensively throughout Europe and has been featured in the New York Times, The Guardian, The British Journal of Photography, TIME Magazine, amongst others.

Source: Edwynn Houk Gallery



About Theaters (2005-Ongoing)
In the early 20th century, following the development of the entertainment industry, hundreds of theaters were built across North America. Major entertainment firms and movie studios commissioned specialized architects to build grandiose and extravagant auditoriums.

From the 60's, TV, multiplexes and urban crisis made them obsolete. During the following decades, these theaters were either modernized, transformed into adult cinemas or they closed, one after the other; many of them were simply demolished.


About Gunkanjima (2008-2012)
In the South China Sea, 15 kilometers off the southwest coast of Nagasaki among the thousands of verdant landmasses that surround Japan, lies a mysterious island. With the geometric silhouette of a dark gray hull, perforated by hundreds of small windows, the island resembles a battleship. As one moves closer, approaching by sea, the figure takes shape again and the ghost ship turns into a block of concrete surrounded by a high wall on which waves crash - the island looks like a Japanese version of Alcatraz. Only 40 years ago, this tiny island was home to one of the most remarkable mining towns in the world and maintained the highest population density in the world.

During the wave of industrialisation in the nineteenth century, a coal seam was discovered on the tiny Hashima island. In 1890 the Mitsubishi Corporation opened a mine on the island. For decades coal production sustained Japan's modernisation and helped establish its position as an industrialised nation and imperial power. Workers settled on the island and the population increased. Mine slag was used to expand the surface of the colony; piling up on itself like an ant hill. The small mining town quickly became an autonomous modern settlement (with apartment buildings, a school, hospital, shrine, retail stores and restaurants) which mimicked the other settlements on the Nippon archipelago. One multi-storied concrete apartment block with its brutal and rational style followed another, until the tiny island became the most densely populated place in the world per square meter with over 5,000 inhabitants in the 1950s.


About The Ruins of Detroit (2005-2010)
At the end of the XIXth Century, mankind was about to fulfill an old dream. The idea of a fast and autonomous means of displacement was slowly becoming a reality for engineers all over the world. Thanks to its ideal location on the Great Lakes Basin, the city of Detroit was about to generate its own industrial revolution. Visionary engineers and entrepreneurs flocked to its borders.

In 1913, up-and-coming car manufacturer Henry Ford perfected the first large-scale assembly line. Within few years, Detroit was about to become the world capital of automobile and the cradle of modern mass-production. For the first time of history, affluence was within the reach of the mass of people. Monumental skyscapers and fancy neighborhoods put the city's wealth on display. Detroit became the dazzling beacon of the American Dream. Thousands of migrants came to find a job. By the 50's, its population rose to almost 2 million people. Detroit became the 4th largest city in the United States.

 

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More Great Photographers To Discover

Imogen Cunningham
United States
1883 | † 1976
Imogen Cunningham is renowned as one of the greatest American women photographers. In 1901, having sent away $15 for her first camera, she commenced what would become the longest photographic career in the history of the medium... Cunningham soon turned her attention to both the nude as well as native plant forms in her back garden. The results were staggering; an amazing body of work comprised of bold, contemporary forms. These works are characterized by a visual precision that is not scientific, but which presents the lines and textures of her subjects articulated by natural light and their own gestures. Her refreshing, yet formal and sensitive floral images from the 1920’s ultimately became her most acclaimed images. Cunningham also had an intuitive command of portraiture but her real artistic legacy was secured though her inclusion in the "F64" show in San Francisco in 1932. With a small group of photographers which included Edward Weston and Ansel Adams, she pioneered the renewal of photography on the West Coast. Awarded a Guggenheim Fellowship, Cunningham’s work continues to be exhibited and collected around the world.Source: Photography West Gallery I never divide photographers into creative and uncreative, I just call them photographers. Who is creative? How do you know who is creative or not? -- Imogen Cunningham Cunningham was born in Portland, Oregon, in 1883. In 1901, at the age of eighteen, Cunningham bought her first camera, a 4x5 inch view camera, from the American School of Art in Scranton, Pennsylvania. She soon lost interest and sold the camera to a friend. It wasn’t until 1906, while studying at the University of Washington in Seattle, that she was inspired by an encounter with the work of Gertrude Käsebier, to take up photography again. With the help of her chemistry professor, Dr. Horace Byers, she began to study the chemistry behind photography and she subsidized her tuition by photographing plants for the botany department. After being graduated in 1907 Cunningham went to work for Edward S. Curtis in his Seattle studio, gaining knowledge about the portrait business and practical photography. In 1909, Cunningham won a scholarship from her sorority (Pi Beta Phi) for foreign study and applied to study with Professor Robert Luther at the Technische Hochschule in Dresden, Germany. In Dresden she concentrated on her studies and didn’t take many photographs. In May 1910 she finished her paper, “About the Direct Development of Platinum Paper for Brown Tones,” describing her process to increase printing speed, improve clarity of highlights tones, and produce sepia tones. On her way back to Seattle she met Alvin Langdon Coburn in London, and Alfred Stieglitz and Gertrude Käsebier in New York. In Seattle, Cunningham opened her studio and won acclaim for portraiture and pictorial work. Most of her studio work of this time consisted of sitters in their own homes, in her living room, or in the woods surrounding Cunningham's cottage. She became a sought-after photographer and exhibited at the Brooklyn Academy of Arts and Sciences in 1913. In 1914, Cunningham's portraits were shown at An International Exhibition of Pictorial Photography in New York. Wilson's Photographic Magazine published a portfolio of her work. The next year, she married Roi Partridge, a teacher and artist. He posed for a series of nude photographs, which were shown by the Seattle Fine Arts Society. Although critically praised, Cunningham didn’t revisit those photographs for another fifty-five years. Between 1915 and 1920, Cunningham continued her work and had three children (Gryffyd, Rondal, and Padraic) with Partridge. In 1920, they moved to San Francisco where Partridge taught at Mills College. Cunningham refined her style, taking a greater interest in pattern and detail and becoming increasingly interested in botanical photography, especially flowers. Between 1923 and 1925 she carried out an in-depth study of the magnolia flower. Later in the decade she turned her attention toward industry, creating several series of industrial landscapes in Los Angeles and Oakland. In 1929, Edward Weston nominated 10 of Cunningham's photographs (8 botanical, 1 industrial, and 1 nude) for inclusion in the Film und Foto exhibition and her renowned, Two Callas, debuted in that exhibition. Cunningham once again changed direction, becoming more interested in the human form, particularly hands, and she was fascinated with the hands of artists and musicians. This interest led to her employment by Vanity Fair, photographing stars without make-up. In 1932, with this unsentimental, straightforward approach in mind, Cunningham became one of the co-founders of the Group f/64, which aimed to “define photography as an art form by a simple and direct presentation through purely photographic methods.” In 1934, Cunningham was invited to do some work in New York for Vanity Fair. Her husband wanted her to wait until he could travel with her, but she refused. They later divorced. She continued with Vanity Fair until it stopped publication in 1936. In the 1940s, Cunningham turned to documentary street photography, which she executed as a side project while supporting herself with her commercial and studio photography. In 1945, Cunningham was invited by Ansel Adams to accept a position as a faculty member for the art photography department at the California School of Fine Arts. Dorothea Lange and Minor White joined as well. In 1973, her work was exhibited at the Rencontres d'Arles festival in France through the group exhibition: Trois photographes américaines, Imogen Cunningham, Linda Connor, Judy Dater. Cunningham continued to take photographs until shortly before her death at age ninety-three on June 24, 1976, in San Francisco, California.Source: Wikipedia The imaginative photographer is always dreaming and trying to record his dream. -- Imogen Cunningham
Thomas Dodd
United States
Thomas Dodd is a visual artist and photographer based out of Atlanta, Georgia who has developed a style that he calls "painterly photo montage" - a method he employs during principal photography and in editing software with which he crafts elaborately textured pieces that have a very organic and decidedly non-digital look to them. His work often has mythic and quasi-religious themes that pay homage to Old Master art traditions while at the same time drawing from psychological archetypes that evoke a strong emotional response from the viewer. Although his artwork resembles paintings, his pieces are entirely photographic in nature, fusing many images into a cohesive whole. His larger works are often presented in a mixed media form that adds a depth and texture that complements the photography beautifully. Thomas has had numerous exhibitions of his works in many cities in the USA and around the world. He has had recent shows in New York City, Paris, Mexico City, New Orleans, Tokyo, San Antonio, Seattle, and in his hometown of Atlanta. Dodd's photographs have been featured in many magazines, on book and album covers and he frequently teaches workshops and webinars on photo-editing and marketing for artists. Thomas began his career as a visual artist in 2005. Before that, he was best known as the harpist and songwriter for the 1990s musical group Trio Nocturna, a Celtic Gothic ensemble that put out three critically-acclaimed albums ("Morphia", "Tears of Light" and "Songs of the Celtic Night") and performed at author Anne Rice's annual Halloween balls in New Orleans, as well as spawning an offshoot band called the Changelings. Thomas also played harp on two albums by Michael Gira (the driving force behind the influential post-punk band the Swans): "the Body Lovers" and the Angels of Light "New Mother". The images that Thomas creates are basically a visual equivalent of the music he composed in the 1990s. Mythic themes and their relation to emotions and psychological states continue to be his primary subjects and motivations. Source: thomasdodd.com Interview with Thomas Dodd All About Photo: When did you realize you wanted to be a photographer? Thomas Dodd: There was a period in my early teens where I was inspired by seeing a gallery show of Ansel Adams’ work, and for a short time thereafter I was compelled to study black and white film photography (of course, digital did not exist back then in the 1970s), but that inspiration quickly was replaced by the kick in the ass I received when I heard the Sex Pistols (in 1977) which made me run out and get a guitar so I could take out my teen angst upon the (non-listening) world! AAP: Where did you study photography? With whom? TD: My father taught me the basics of the camera back in the 1970s. I also took a darkroom course in high school. My reemergence as a photographer in 2006 (after a 25 year musical career playing the Celtic harp) was basically a self-taught one with quite a few online tutorials along the way! AAP: Do you have a mentor? TD: My father was a great influence on me- both as a photographer and a human being. AAP: How long have you been a photographer? TD: Since 2006. My brief dabbling in photography in the 70s barely counts! AAP: Do you remember your first shot? What was it? TD: My first real photoshoot was of my friend (and first Muse) Halley dressed in a beautiful Rococo-themed dress she made. We wandered through the streets of downtown Decatur Ga. at around midnight searching for street light to shoot in. AAP: What or who inspires you? TD: Beauty inspires me. Great painters inspire me. An artistic or chameleonesque model inspires me... AAP: How could you describe your style? TD: “Painterly” photo montage with an artistic approach AAP: Do you have a favorite photograph or series? TD: My favorite photo is always the one I am currently working on! AAP: What kind of gear do you use? Camera, lens, digital, film? TD: I really am not one of those photographers who likes to talk about gear because I think the most important tool that an artist possesses is their imagination... but I shoot with a Sony A57 using a 18-70mm lens. AAP: Do you spend a lot of time editing your images? For what purpose? TD: I seem to spend ALL my time editing photos - What purpose? Self expression and sometimes' client satisfaction! AAP: Favorite(s) photographer(s)? TD: Jan Saudek - for the way he created such boldly erotic personal imagery while hiding from a repressive Communist regime... He also used texture and color in a very painterly way which has influenced me a great deal. AAP: What advice would you give a young photographer? TD: Don't be in a hurry to "succeed", and shun advice like "Fake it ‘til you make it". It takes TIME and PATIENCE to develop your own style. Always follow your own voice and don't be swayed by what is currently popular, and don't forget to ENJOY it - this is not supposed to feel like work! AAP: What mistake should a young photographer avoid? TD: Becoming an imitation or a copy of another photographer. Being in a hurry to get published or displayed in galleries is another common mistake. Take the time and develop your craft for a few years before you start thinking about sharing it with the world! AAP: Any quotes you would like to share? TD: "I am steadily surprised that there are so many photographers that reject manipulating reality, as if that was wrong. Change reality! If you don't find it, invent it!" - Pete Turner AAP: What current projects are you working on? TD: Nothing I can tell you about, but I will drop a hint and say it involves shattering some commonly held preconceptions about a "marginalized" segment of society. AAP: Your best memory as a photographer? TD: There have been so many, it's hard to choose an absolute best but I will say my first solo show, my first print sale and my first publication were all high points! AAP: Your worst souvenir as a photographer? TD: My broken D50 which gasped it’s last breath 5 clicks into a nude shoot! Or maybe the memory card and external hard drive that I irretrievably lost data from. Here is some more good advice - ALWAYS use an online backup in addition to discs and hard drives! AAP:The compliment that touched you most? TD: When my 92 year old Mother came to my first big gallery show in Atlanta (featuring some very large nude images) and said she was proud of me... AAP: Your favorite photo book? TD: Bob Carlos Clarke's "The Dark Summer" and Helmut Newton's "White Women". AAP: An anecdote? TD: I long ago learned as a model photographer that the crucial things to pack in your camera bag are not extra lenses, filters and light meters, They are instead bobby pins, safety pins, hair ties, insect repellent and sun block. Oh yeah, and a few model releases too! AAP: Anything else you would like to share? TD: Please feel free to "like" my Facebook page and introduce yourself.
Andrea Reese
United States
Andrea Star Reese is a photojournalist/documentary photographer based in New York currently working in Indonesia.In 2013, Disorder, a documentary reportage on conditions faced by Indonesians suffering from mental illness and undiagnosed mental disorders was exhibited at Visa Pour L’Image Perpignan, and Angkor Photo Festival., Published on Lightbox.time.com. the essay followed men and women in homes, shelters, schools and hospitals.Previously, Urban Cave, a three-year project on long term unsheltered men and women living in makeshift housing in New York City was exhibited at Visa Pour L’Image 2010. Urban Cave received Best Social Documentary from The New York Photo Festival, was a finalist for POYI: World Understanding, a FotoEvidence book award finalist, and a 2010 Visa d’Or, Feature nominee. Most recently Urban Cave was exhibited at Theory of the Clouds Gallery, Kobe, Japan and at the 2013 Athens Photo Festival. Urban Cave has been published internationally. An ongoing update in preperation for a book is in progress.Ms. Reese first worked in Indonesia directing a feature documentary film made up of short stories collected during the 2003-2004 run up to the country’s first direct democratic presidential election. The film covered issues pertinent to the time. On staff at the International Center of Photography School, and a tutor at the 2013 Angkor Photo Festival Workshop, Andrea Star Reese is a 2010 fellow in Photography from the New York Foundation for the Arts and a reGeneration2 photographer.Grants/Awards2013 Finalist Fotoevidence Book Award2012 American Photography 28: Best pictures from 2011_ (Chasing Stigma, working title, work in progress)2011 Honorable Mention International Photo Awards_(Chasing Stigma,working title, as work in progress)2011 Honorable Mention International Photography Award_Merapi’s Breath2011 Finalist Picture of the Year World Understanding Urban Cave 2011 Included as part of AnthropoGraphia2010 New York Foundation for the Arts Fellowship in Photography2010 2nd place fotovisura award2010 Nominated Visa d’or Feature2010 Invited reGeneration2: Tomorrows Photographers Today2009 3 Hon. Mentions International Photo Awards Editorial/Other, Editorial/Essay Deeper Perspective2009 Finalist Magnum Expressions Award2009 Best Social Documentary New York Photo Awards2009 Honorable Mention Camera Club New York2008 Les Visas de L’ANI
Sabine Weiss
Switzerland
1924 | † 2021
Sabine Weiss was born in Switzerland in 1924. In 1942, she wonders what she will do with her life, and decides that she should become a photographer because it is what she loves to do. She is the daughter of a mother who showed her art galleries and Roman churches at a very young age, and of a researcher chemist father who loved to see her print her little photos with the resources available at the time. From 1942 until 1945 she was an apprentice at Boissonnas in Geneva, house of a dynasty of photographers that celebrated its 80th birthday. In 1945 Sabine Weiss moved to a studio in Geneva, but in 1946 she decided to leave the city of her childhood to live in Paris. She knew there was no turning back. She asked Willy Maywald to become her assistant. In 1949, she met the painter Hugh Weiss and realized right away that she would spend her life with him. Sabine Weiss left Maywald, where she mastered her craft and started a long career, experimenting fashion, photojournalism, advertising and everything else she was asked to do. During her free time, she liked to immortalize the depths of man in all simplicity. Her photographs moved Edward Steichen when preparing his major exhibition "The Family of Man" therefore he decided to present three of her images. In recent years, Sabine Weiss has dedicated her time to exhibitions that showcase the humanist side of her work because it meant a lot to her. Key dates 1924 July 23rd Birth at Gingolph in Switzerland, Naturalized French in 1995. 1942-45 Apprentice at Boissonas in Geneva 1945 Swiss diploma of photography 1946 Settles permanently in Paris 1946-50 Assistant of Willy Maywald 1950 Weds the American artist Hugh Weiss 1951 Works for several advertising agencies 1952-61 Contract with Vogue Magazine (Fashion and Assignments) 1952 Enters the Agency Rapho 1952 Free-lance for major magazines in the USA and in Europe like Paris Match, Life, Time, Newsweek, Town And Country, Fortune, Holiday, European Travel And Life, Esquire... covering countries in Europe, Africa, North America and Asia. Most recent exhibitions: 2014 Vannes, Festival de la Photo de Mer "Portugal, 1954" 2014 Zürich, Photobastei, Rétrospective 2014 Genève, Galerie Patrick Cramer, Portraits d’artistes (Giacometti et Miro) 2014 Salon de la Photo, Paris, Porte de Versailles, rétrospective « Chère Sabine » (Tribute to the photographer's 90th birthday) Decorations 1987 Chevalier des Arts et des Lettres (Knight of Arts and Letters) 1999 Officier des Arts et des Lettres (Officer of the Ordre des Arts et des Lettres) 2010 Ordre national du Mérite (French National Order of Merit) Discover Sabine Weiss' Interview
Elaine Mayes
United States
1936
Elaine Mayes has been an active visual artist since 1960. A main focus and emphasis for her work has been investigations of ‘seeing’ and documentary forms in photography. This interest led to a number of projects and seeking out various close at hand situations in the world as subject material for her photographs. Elaine majored in painting and art history at Stanford University and then studied at the San Francisco Art Institute with John Collier, Jr. Paul Hassel, Minor White, Nathan Oliviera and Richard Diebenkorn. Between 1961 and 1968 she was an independent photojournalist working in San Francisco for magazines and graphic designers. During 1967 and 1968 she was a rock and roll photographer and photographed the ‘Summer of Love’ and scene in the Haight Ashbury District of San Francisco. One of her assignments was to photograph the Monterey Pop Festival. This work was published in her book called, It Happened In Monterey. Elaine taught photography for thirty-five years, beginning at the University of Minnesota in 1968. Then she taught at Hampshire College from 1971 to 1981, at Bard College during 1982 and 1983, and at New York University’s Tisch School of the Arts from 1983 until 2001. Elaine was Chair of the Tisch Photography Department from 1997 until her retirement from teaching. Currently, she is Professor Emeritus and is living in the Catskill Mountains of New York actively continuing her work. Elaine’s photography has been exhibited extensively, with recent exhibitions connected with The Fiftieth Anniversary of the Summer of Love and The Monterey Pop Festival and includes the de Young Museum, The California Historical Society, The SFO Museums United Airlines Terminal, The Monterey Art Museum, The Grammy Musuem, Spazio Gerra - Comune di Reggio Emilia, Italy and the Joseph Bellows Gallery in La Jolla. Elaine has received a number of awards including three grants from the National Endowment for the Arts and a Guggenheim Fellowship. She also was awarded funding from The Atherton Foundation for her Hawaiian images and book production for a limited edition handmade book called, Ki i ‘no Hawai’i. Her newest publication is, Recently, Daylight Press, 2013. Elaine is affiliated with Getty Images, Joseph Bellows Gallery, Morrison Hotel Galleries, and Liberal Arts Roxbury.Source: www.elainemayesphoto.com
Cédric Gerbehaye
Ryotaro Horiuchi
Ryotaro Horiuchi was born in Tokyo in 1969. When he was a teenager, he started to work at the furniture studio as an assistant. During his time at the studio, he was asked to take photographs of furniture as its records. And that was the first time he felt his intention to focus on a thing in front of his eyes ''Through The Lends''. And that ''intention'' turned him into ''photo-holic'' by realizing the potential of photographs. Since then, he has been working on his works from Osaka University of Arts and while he was in Germany and till now. Now he is working with ''Descendants of Samurai'' and ''Roma Gypsy'' by taking their portraits. To do so, he keeps focusing on ''the identity'' of them and himself. Falling Waters When I faced the waterfall, my eyes were riveted on the falling waters. The waters kept changing and never became the same figure. I saw the vitality in its overwhelming energy. The waters looked so alive that I felt as if I were photo shooting creatures. These are not scenic photos but portraits of waterfalls. The waters kept moving vigorously with a roaring sound, however, I loved the silence behind it. Quiet Existence I have relatives who emigrated to a foreign country under a state-led migration policy during the pre-war period. They live as minorities in the country. Hearing stories about them as I grew up made me fascinated with people who are defined as minorities. When I was staying in Germany, I later learned that the people who had been closed to me were Roma. I had absolutely no knowledge about Roma at that time and their lifestyle looked just so mysterious to me. Since then, I had been drawn to their strong identity and I visited the area where many Romani people live. I met many other ethnic groups of people who live as minorities there. When I faced their lifestyles, I could see their quiet yet strong identity behind them, which strongly resonated with me. It might be impossible for minorities to maintain their culture without keeping their strong identity. What is identity? The question always makes me ask myself what kind of individuality I retain. Discover Descendants of Samurai
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