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Gautam Narang
Gautam Narang
Gautam Narang

Gautam Narang

Country: United Kingdom
Birth: 1984

I found photography by mistake, when doing my GCSE, I was sitting in the study room, then heard a teacher describe the subjects they taught at the school. As he was going through the subjects, he mentioned photography. I thought to myself was this a subject? Photography! It's so easy, all you do is click (How, wrong I was, how very wrong) *sigh*. As a child I used to play around with cameras. I always looked through them as was interested In them. So I sat in the lesson and was very enthusiastic to start a creative art. The journey had begun. One of the first subjects I started to picture was boats .....mmm yes boats. I lived near a canal and started to photograph boats. I don't know why I picked boats, it's quite sad when I look back, but that was one of my subjects. I took thousands of photographs, trying to make the subjects look Interesting. I remember one day I took all my photographs and filled up a whole table. The obsession had started but I hadn't known. Pictures now filled my room. From the start I always wanted to show my best. I would keep a box of my best photographs and then throw away all the one's I didn't like. I always feel the next picture is my favorite picture, wanting to create new work. As I progressed through my studies, I became distracted. There were so many subjects to do and I tried them all. One week I was doing art of history, then chemistry. I then dropped them all and just focused on photography. To this day, I follow photography. I have learned a lot but I am still confused on what to do next. I love what I do, but everybody tells me go into other things. Photography is more than clicking a button. From my first trip In India I have learned more about life then I would from anything. It teaches you to look, understand and observe rather then just walk away.


All about Gautam Narang:

AAP: When did you realize you wanted to be a photographer?
Well after high school, I pretty much knew that is something that I’ve wanted to do, and it’s pretty much all that I’ve pictured myself doing. I’ve tried office jobs, but they usually don’t work, for example being an assistant was not a great experience. Order wold be forgotten and i’m not a office type or person, the stress kills me. So i’ve always gratiated to something creative.

AAP: Where did you study photography?
I studied at HND Photography at City and islington. Was the youngest student, out of the program my closet friend was Robert Harper who does amazing fashion photography. We used to chill and take pictures, it was really nice experience. Education to me, especially in the arts isn’t what i’ve expected it to be. The real learning happens when your out of school, and making friends with like minded pepole, finding who you are, I know it sounds like a really simple question, but you get asked “Who are you? What is your favorite movie? Favorite Artist and etc.” These days things are getting competitive and to really stand out is to have strong connections with people.

AAP:Do you have a mentor?
Yes, the teacher at my school. He was in 60’s and was my best friend, he taught me a lot on business, being an artist, encouraged me, let me use his studio and gave experience in the studio with while doing still life photography. He would also make all his own equipment, was really cool learning from him. My other mentor was Jasper James, he introduced me to style. He showed me that movies could be arty, before that I didn’t really watch any arty stuff. We also traveled around the UK on projects and that was a lot of fun.

AAP: How long have you been a photographer?
12 years.

AAP: Do you remember your first shot? What was it?
They were pictures of cannel boats, in England I used to live near a cannel.

AAP: What or who inspires you?
Well Edward Hooper is a great inspiration. His images feel like movie scenes, they have such a powerful mood to them. Artist have always inspired me. William Eggleston is someone would really inspires me.

AAP: How could you describe your style?
As simple and bold. I’m a huge fan of bold colors and like to keep things simple.

AAP: What kind of gear do you use? Camera, lens, digital, film?
I use the Canon 5D Mark II and my iPhone 4, it’s great, you can take it anywhere and pepole aren’t imitated by it, you look like a tourist. The iPhone has a look, in 20 years when we have images that are so sharp that you can’t tell if your looking at something real. Images from are primitive cameras and mobile devices will be called “Retro” they come with a time stamp, the actually medium is a time capsule. It’s not about the quality, it’s about the message, that will last longer.

AAP: Do you spend a lot of time editing your images?
I’m not a fan of editing, i’ve never liked it, only the darkroom.

AAP: Favorite(s) photographer(s)?
Steve McCurry, Willam Eggleston, Dorothea Lange.

AAP: What advice would you give a young photographer?
Go out and find your own vision, and all this likes and things mean nothing. It’s hard putting yourself out there, and pepole don’t usually respond. You start to want to appeal to others and worry if you posting to much. Do it for yourself, who cares about all this fame? Who knows if these websites will be around, this data? One day, you might be recognized.

AAP: What mistake should a young photographer avoid?
Don’t point fingers, point them at yourself first. Don’t blame others, really look at yourself first.

AAP: An idea, a sentence, a project you would like to share?
My work is constantly changing and I like that. To keep evolving you need to keep changing.

AAP: Your best memory has a photographer?
Working on location in India, working in a old Indian palace, documenting Indian folk singers. It’s an experience the kings once enjoyed.

AAP: Your worst souvenir has a photographer?
A broken camera lens.

AAP: If you could have taken the photographs of someone else who would it be?
Steve McCurry he has my dream job

AAP: Anything else you would like to share?
I’m into film making now, really want to be a DOP or camera operator. Currently i’m based in Toronto.
 

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Source: Wikipedia A biographical sketch by Linda Wolcott-Moore "As an FSA documentary photographer, I was committed to changing the attitudes of people by familiarizing America with the plight of the underprivileged, especially in rural America... FSA photographs shocked and aroused public opinion to increase support for the New Deal policies and projects, and played an important part in the social revolution of the 30s", said Marion Post Wolcott. Beginning in September of 1938, Wolcott spent three and a half years photographing in New England, Kentucky, North Carolina, Florida, Louisiana and Mississippi. A photographic pioneer on America's ragged economic frontier, Wolcottt survived illness, bad weather, rattlesnakes, skepticism about a woman traveling alone and the sometimes hostile reaction of her subjects in order to fulfill her assignments from the Farm Security Administration (FSA). Unique among FSA photographers, Wolcott showed the extremes of the country's rich and poor in the late 30's, its race relations, and the fertile land formed with government assistance, which revealed the benefits of federal subsidies. Her work has a formal control, emotional reticence and keen wit.(...) Marion Post entered the 20th Century on June 7, 1910, one of two daughters of Marion (Nan) Hoyt Post and Dr. Walter Post. The Posts were a prominent family in Montclair, New Jersey where Dr. Post was the local physician, a homeopathist, in those days, the leading type of medicine. The Posts ended their marriage when Marion was a young teenager, and she and sister Helen were packed off to boarding school. At Edgewood School in Greenwich, Connecticut, removed from the trials of her parents’ bitter and heart-rending divorce, Marion thrived in a progressive atmosphere which fostered open inquiry, flexibility and individuality. Throughout those early years, she also had a very close, loving relationship with the Post’s black housekeeper, Reasie, a relationship that gave Marion an ease and empathy with the blacks she would later photograph in the fields and juke joints of the deep South. On weekends and in the summer--whenever possible--she spent time with her mother, Nan, in her tiny Greenwich Village apartment in New York City. Nan was working with Margaret Sanger helping to set up health and birth control clinics around the country, a pioneer in her own right and an inspiration to Marion. In "The Village," mother and daughter hung out with musicians, artists, writers and members of the theatrical crowd, went to art exhibits, lectures and concerts, and after graduation from Edgewood, Marion fell in love with, and began studying, modern dance. At the same time she was working her way through school as a teacher of young children, pursuing her interest in early childhood education at the New School for Social Research, and then at New York University. As the Great Depression began to impact the working people around her, she witnessed dramatic class differences among those living in the small Massachusetts town where she was then teaching.(...) Soon after, in 1932, Marion traveled to Europe to study dance in Paris, and later, child psychology at the University of Vienna. There she met Trude Fleischmann, a Viennese photographer with whom her sister Helen was studying. Upon seeing Marion's first photographic images, Trude encouraged her to continue. "Sis," you've got a good eye," she exclaimed, a line Marion Post would never forget, although she was quite reticent about encroaching upon the territory of her sister, Helen, long considered the artist in the family. Meanwhile, a horrified young Marion and Helen were witnessing the rise of Nazism and Fascism in Europe. Of their friends, again many were musicians, artists, and young intellectuals. Many also were Jewish, and Marion watched as swastikas burned in front of the homes of her anti-Nazi friends, and their fields and fences were set ablaze. She was further rocked by the assassination, during the winter of 1933-34, of Austrian Chancelor Dolfuss and the bombing of apartments of socialist workers near Vienna. Lending a hand, she spent several months working in the local schools with the children of Austrian workers. It was too dangerous, however, for her to stay; the University of Vienna had been closed, and Marion was told either to return home or give up her small allowance. Back in the States, she took a teaching position at the progressive Hessian Hills School at Croton-on-Hudson. Here she began taking more photographs and making her first prints. Close to New York, she also became active in the League Against War and Fascism, and, together with Helen, helped Jews, including Trude Fleischmann, leave Europe and immigrate to the United States. She had friends in the socially and politically concerned Group Theatre who became both subjects and clients, and she published her first work in Stage Magazine. Encouraged by her progress, a year later, at twenty-five, Marion moved to New York and began freelancing, even landing a picture on the cover of the New York Times Magazine. She also began attending meetings of the New York Photo League, an important organization that was influencing many of the country's best young photographers. There Marion met Ralph Steiner and Paul Strand who, upon seeing her work, asked her to join a group of serious young photographers who met at Steiner's apartment to discuss and critique each other's photography.(...) Needing more certain wages, Marion accepted a position as a staff photographer for the Philadelphia Evening Bulletin. As a young woman, however, she was required to do stories on the latest fashion and events for the ladies' page, hardly compelling assignments for a young woman of 25 with her background and experiences! Mentioning her frustrations to Ralph Steiner one day, he took her portfolio with him to Washington, to Roy Stryker, head of the Farm Security Administration. Stryker was impressed, asked to meet her. So, armed with letters of recommendation from no less than Paul Strand and Ralph Steiner, Marion Post set off for Washington. She was hired immediately, and joined the ranks of the other FSA photographers, Dorothea Lange, Walker Evans, Russell Lee, and Arthur Rothstein, among them. From 1938 through 1941, Marion produced many of the most vividly moving of the more than 100,000 images in the FSA archives, reflecting her many years of social and political involvement, her strength and independence, and her deep sensitivity to the children and families of the less fortunate. The Farm Security Administration had been mandated by President Franklin D. Roosevelt to assist American farmers who had suffered grievously during the Depression. Families were stranded and starving; soil was worn out, unfit for production.(...) Segregation and discrimination; humiliation and condescension; labor movements; eroded, worn-out land; dirty, sick, malnourished children; overcrowded schools. She traveled primarily alone, got tired and lonely and sick and burned out. She had to wrap her camera in hot water bottles to keep the shutters from freezing; write captions at night in flimsy motel rooms while fending off the men trying to enter through the transoms; deal with southern social workers, suspicious cops, chiggers and mosquitoes; mud, heat, and humidity.(...) In 1941, Marion met the man she wanted to marry--Lee Wolcott, a handsome, bright assistant to Henry Wallace, Secretary of Agriculture under President Roosevelt. Marion completed her assignments and left the FSA in order to raise a family, tend their farms, and later to live and travel extensively overseas. Both passionate, eager, curious, intellectual, they developed interesting modern art and music collections; had interesting, involved friends; were deeply committed to the raising and educating of four accomplished children, and with mentoring their grandchildren. Although she did not again work as a "professional," largely due to the demands of family and overseas living and traveling, she captured numerous serious images of farming in rural Virginia, and later in Iran, Egypt, Pakistan, India, and Afghanistan. Upon returning to the States, she taught and photographed American Indian children in New Mexico, did a series on the ‘70’s counter-culture in Isla Vista, California, and in Mendocino, California. She also was actively involved with the photography communities in both San Francisco and Santa Barbara where she helped, encouraged, and inspired, and was loved by many younger artists, worked with museum and gallery curators, and, in the 80’s, at the urging of the same, undertook a massive project to produce an archive of fine prints of her work of both the FSA and later years.(...) Letter from Paul Strand "Dear RoyIt gives me pleasure to give this note of introduction to Marion Post because I know her work well. She is a young photographer of considerable experience who has made a number of very good photographs on social themes in the South and elsewhere... I feel that if you have any place for a conscientious and talented photographer, you will do well to give her an opportunity."--Paul Strand 6-20-38 Marion's favorite image "I guess if I had to pick one, just one, favorite image, it would be the Negro Man Going Up the Stairs of the Movie Theatre. I think it says the most about me, about what I was trying to do and trying to say." (Conversation with her daughter, Linda)
Robert Polidori
Canada/United States
1951
Robert Polidori is a Canadian-American photographer known for his large-scale color images of architecture, urban environments, and interiors. His work has been the subject of solo exhibitions at the Metropolitan Museum of Art (New York), Musée d'art contemporain de Montréal, Martin-Gropius-Bau museum (Berlin), and Instituto Moreira Salles (São Paulo and Rio de Janeiro). His photographs are also included in the collections of the Museum of Modern Art (New York), New Orleans Museum of Art, The J. Paul Getty Museum (Los Angeles), Victoria and Albert Museum (London), Château de Versailles, Centre Pompidou (Paris), and Bibliothèque Nationale de France (Paris), as well as many private collections. Described as one of "most esteemed practitioners of large-scale photography," Polidori has photographed the restoration of the Château de Versailles since the early 1980s. He has also recorded the architecture and interiors of Havana, the inner-city habitats of Mumbai, Rio de Janeiro, and Amman, the post-Hurricane Katrina devastation of New Orleans, buildings emptied by the Chernobyl nuclear disaster, and shelled structures in Beirut. At the time of the Musée d'art contemporain de Montréal retrospective exhibition in 2009, curator Paulette Gagnon described his work as a "photographic account that invites us to share the historical moments it portrays, making them part of the collective memory." Where you point the camera is the question and the picture you get is the answer to decipher. -- Robert Polidori Robert Polidori was born in 1951 in Montreal, Quebec, Canada, to a French-Canadian mother and a Corsican father. At age 9, Polidori’s family moved to the United States where his father worked as an engineer at Air Force bases and NASA installations. He grew up in Seattle, southern California, New Orleans, and Cocoa Beach, and first attended university in Florida in 1969. During his freshman year, Polidori saw Michael Snow's film Wavelength (1967 film) and, inspired to study filmmaking, moved to New York City. The following year, he was hired by the legendary Jonas Mekas and worked as the theatre manager of the Anthology Film Archives. During this time, Polidori worked on four experimental films, exhibited in 1975 at the Whitney Museum of American Art. In 1980 he graduated with a Masters of Arts in film from State University of New York (Buffalo). Polidori became interested in still photography while editing film frame-by-frame. Inspired by Frances Yates' description in The Art of Memory of mnemonic systems requiring the memorization of empty rooms, he purchased a large-format camera in 1982 and photographed abandoned and apartments on New York's Lower East Side. In 1983 he moved to Paris and, interested in how empty spaces revealed history, began to document the restoration of Château de Versailles as a symbol of "society’s superego". In the late 1990s, Polidori was engaged by The New Yorker to photograph Havana’s decaying architectural heritage and joined the magazine as a staff photographer in 1998. Images from his Cuban series were later published in Havana (2001) by Steidl Verlag. Also interested in inner-city habitats or "auto-constructed" growth, Polidori recorded the favelas of Rio de Janeiro, the urban sprawl of Brasilia, the construction boom in Dubai, and the slums of Mumbai. In May 2001, he photographed the closed Chernobyl nuclear power plant and nearby ghost town of Pripyat, Ukraine, and these images were later published as Zones of Exclusion – Pripyat and Chernobyl (2003). In 2002 Polidori was commissioned to photograph Detroit's Michigan Central Station for Metropolis (architecture magazine). Described by editor Martin C. Pedersen as "a keen observer of the built world", the magazine later published his urban images as Robert Polidori's Metropolis (2005). In the wake of Hurricane Katrina in 2005, Polidori photographed the damaged homes and buildings of New Orleans, and documented the city's early restoration in 2006. Published as After the Flood (2006) by Steidl Verlag, many of these images were also exhibited at New York's Metropolitan Museum of Art as New Orleans after the Flood, a popular and well-attended exhibition. Exhibitions of After the Flood were also mounted in London, Venice, and Toronto, as well as in New Orleans. During this time, Polidori continued to document the restoration of Château de Versailles and these photographs, published in the three-volume Parcours Muséologique Revisité (2009), were included in his retrospective exhibition at the Musée d'art contemporain de Montréal. Polidori returned to Beirut in 2010 where he photographed the damaged rooms of the famous Hotel Petra, abandoned during Lebanon’s civil war. The following year, he traveled to Paris to photograph the stored art collection of Yves Saint Laurent (designer), and to Venice to photograph the fashion label Bottega Veneta's fall 2011 campaign at the Palazzo Papadopoli. From 2011 to 2015 Polidori also revisited and rephotographed Rio as well as Mumbai, including Dharavi's industrial street facade in a series of tracking shots. Exhibited as composite panoramic murals at Paul Kasmin Gallery (New York) in September 2016, these images were also published in the accompanying volume 60 Feet Road by Steidl Verlag. Since 2015, Polidori and his family live in Ojai, California.Source: Wikipedia My photos are physical graphic records. A lot of the places I’ve photographed simply won’t exist – many have already ceased to exist in the state that they were photographed in. They’ve been bulldozed over. Photography is collective memory – that’s its nature... -- Robert Polidori
Mary Ellen Mark
United States
1940 | † 2015
Mary Ellen Mark is an American photographer known for her photojournalism, portraiture, and advertising photography. She has had 16 collections of her work published and has been exhibited at galleries and museums worldwide. She has received numerous accolades, including three Robert F. Kennedy Journalism Awards and three fellowships from the National Endowment for the Arts. Mary Ellen Mark was born in suburban Philadelphia, Pennsylvania, and began photographing with a Box Brownie camera at age nine. She attended Cheltenham High School, where she was head cheerleader and exhibited a knack for painting and drawing. She received a BFA degree in painting and art history from the University of Pennsylvania in 1962, and a Masters Degree in photojournalism from that university's Annenberg School for Communication in 1964. The following year, Mark received a Fulbright Scholarship to photograph in Turkey for a year. While there, she also traveled to photograph England, Germany, Greece, Italy, and Spain. In 1966 or 1967, she moved to New York City, where over the next several years she photographed Vietnam War demonstrations, the women's liberation movement, transvestite culture, and Times Square, developing a sensibility, according to one writer, "away from mainstream society and toward its more interesting, often troubled fringes". As Mark explained in 1987, "I'm just interested in people on the edges. I feel an affinity for people who haven't had the best breaks in society. What I want to do more than anything is acknowledge their existence". Her shooting style ranges from a 2 ¼ inch format, 35 mm, and 4x5 inch view camera. She also uses a Leica 4 for most photographs and Nikons for long-range shooting. Mark loves shooting with a Hasselblad for square format and she shoots primarily in black-and-white, using classic Kodak Tri-X film. Source: Wikipedia Mary Ellen Mark achieved worldwide visibility through her numerous books, exhibitions and editorial magazine work. She published photo essays and portraits in such publications as Life, New York Times, The New Yorker, Rolling Stone, and Vanity Fair. For over five decades, she traveled extensively to make pictures that reflect a high degree of humanism. She is recognized as one of our most respected and influential photographers. Her images of our world's diverse cultures have become landmarks in the field of documentary photography. Her portrayals of Mother Teresa, Indian circuses, and brothels in Bombay were the product of many years of work in India. A photo essay on runaway children in Seattle became the basis of the academy award-nominated film Streetwise, directed and photographed by her husband, Martin Bell. Mary Ellen received the 2014 Lifetime Achievement in Photography Award from the George Eastman House as well as the Outstanding Contribution Photography Award from the World Photography Organisation. She has also received the Infinity Award for Journalism, an Erna & Victor Hasselblad Foundation Grant, and a Walter Annenberg Grant for her book and exhibition project on America. Among her other awards are the Cornell Capa Award from the International Center of Photography, the John Simon Guggenheim Fellowship, the Matrix Award for outstanding woman in the field of film/photography, and the Dr. Erich Salomon Award for outstanding merits in the field of journalistic photography. She was also presented with honorary Doctor of Fine Arts degrees from her Alma Mater, the University of Pennsylvania and the University of the Arts; three fellowships from the National Endowment for the Arts; the Photographer of the Year Award from the Friends of Photography; the World Press Award for Outstanding Body of Work Throughout the Years; the Victor Hasselblad Cover Award; two Robert F. Kennedy Awards; and the Creative Arts Award Citation for Photography at Brandeis University. She published twenty books including Passport (Lustrum Press, 1974), Ward 81 (Simon & Schuster, 1979), Falkland Road (Knopf, 1981), Mother Teresa's Mission of Charity in Calcutta (Friends of Photography, 1985), The Photo Essay: Photographers at work (A Smithsonian series), Streetwise (second printing, Aperture, 1992), Mary Ellen Mark: 25 Years (Bulfinch, 1991), Indian Circus (Chronicle, 1993 and Takarajimasha Inc., 1993), Portraits (Motta Fotografica, 1995 and Smithsonian, 1997), a Cry for Help (Simon & Schuster, 1996), Mary Ellen Mark: American Odyssey (Aperture, 1999), Mary Ellen Mark 55s (Phaidon, 2001), Photo Poche: Mary Ellen Mark (Nathan, 2002), Twins (Aperture, 2003), Exposure (Phaidon, 2005), Extraordinary Child (The National Museum of Iceland, 2007), Seen Behind the Scene (Phaidon, 2009), Prom (Getty, 2012,) Man and Beast (University of Texas Press, 2014,) Tiny: Streetwise revisited (Aperture, 2015,) and Mary Ellen Mark on the Portrait and the Moment (Aperture, 2015.) Mark's photographs have been exhibited worldwide. She also acted as the associate producer of the major motion picture, American Heart (1992), directed by, Martin Bell. Her last book Tiny: Streetwise Revisited is a culmination of 32 years documenting Erin Blackwell, who she first met in 1983 on assignment for Life Magazine. Erin was the subject of both the book and film Streetwise. Martin also made an updated film, Tiny: The Life of Erin Blackwell. Aside from her book and magazine work, Mark photographed advertising campaigns among which are Barnes and Noble, British Levis, Coach Bags, Eileen Fisher, Hasselblad, Heineken, Keds, Mass Mutual, Nissan, and Patek Philippe.Source: www.maryellenmark.com
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