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Caterina Bernardi
Caterina Bernardi
Caterina Bernardi

Caterina Bernardi

Country: Norway

I was born in a town called Orkanger on the north-west coast of Norway, the land of the northern lights and long winters. This is where I draw a lot of my inspiration from, with its incredibly dramatic scenery and landscapes, and fairytales I grew up with; stories of moody and mystical Nordic environments brimming with depictions of trolls, princesses and nature.

My connection with photography first blossomed in Rio de Janeiro, Brazil where I lived in the very early 1990’s. There, I learned Portuguese, encountered very passionate people and discovered my own passion for photography. A friend had found a producer to make her first CD, and I took pictures of her recording music with famous Brazilian artists in the studio. It was an incredible experience that compelled me to pursue photography, which eventually led me to San Francisco, a magnificent city to go to live and work. There, I got my Bachelors of Fine Arts and ventured out on my own to shoot.

In the past decade I have created images for clients such as Merck, Genentech, Reebok, The Times of London, Pasolivo, Gilead, Bristol-Myers Squibb, KQED TV., Yoga Journal, Vodafone, and Warner Bros, while my work has appeared in photo publications such as Communication Arts, PDN, Graphis, APA Shows, and Graphic Design USA. Currently I am located in San Francisco, CA, but once a year the northern winds call upon me and I go back home and visit Norway, to feel the breeze and see the midnight sun.

Artist Statement
I think artists in general have an innate appetite for life, and speaking for myself, I find that curiosity and passion drive me to explore and create, to be mesmerized by life and it’s constant flux of magical encounters, fears and achievements; my vehicle of expression is the art and craft of photography. In this process I aim to intimately connect the subject and me and ultimately the viewer to a dialogue and to linger, to inspire and to create, and to preserve intense moments of emotion and beauty and mystery.

What I strive for in an image is to get genuine emotion and expressions from the subject. Sometimes it happens very naturally, and sometimes it is a real challenge to put a person at ease, to make them feel comfortable and enjoy having a camera pointed at them. It is a sensitive moment I share with my subjects while photographing, and establishing a connection with the talent is very important in order to capture striking images, and I work hard to make them comfortable and excited so they give their best. With great collaborations everyone wins and walks away with a sense of achievement.

Photography gives my life a purpose and a meaning, to further explore and discover myself, the arts and science, and our mysterious existence.
 

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Louis Faurer
United States
1916 | † 2001
Louis Faurer was an American candid or street photographer. He was a quiet artist who never achieved the broad public recognition that his best-known contemporaries did; however, the significance and caliber of his work were lauded by insiders, among them Robert Frank, William Eggleston, and Edward Steichen, who included his work in the Museum of Modern Art exhibitions In and Out of Focus (1948) and The Family of Man (1955). Growing up in Philadelphia, Faurer showed an early aptitude for illustration. He bought his first camera in 1937 from the photographer Ben Somoroff. After a couple of jobs as a photographic technician, Faurer made his way to Manhattan and into the world of fashion photography. He quickly made contacts that stood him in good stead: Robert Frank, with whom he shared a darkroom/studio and fast friendship, and Walker Evans, whom he'd long admired, who introduced him to Alexander Liberman at Vogue. Faurer did fashion photography for Vogue, Junior Bazaar, Harper's Bazaar, Mademoiselle, Elle, and Glamour, as well as assignments for Life and Look for more than twenty years. He complained that his work at Life involved too much travel, so he quit in the early 1950s. Most of the prints and negatives of his fashion work have probably been discarded, as Faurer stored them with a friend when he left the country in the late 1960s, then failed to reclaim them. It is Faurer’s personal work from the 1940s, 1950s, and 1960s for which he is best remembered. He photographed the streets of New York City and Philadelphia, capturing the restless energy of urban life. His photographs show the great variety of the city's human face. As Robert Frank said in 1994: "Faurer ... proves to be an extraordinary artist. His eye is on the pulse [of New York City] - the lonely 'Times-Square people' for whom Faurer felt a deep sympathy. Every photograph is witness to the compassion and obsession accompanying his life like a shadow. I am happy that these images survive while the world keeps changing." Faurer experimented with blur, grain, double exposures, sandwiched negatives, reflections, slow film speeds, and low lighting. His 1950 photographs of Robert Frank and his new wife Mary at the San Gennaro Festival in New York are a case in point, exploiting maximum-aperture shallow depth of field, reflections and halation of out-of-focus light sources for intimate, romantic results. One of the series attracted the attention of curator Edward Steichen who included it in the world-touring Museum of Modern Art exhibition, The Family of Man, seen by 9 million visitors, and in its catalogue, which has never been out of print. As exacting in the darkroom as he was in the field, he was notorious for being a tireless perfectionist when it came to cropping and printing his work. In the mid-and late 1960s, Faurer experimented with hand-held 16 mm film, using Arriflex and Beaulieu movie cameras, filming in the streets of Manhattan, extending his still camera style into a cinematic medium. Between 1969 and 1974 he lived and worked abroad, mostly in Paris. From the mid-1970s to the mid-1980s, Faurer taught at numerous art schools and universities, including the Parsons School of Design in New York City, Yale University, the University of Virginia in Charlottesville, The New School for Social Research and Stockton State College in New Jersey. In 1984, while running to catch a New York city bus, Faurer was struck by a car and seriously injured. He never photographed again. Faurer spoke of his “intense desire to record life as I see it” as his only motivation: “As long as I’m amazed and astonished, as long as I feel that events, messages, expressions and movements are all shot through with the miraculous, I’ll feel filled with the certainty I need to keep going.” The late Walter Hopps, who was curator of American art at the Corcoran Gallery of Art and the Smithsonian's National Collection of Fine Arts, commented on Faurer's work: "I am in awe of the high point he can reach in a photograph such as Family, Times Square, at the center of New York in the center of our century. Perhaps no other American image stands comparison with Picasso’s Family of Saltimbanques, on their imagined European plane in 1905… Faurer stands and lives as a master of his medium."Source: Wikipedia
Aline Smithson
United States
After a career as a New York Fashion Editor and working along side the greats of fashion photography, Aline Smithson discovered the family Rolleiflex and never looked back. An artist now represented by galleries in the U.S. and Europe and published throughout the world, Aline continues to create her award-winning photography with humor, compassion, and a 50-year-old camera. She has exhibited widely including solo shows at the Griffin Museum of Photography, the Center of Fine Art Photography, the Fort Collins Museum of Contemporary Art, the Lishui Festival in China, the Tagomago Gallery in Barcelona and Paris, and the Wallspace Gallery in Seattle and Santa Barbara. In addition, her work is held in a number of museum collections. Her photographs have been featured in publications including The New Yorker, PDN (cover), the PDN Photo Annual, Communication Arts Photo Annual, Eyemazing, Soura, Visura, Fraction, Artworks, Lenswork Extended, Shots, Pozytyw, Incandescant, Square and Silvershotz magazines. amongst others. In 2012, Aline received the Rising Star Award through the Griffin Museum of Photography for her contributions to the photographic community. She also was presented with the 2014 Excellence in Teaching Award from CENTER. In 2014, Aline's photographs were selected for the Critical Mass Top 50, the PDN Photo Annual, and Review Santa Fe. In 2015, she was awarded First Place Portraiture in the 7th Edition of the Julia Margaret Cameron Awards for Women Photographers and again received the Julia Margaret Cameron Award in the 8th Edition. Aline founded and writes the blogzine, Lenscratch, that celebrates a different contemporary photographer each day and offers opportunity for exhibition. She has been the Gallery Editor for Light Leaks Magazine, a contributing writer for Diffusion, Don't Take Pictures, Lucida, and F Stop Magazines, has written book reviews for photoeye, and has provided the forwards for artist's books by Tom Chambers, Flash Forward 12, Robert Rutoed, Nancy Baron, Meg Griffiths amongst others. Aline has curated and jurored exhibitions for a number of galleries, organizations, and on-line magazines. She was an overall juror in 2012 for Review Santa Fe, a juror for Critical Mass from 2009-2016, a juror and curator for Flash Forward, and is a reviewer at many photo festivals across the United States. Aline is also a founding member of the Six Shooters collective. In the Fall of 2015, the Magenta Foundation released a retrospective monograph of Aline's photographs. She lives and works in Los Angeles and considers her children her greatest achievement. Discover Aline Smithson's Interview Find out more about Self & Others
Sid Avery
United States
1918 | † 2002
Sid Avery (October 12, 1918 – July 1, 2002) was an American photographer and director who was best known for capturing the private moments of legendary Hollywood celebrities like Elizabeth Taylor, Rock Hudson, James Dean, Marlon Brando, Humphrey Bogart and Audrey Hepburn as showcased in his book Hollywood at Home. Avery was born in Akron, Ohio on October 12, 1918. He was only nine months old when they decided to move out to Los Angeles, California, which is where he grew up. Sid Avery received his high school education at the institution of Roosevelt High School. He discovered his love and talent of photography when he was young due to the fact that he was able to work with his uncle, Max Tatch, who was a landscape and architectural photographer. His uncle was able to teach him the skills required to use cameras, film, and darkrooms. After he graduated from high school, Sid Avery worked in a camera store on Sunset Boulevard, Hollywood where he further gained love and inspiration for photography. While working in the shop, he had opportunities to meet many famous photographers. This also encouraged him to take more photography classes. He also gained the experience of being a darkroom assistant. He served in the Army in World War II. When he returned from the war, he began his work of photographing celebrities. Sid Avery eventually became one of the top advertising photographers in Los Angeles. He was also a director of television commercials. Sid Avery was married to Diana Avery. Together they had three children named Sandra Guttman, Marc Avery, and Ron Avery. Sid Avery also had three grandchildren. He founded the Hollywood Photographer's Archive (HPA) and which is known today as mptvimages.com in an effort to preserve the work of the early Hollywood photographers. Sid Avery's work was commonly featured in publications such as Life, Look, Colliers and The Saturday Evening Post. There is a collection of his work, Hollywood at Home: A Family Album 1950-1965, that was published by Crown in the year of 1990. He is most famous for his work of photography that captured the home life of famous celebrities at the time. He captured the celebrities in their own element aside from the glamour of fame. Sid Avery died at the age of 83 on July 1, 2002, in Los Angeles, California.Source: Wikipedia One of six children, Sid Avery was born in 1918 in Ohio and moved to Los Angeles at a young age. Avery repaired a broken brownie box camera that he had found, and with the tutelage of his architectural photographer uncle he began to learn the basics of the photographic profession. By the time he entered Roosevelt High School, Avery’s talent in photography won him numerous prizes and after graduation he landed a job at Morgan’s Camera store on Sunset Boulevard. Avery was pursuing various odd photography jobs when World War II intervened. He was drafted into the Army, assigned to the Signal Corps, and selected to receive six months of training at Life magazine in New York before being sent overseas. Avery was stationed in London and was placed in charge of the Army Pictorial Service Laboratory, where all the stills and combat footage that came out of the European Theater of Operations passed through his hands. This included the detailed, highly classified photomontages of the French coast which were produced for the Normandy invasion. In order to handle this special material, Avery was granted an immediate commission by General Eisenhower himself. Photojournalism publications proliferated during the post-war years, and interest in film stars and their private lives grew to an all time high. During the 1950’s and early 1960’s, Avery photographed screen legends such as Humphrey Bogart, Lauren Bacall, Clark Gable, James Dean, Marlon Brando, James Stewart, and Alfred Hitchcock. His photographic essays appeared in the pages of The Saturday Evening Post, Look, Photoplay, Collier’s, Reader’s Digest, and many others. Avery’s characteristically low key, unobtrusive manner struck a sympathetic chord with reclusive and difficult personalities like Humphrey Bogart, who generally refused to be photographed. Bogart would eventually allow himself to be photographed by Avery with his pregnant wife Lauren Bacall and his son Stephen at their home. Sid Avery photographs have been exhibited and have been included in the permanent collections of the Museum of Modern Art in New York and San Francisco, the International Center of Photography in New York, the Smithsonian Institute in Washington, D.C., and the Los Angeles County Museum of Art in California.Source: Wikipedia
Scott Bourne
United States
Ian McFarlane
United States
1970
Justine Kurland
United States
1969
Justine Kurland was born in Warsaw, New York. She earned her B.F.A. from the School of Visual Arts in 1996. She went on to Yale University and graduated with an M.F.A. in 1998. Kurland first gained public notice with her work in the group show Another Girl, Another Planet (1999), at New York's Van Doren Waxter gallery. The show included her large c-print staged tableau pictures of neo-romantic landscapes inhabited by young adolescent girls, half-sprites, half juvenile delinquents. This was her first exhibition of a photographic interest that lasted from 1997, when she began taking pictures of her mentor Laurie Simmons's babysitter and her friends, to 2002. Altogether, Kurland published 69 pictures of girls in a series called Girl Pictures. The staged photos take place in urban and wilderness settings, with girls depicted as though to imply they are runaways, hopeful and independent. As landscapes, she chose the "secret places" of late childhood; wasteland on the edges of suburbia, "owned" only by a feral nature and unsupervised children. Her book Spirit West (2000) featured similar work on a more ambitious scale. In early 2001 Kurland spent several months in New Zealand, where she created similar work with schoolgirls there. In her show Community, Skyblue (2002), Kurland turned to document the utopian communes of Virginia and California, highlighting the unworldly aspirations of the communards by having them appear naked in her pictures and showing them as only distant figures in their landscape. In 2003 she had European solo shows Golden Dawn (London) and Welcome Home (Vienna), based around these series of commune images. Old Joy (2004) turns to men. She shows visionaries trekking naked into the wilderness, where they undergo spiritual experiences. In her 2004 show Songs of Experience, she explored medieval and Biblical imagery. In 2005 she had a solo show in Japan. After having a son, Kurland began to photograph pregnant women and new mothers (Mama Baby, 2004-2007). Her son's interest in trains would lead her to photograph hobos and trains from 2007 to 2011 (This Train Is Bound for Glory); as he grew up, she became interested in American masculinity, and created photographs of cars and mechanics (Sincere Auto Care, 2014-2015). Kurland's work appears on the cover and liner notes of French electronic/shoegaze group M83's 2004 album Dead Cities, Red Seas & Lost Ghosts, as well as the covers of the EP releases for the album. In an article in ArtForum (April 2000) she talked of her inspirations: "I'm always thinking about painting: nineteenth-century English picturesque landscapes and the utopian ideal, genre paintings, and also Julia Margaret Cameron's photographs. I started going to museums at an early age, but my imagery is equally influenced by illustrations from the fairy tales I read as a child." Selections from her work Highway Kind were published in the book The Open Road: Photography & the American Road Trip by David Campany.
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