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LAST CALL TO WIN A SOLO EXHIBITION IN MAY 2026 - DEADLINE APRIL 21
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Tim Flach
Tim Flach
Tim Flach

Tim Flach

Country: United Kingdom
Birth: 1958

Tim Flach is an animal photographer with an interest in the way humans shape animals and shape their meaning while exploring the role of imagery in fostering an emotional connection. Bringing to life the complexity of the animal kingdom, his work ranges widely across species, united by a distinctive stylisation reflecting an interest in how we better connect people to the natural world.

He has four major bodies of work concerning different subjects: Equus (2008) focusing on the horse, Dogs Gods (2010) on canines, More Than Human (2012) a broad exploration of the world’s species, and Endangered (2017) a powerful document of species on the edge of extinction. He has published five books; Endangered (2017), Evolution (2013), More than Human, (2012), Dogs Gods (2010) and Equus (2008).

Flach is an Honorary Fellow of the Royal Photographic Society, and was awarded an Honorary Doctorate from University of the Arts London in 2013. He lives and works in London with his wife and son.

Source: timflach.com


Over the past decade, Flach's work has increasingly focused on animals, ranging widely across species but united by a distinctive style that is derived from his concerns with anthropomorphism and anthropocentrism. His interests lie in the way humans shape animals, and shape their meaning. He has three major bodies of work: More Than Human, Dogs Gods, and Equus. Through the related books and exhibitions, Flach has attracted international interest. His images have been acquired by major public and private collections.

Commissions by leading editorial and commercial clients have also garnered multiple awards, including three Cannes Lions. He has won the International Photography Award's Professional Photographer of the Year for fine art, and in 2013 was conferred with an Honorary Doctorate from Norwich University of the Arts, in recognition of his contribution to photography.
Selected Books on Available on Amazon
Tim Flach: Birds
Tim Flach: Birds
Tim Flach
Tim Flach: Evolution
Tim Flach: Evolution
Tim Flach
More Than Human
More Than Human
Lewis Blackwell, Tim Flach
Dogs
Dogs
Lewis Blackwell, Tim Flach

Agencies

Peter Bailey Production

Éléonore Charrey

Galleries

Osbourne Samuel Gallery

Opiom Gallery

Crane Kalman Brighton

Website

timflach.com

 

Tim Flach's Video

Selected Books

Tim Flach: Birds
Tim Flach: Birds
Tim Flach
Tim Flach: Evolution
Tim Flach: Evolution
Tim Flach
More Than Human
More Than Human
Lewis Blackwell, Tim Flach
Dogs
Dogs
Lewis Blackwell, Tim Flach

Inspiring Portfolios

Jesús Umbría Brito
© Jesús Umbría Brito
Nanda Hagenaars
© Nanda Hagenaars
Carole Mills Noronha
© Carole Mills Noronha
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More Great Photographers To Discover

Serena Dzenis
Serena Dzenis
Australia
1984
Serena Dzenis is a lens-based artist from Australia who resides in Iceland. She uses her work to tell stories about science, conservation, environmental issues and the future of mankind. Serena’s photographs depart from the traditional, with a focus on capturing the otherworldliness that is sometimes associated with nature and human constructions on our own planet. The emphasis of her art is on storytelling within the landscape – connecting with the land and exploring the outcomes of human desires while immersing oneself in the rhythms and dangers associated with the living presence of this world. 2021 ± II: Utopia Broadcasting Do you think that the first space colony created by mankind will happen during your lifetime? Technology has advanced so quickly over the past few years. In the overall scheme of things, we’re just a flash in the pan and yet we’ve done so much to change our planet. Humankind is leaving a profound legacy on Earth, exploiting its resources to turn it into the sanctuary that we want it to be or perhaps farewelling a paradise that we’ve already lost. ‘2021 ± II: Utopia Broadcasting’ encapsulates everything about human construction, sheer curiosity, consumerism, as well as the wonders and dangers associated with science. The overall aim of this project is to utilise existing structures within the Icelandic landscape to transport the viewer’s imagination to another world that exists outside of time. In doing so, the hope is to invoke conversation around themes of futurism and dreams for a better life amidst the darker side of human ideals.
Builder Levy
Builder Levy
United States
New Yorker Builder Levy has been photographing America and her inhabitants for the past 50 years. His social consciousness took him to significant areas of our country during tumultuous times. His commitment to aesthetically [or artistically] documenting the world around him earned him the prestigious Guggenheim Fellowship in 2008. Levy's work is in more than 50 public collections, including the Metropolitan Museum of Art, Brooklyn Museum, High Museum of Art, International Center of Photography, Victoria and Albert Museum, and La Bibliotheque Nationale. He is also the author of two published photographic books. Source: Arnika Dawkins Gallery Intertwining social documentary, art and street photography, Builder Levy has been making photographs as objects of art that celebrate the human spirit for almost fifty years. He was awarded a John Simon Guggenheim Memorial Foundation Fellowship (’08), an Alicia Patterson Foundation Fellowship (‘04), a Furthermore Grant (‘03), Puffin Foundation Grant (‘01), and National Endowment for the Arts Visual Artists Fellowship in Photography (‘82), and two commissions from the Appalachian College Association (’95 and ‘02). Levy’s two books are Images of Appalachian Coalfields, Temple Univ. Press, with a foreword by Cornell Capa, and Builder Levy Photographer, A.R.T. Press, with an introduction by noted photo historian Naomi Rosenblum. Levy has exhibited in more than 200 shows, including more than 50 one-person exhibitions in New York City, throughout the United States and around the world. In the Fall 2011, he is included in the exhibits Coal + Ice, curated by Susan Meiselas & Jeroen de Vries, a project of the Asia Society, at the Three Shadows Art Centre in Beijing; Posing Beauty, curated by Deborah Willis at Fisher Museum of Art, USC, Los Angeles (9/11-12/11); Photo Folio at the Museum of Fine Arts, Houston (10/11-1/12); at the Arnika Dawkins Gallery (Black & White and Color), (with 13 photographs) (10/1-10/29/11) in conjunction with Atlanta Celebrates Photography; and Mirrors and Reflections: A Group Show, curated by Evelyne Z. Daitz with co-curator Alison Bradley at the Robert Anderson Gallery at 24 West 57th Street, New York (11/17/11-1/7/12) The High Museum of Art included Levy’s photographs in the historic exhibition, Road to Freedom: Photographs of the Civil Rights Movement, 1956-1968 (and the accompanying eponymous book/catalogue), curated by Julian Cox. It opened at the High Museum of Art in 2008, and traveled for two years to museums in D.C., Chicago, Los Angeles and New York City. The Rubin Museum of Art in NYC featured 14 of Levy’s photographs in the show Mongolia: Beyond Chinggis Khan, 11/06-4/07. Levy’s work is in more than 50 public collections in the US and around the world, including the Metropolitan Museum of Art, Brooklyn Museum, High Museum of Art, International Center of Photography, Victoria and Albert Museum, and La Bibliotheque Nationale. His photographs are featured in more than 25 books including, Harlem, A Century in Images, Studio Museum of Harlem, Skira/Rizzoli 2010, Freedom, Phaidon Press, 100 New York Photographers, Schiffer Press ‘09, Deborah Willis’ Posing Beauty, Norton Press, ‘09, Coal Country, Sierra Club Books, ’09, and Road To Freedom: Photographs of the Civil Rights Movement, 1956-1968. He was the featured artist (with 22 photos) in Appalachian Heritage, (Spring 2010). His subjects include inner-city New York City where he was a NYC teacher of at-risk adolescents for 35 years; coalfield Appalachia (spanning more than 40 years), civil rights and peace demonstrations (in the 1960s), Mongolia and other developing nations. He is completing a new book, Appalachia USA. Source: builderlevy.com
Li Zhensheng
Li Zhensheng
China
1940
Li Zhensheng (born September 22, 1940) is a Chinese photojournalist who captured some of the most telling images from the Great Proletarian Cultural Revolution, better known as the Chinese Cultural Revolution. His employment at the Heilongjiang Daily, which followed the party line, and his decision to wear a red arm band indicating an alliance with Chairman Mao Zedong, allowed him access to scenes otherwise only described in written and verbal accounts. His recent publication of the book, Red-Color News Soldier exhibits both the revolutionary ideals and, more notably, many of the atrocities that occurred during the Cultural Revolution. The Heilongjiang Daily newspaper had a strict policy in accordance with a government dictate that only "positive" images could be published, which consisted mostly of smiling revolutionaries offering praise for Chairman Mao. The "negative" images, which depicted the atrocities of the time, were hidden beneath a floorboard in his house before he brought them to light at a photo exhibit in 1988. Early life Li Zhensheng was born to a poor family in Dalian, which is located in the northeastern province of Liaoning, China. At the time of his birth this was Kwantung Leased Territory, where Japan maintained the puppet regime, Manchukuo. His mother died when he was three, and his older brother, who was a member of the People's Liberation Army was killed during the Chinese Civil War. Zhensheng helped his father, who was a cook on a steamship and later as a farmer, until Zhensheng was 10-years-old. Zhensheng quickly rose to the top of his class despite starting school late. He later earned a spot at the Changchun Film School, where he acquired much of his photographic knowledge. In 1963, he briefly achieved a job at the Heilongjiang Daily, however the Socialist Education Movement soon intervened and he ended up back in the countryside for nearly two years, living with peasants and studying the works of Chairman Mao. Cultural Revolution Zhensheng returned to Harbin just months before the outbreak of the Great Proletarian Cultural Revolution in the spring of 1966. A lack of photographic film, marauding Red Guards, and a political dictate against photographing the negative aspects of the revolution restricted what he was able to portray. He soon realized that only people wearing the red-colored arm band of the Red Guards could photograph without harassment. To achieve this, he founded his own small rebel group at the newspaper. Zhensheng then captured some of the most horrific acts of the Cultural Revolution. His collection includes photos depicting dehumanizing tactics used by the Red Guards to humiliate or degrade alleged counterrevolutionaries. Some of the images depict public displays of "denunciations," where the hair of prominent individuals is shaved. Other images show people bearing "dunce" hats; people with black paint spread over their faces; others wearing signs around their necks with writings that criticize their profession or names. Zhensheng also captured scenes of public executions of counterrevolutionaries who were never given a trial for their alleged crimes. At the height of the Cultural Revolution, Zhensheng was once more sent back to the countryside in September 1969. He was sent to the May 7th Cadre School in Liuhe, a labor camp where he and his wife, Zu Yingxia, spent two years performing hard labor. Zhensheng had taken meticulous care of the documented "negative" images he captured while at the newspaper, hiding them beneath a floorboard of his one-room apartment. The dry atmosphere and mild temperatures of Harbin aided the preservation of the photographic negatives. While he was sent away, Zhensheng entrusted a friend to care for the apartment, and instructed him to never reveal the secrets it contained. Zhensheng returned to the newspaper in 1972 as the head of the photography department, and later became a professor at Peking University in 1982. About Red-Color News Soldier Red-Color News Soldier is a literal translation of the Chinese characters written on the armband Li Zhensheng wore during the Chinese Cultural Revolution. Although, he says he never gave his alliance to Chairman Mao, wearing the arm band gave him unprecedented access to historic events, which have since shaped Chinese culture. The book covers the period from just before the Cultural Revolution in 1965 to just after in 1976. It is separated into five chronological sections: 1964-1966 titled "It is right to rebel"; 1966 titled "Bombard the Headquarters"; 1966-1968 titled "The Red Sun in our hearts"; 1968-1972 titled "Revolution is not a dinner party"; and 1972-1974 titled "Die Fighting." The veteran China analyst John Gittings was among the reviewers who welcomed Li's book. He noted that Li was a Red Guard as well as a photographer and did not deny that he also led "struggle sessions" against innocent victims; but his pictures reflect a deeper desire to record and understand. Li's book was "unique" for a simple reason: "Although the post-Mao Chinese government has labeled the cultural revolution '10 years of chaos,' it still tries to suppress any real inquiry into the countless human tragedies it caused..." The book, which has not been published in China, took many years to publish. Zhensheng's "negative" pictures (those that depicted the atrocities of the cultural revolution) were first revealed publicly in March 1988 at a Chinese Press Association's photography competition in Beijing. The show, entitled "Let History Tell the Future" consisted of twenty images from his collection, which were deemed "counterrevolutionary. " In December of that year, Zhensheng met Robert Pledge, an American who was director of Contact Press Images, an international photo agency, who had come to Beijing. They agreed to work together on a book of Zhensheng's photos, but to wait until the political climate was right. Seven months later, in June 1989, the brutal events of Tiananmen Square made worldwide headlines, and Zhensheng became determined to produce a book to show the world the images from the Cultural Revolution. Work on the book began in 1999. Since Pledge did not speak Chinese, and Zhensheng did not speak English, the two had to coordinate work through the use of translators — many of whom became integral parts of their relationship. Zhensheng sent over 30,000 brown envelopes to Pledge's office in New York City, each containing photographic negatives. A number of the images are self-portraits of Zhensheng. This was the result of always returning to the paper with one extra frame on the film roll; a photojournalism technique of always being prepared to cover a breaking news event at the last minute. Zhensheng would "burn off" the last image with a photo of himself shortly before developing the film. Often the poses were humorous and playful. One such image of Zhensheng exposing his bare chest was published in the book He said he was attempting to recreate the old expression of "baring one's chest in the face of adversity," or in his case, communism. During book tours Zhensheng makes a point to speak of his love for China. He says while he disagrees with the government, he still loves his country and hopes democracy will perhaps prevail in the long-term future. He does not believe his images or the book should be considered anti-Chinese, rather a reminder of the painful past many countries endure during their evolution.Source: Wikipedia
Imogen Cunningham
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
Mahmud Hams
Mahmud Hams
Palestine
1980
Mahmud Hams. I studied media and graduated in 2001. I have worked for the French Press Agency as a photojournalist since 2003. I covered many events for the agency in the Gaza Strip and neighboring countries, including sports. I won many international awards in the field of photojournalism and war coverage. I covered five wars on Gaza and all the stories. I study photojournalism at several universities.
Penelope James
Penelope James
United States
1974
I have lived many lives. A girl. A woman. A mother. A friend. A traveler. A believer. A creator and so many more. These lives have interwoven and diverged, twisted and tangled more times than I can count, but they've ultimately intersected into who I am today. As the journey unfolded, a camera fell into my hands and a passion was unleashed. My work shows you the world, perhaps, not as it is, but as I see it through the lens of my many lives and the passion that resides behind the camera. Statement These self portraits were created out of an abundance of nervous energy that demanded an outlet. Each photo is a visual representation of the very deep and powerful emotions that were provoked during the insidious year of 2020, and each photo also represents the release of that emotion as the process was completed. Never before had I experienced the therapeutic effects of creating art as I did during that time. There was not a specific theme in mind when creating these. In fact, there was not even a plan to have more than one. But time and circumstances demanded the energy be released and eventually the theme became clear: A hope to fly away. To escape. To be free.
Bruce Davidson
Bruce Davidson
United States
1933
Bruce Davidson began taking photographs at the age of ten in Oak Park, Illinois. While attending Rochester Institute of Technology and Yale University, he continued to further his knowledge and develop his passion. He was later drafted into the army and stationed near Paris. There he met Henri Cartier-Bresson, one of the founders of the renowned cooperative photography agency, Magnum Photos. When he left military service in 1957, Davidson worked as a freelance photographer for LIFE magazine and in 1958 became a full member of Magnum. From 1958 to 1961 he created such seminal bodies of work as “The Dwarf,” Brooklyn Gang,” and “Freedom Rides.” He received a Guggenheim fellowship in 1962 and created a profound documentation of the civil rights movement in America. In 1963, the Museum of Modern Art in New York presented his early work in a solo show. In 1967, he received the first grant for photography from the National Endowment for the Arts, having spent two years witnessing the dire social conditions on one block in East Harlem. This work was published by Harvard University Press in 1970 under the title East 100th Street and was later republished and expanded by St. Ann’s Press. The work became an exhibition that same year at the Museum of Modern Art in New York. In 1980, he captured the vitality of the New York Metro’s underworld that was later published in a book, Subway, and exhibited at the International Center for Photography in 1982. From 1991-95 he photographed the landscape and layers of life in Central Park. In 2006, he completed a series of photographs titled “The Nature of Paris,” many of which have been shown and acquired by the American Academy of Arts and Letters. Davidson received an Open Society Institute Individual Fellowship in 1998 to return to East 100th Street His awards include the Lucie Award for Outstanding Achievement in Documentary Photography in 2004 and a Gold Medal Lifetime Achievement Award from the National Arts Club in 2007. Classic bodies of work from his 50-year career have been extensively published in monographs and are included in many major public and private fine art collections around the world. He continues to photograph and produce new bodies of work.Source: Magnum Photos
Andrea Finocchi
Andrea Finocchi
Italy
Andrea Finocchi was born in Rome in 1985, he studied at the University La Sapienza nursing and began working as an instrumentalist in the operating room. After the pandemic he became passionate about street photography dedicating a large part of his time to this art form, winning in 2021 the first prize at the Paris International Street Photo Awards, in the beach & pool category.
Gabriele Viertel
Gabriele Viertel
Germany
German fine art photographer, born near Cologne, Gabriele Viertel now lives and works in Eindhoven, Netherlands. She grew up as the youngest of 3 children in a rural area with an extended family of aunts, uncles and cousins. Inspired by her father, an avid filmmaker and amateur photographer, she took for the first time at the age of 14 his analogue camera to photograph the children of the family. During the education in technical design, she worked as a model to fund the studie. Completed the degree, Gabriele decided to move on to pursue the international career as a model and worked more than a decade for designers such as Dior and Karl Lagerfeld. Since 2008 she dedicated herself entirely to the art of photography as a freelance artist. Conceptually, Viertel's images play with the dialog between the mediums of painting and photography. The magical, often surreal pictorial language and the chiaroscuro light are characteristic means of expression. The major part of her works is staged underwater. Gabriele has received numerous awards, most recently the platin award of Graphis New York, the gold medal of the International Color Award, the silver medal of Prix de la Photographie Paris as well as the Merit Award of Best of Contemporary Photography, Fort Wayne Museum of Art. Her work has been featured in international exhibitions and publications in Europe and North America, notably the Museum of Art Fort Wayne and the Heritage Municipal Museum Malaga. One book on her work has been published by Associazione Artistico Culturale Cameraraw.it. Gabriele's works are in the public collections of the Fort Wayne Museum of Art, Indiana USA and the University of Art, Rotterdam NL as well as in various private collections.
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