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Jackson Patterson
Jackson Patterson
Jackson Patterson

Jackson Patterson

Country: United States
Birth: 1975

Jackson Patterson received an MFA from the San Francisco Art Institute in 2009. He began his process in Arizona where he grew up. Exposed to the expansive landscapes throughout the west Jackson laid foundation for his appreciation for the land and the human story within it. He continues to tell the stories of his family and others intertwined with the majestic landscapes in his photomontages. Patterson’s images breathe insight into representation, fabrication, visual language and the relationship of earth and people.

He has been exhibiting his photographs in Hong Kong, London, Pennsylvania, Vermont, Texas, Colorado, Oregon, California and Arizona since 2000 at the Houston Center for Photography, the Museum of Contemporary Craft, Morris Graves Museum of Art, the Pendleton Art Center, the Center for Fine Art Photography, and at the David Brower Center. His work is in various private collections and in the Paul Sack Collection at the SFMOMA. He was recently awarded the Renaissance Photography Prize 2013 for best single image, the International Photography Awards 1st place in 2014, and was a Photo Lucida Critical Mass top 50 photographer in 2015.
Jackson currently resides and works in Chicago.

Website

www.jacksonpatterson.net

 

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More Great Photographers To Discover

Igor Gladkov
Igor Gladkov
Russia
1985
In 2014, I graduated from the Yekaterinburg State Theatre Institute. I shoot videos and documentaries. I photograph people on the street and create art photography. In 2020 and 2022, I won grants from the Goethe-Institut for documentary projects. From 2021 to 2022, I studied at the N.S. Mikhalkov Academy of Cinematographic and Theatre Arts. I live and work in Los Angeles.
Pierre Baëlen
Pierre Baëlen
France
1981
Pierre Baëlen was born in 1981 in South of France. His interest in photography began when his best friend promised him to have good fun in jumping in devastated buldings during photography courses when he was 14 years old. Surprising by the discover of the The 6x6 camera, his first love quickly became the darkroom where he began experimenting with printing and developing in the family's bathroom.He attended Orthez's photography School for Performing & Visual Arts and, from there, went on to attend photography report and experimental in illustration work. He moved to Paris in 2001. In October 2001, he began shooting small assignments as freelance photographer. Next winter he met a car advertising photographer, with wich one he spent about 8 years working and traveling all arround the world as first freelance assistant. During the evolution from large format and digital shooting experimentation in assignement works as first assistant gave him the priceless experience in comptempory photography. Summer 2011, he became a full time photographer. The main theme of his work revolves arround imaginary landscapes, a journey between onirism and comtempory reality. Discover Pierre Baëlen's Interview
Robert Frank
Robert Frank
Switzerland/United States
1924 | † 2019
Robert Frank was a Swiss photographer and documentary filmmaker, who became an American binational. His most notable work, the 1958 book titled The Americans, earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society. Critic Sean O'Hagan, writing in The Guardian in 2014, said The Americans "changed the nature of photography, what it could say and how it could say it. it remains perhaps the most influential photography book of the 20th century." Frank later expanded into film and video and experimented with manipulating photographs and photomontage. I’m always looking outside, trying to look inside. Trying to say something that is true. But maybe nothing is really true. Except what’s out there. And what’s out there is always changing. -- Robert Frank Frank was born in Zürich, Switzerland, the son of Rosa (Zucker) and Hermann Frank. His family was Jewish. Robert states in Gerald Fox's 2004 documentary Leaving Home, Coming Home that his mother, Rosa (other sources state her name as Regina), had a Swiss passport, while his father, Hermann originating from Frankfurt, Germany had become stateless after losing his German citizenship as a Jew. They had to apply for Swiss citizenship for Robert and his older brother, Manfred. Though Frank and his family remained safe in Switzerland during World War II, the threat of Nazism nonetheless affected his understanding of oppression. He turned to photography, in part as a means to escape the confines of his business-oriented family and home, and trained under a few photographers and graphic designers before he created his first hand-made book of photographs, 40 Fotos, in 1946. Frank emigrated to the United States in 1947 and secured a job in New York City as a fashion photographer for Harper's Bazaar. In 1949, the new editor of Camera magazine, Walter Laubli (1902-1991), published a substantial portfolio of Jakob Tuggener pictures made at upper-class entertainments and in factories, alongside the work of the 25-year-old Frank who had just returned to his native Switzerland after two years abroad, with pages including some of his first pictures from New York. The magazine promoted the two as representatives of the 'new photography' of Switzerland. Tuggener was a role model for the younger artist, first mentioned to him by Frank's boss and mentor, Zurich commercial photographer Michael Wolgensinger (1913-1990) who understood that Frank was unsuited to the more mercenary application of the medium. Tuggener, as a serious artist who had left the commercial world behind, was the "one Frank really did love, from among all Swiss photographers," according to Guido Magnaguagno and Fabrik, as a photo book, was a model for Frank's Les Américains ('The Americans') published ten years later in Paris by Delpire, in 1958. He soon left to travel in South America and Europe. He created another hand-made book of photographs that he shot in Peru, and returned to the U.S. in 1950. That year was momentous for Frank, who, after meeting Edward Steichen, participated in the group show 51 American Photographers at the Museum of Modern Art (MoMA); he also married fellow artist Mary Frank née Mary Lockspeiser, with whom he had two children, Andrea and Pablo. Though he was initially optimistic about the United States' society and culture, Frank's perspective quickly changed as he confronted the fast pace of American life and what he saw as an overemphasis on money. He now saw America as an often bleak and lonely place, a perspective that became evident in his later photography. Frank's own dissatisfaction with the control that editors exercised over his work also undoubtedly colored his experience. He continued to travel, moving his family briefly to Paris. In 1953, he returned to New York and continued to work as a freelance photojournalist for magazines including McCall's, Vogue, and Fortune. Associating with other contemporary photographers such as Saul Leiter and Diane Arbus, he helped form what Jane Livingston has termed The New York School of photographers (not to be confused with the New York School of art) during the 1940s and 1950s. In 1955, Frank achieved further recognition with the inclusion by Edward Steichen of seven of his photographs (many more than most other contributors) in the world-touring Museum of Modern Art exhibition The Family of Man that was to be seen by 9 million visitors and with a popular catalog that is still in print. Frank's contributions had been taken in Spain (of a woman kissing her swaddled babe-in-arms); of a bowed old woman in Peru; a rheumy-eyed miner in Wales; and the others in England and the US, including two (one atypically soft-focus) of his wife in pregnancy; and one (later to be included in The Americans) of six laughing women in the window of the White Tower Hamburger Stand on Fourteenth Street, New York City. The truth is somewhere between the documentary and the fictional, and that is what I try to show. What is real one moment has become imaginary the next. You believe what you see now, and the next second you don’t anymore. -- Robert Frank Inspired by fellow Swiss Jakob Tuggener's 1943 book Fabrik, Bill Brandt's The English at Home (1936), and Walker Evans's American Photographs (1938), and on the recommendation of Evans (a previous recipient), Alexey Brodovitch, Alexander Leiberman, Edward Steichen, and Meyer Schapiro, Frank secured a Guggenheim Fellowship from the John Simon Guggenheim Memorial Foundation in 1955 to travel across the United States and photograph all strata of its society. Cities he visited included Detroit and Dearborn, Michigan; Savannah, Georgia; Miami Beach and St. Petersburg, Florida; New Orleans, Louisiana; Houston, Texas; Los Angeles, California; Reno, Nevada; Salt Lake City, Utah; Butte, Montana; and Chicago, Illinois. He took his family along with him for part of his series of road trips over the next two years, during which time he took 28,000 shots. 83 of these were selected by him for publication in The Americans. Frank's journey was not without incident. He later recalled the anti-Semitism to which he was subject in a small Arkansas town. "I remember the guy [policeman] took me into the police station, and he sat there and put his feet on the table. It came out that I was Jewish because I had a letter from the Guggenheim Foundation. They really were primitive." He was told by the sheriff, "Well, we have to get somebody who speaks Yiddish." ... "They wanted to make a thing out of it. It was the only time it happened on the trip. They put me in jail. It was scary. Nobody knew where I was." Elsewhere in the South, he was told by a sheriff that he had "an hour to leave town." Those incidents may have contributed to the dark view of America found in the work. Shortly after returning to New York in 1957, Frank met Beat writer Jack Kerouac "at a New York party where poets and Beatniks were," and showed him the photographs from his travels. However, according to Joyce Johnson, Kerouac's lover at the time, she met Frank while waiting for Kerouac to emerge from a conference with his editors, at Viking Press, looked at Frank's portfolio, and introduced them to each other. Kerouac immediately told Frank, "Sure I can write something about these pictures." He eventually contributed the introduction to the U.S. edition of The Americans. Frank also became lifelong friends with Allen Ginsberg, and was one of the main visual artists to document the Beat subculture, which felt an affinity with Frank's interest in documenting the tensions between the optimism of the 1950s and the realities of class and racial differences. The irony that Frank found in the gloss of American culture and wealth over this tension gave his photographs a clear contrast to those of most contemporary American photojournalists, as did his use of unusual focus, low lighting, and cropping that deviated from accepted photographic techniques. This divergence from contemporary photographic standards gave Frank difficulty at first in securing an American publisher. Les Américains was first published in 1958 by Robert Delpire in Paris, as part of its Encyclopédie Essentielle series, with texts by Simone de Beauvoir, Erskine Caldwell, William Faulkner, Henry Miller and John Steinbeck that Delpire positioned opposite Frank's photographs. It was finally published in 1959 in the United States, without the texts, by Grove Press, where it initially received substantial criticism. Popular Photography, for one, derided his images as "meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness." Though sales were also poor at first, the fact that the introduction was by the popular Kerouac helped it reach a larger audience. Over time and through the inspiration of later artists, The Americans became a seminal work in American photography and art history, and is the work with which Frank is most clearly identified. In 1961, Frank received his first individual show, entitled Robert Frank: Photographer, at the Art Institute of Chicago. He also showed at the Museum of Modern Art in New York in 1962. By the time The Americans was published in the United States in 1959, Frank had moved away from photography to concentrate on filmmaking. Among his films was the 1959 Pull My Daisy, which was written and narrated by Kerouac and starred Ginsberg, Gregory Corso and others from the Beat circle. The Beats emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised. Pull My Daisy was accordingly praised for years as an improvisational masterpiece, until Frank's co-director, Alfred Leslie, revealed in a November 28, 1968 article in the Village Voice that the film was actually carefully planned, rehearsed, and directed by him and Frank, who shot the film with professional lighting. Though Frank continued to be interested in film and video, he returned to still images in the 1970s, publishing his second photographic book, The Lines of My Hand, in 1972. This work has been described as a "visual autobiography", and consists largely of personal photographs. However, he largely gave up "straight" photography to instead create narratives out of constructed images and collages, incorporating words and multiple frames of images that were directly scratched and distorted on the negatives. None of this later work has achieved an impact comparable to that of The Americans. As some critics have pointed out, this is perhaps because Frank began playing with constructed images more than a decade after Robert Rauschenberg introduced his silkscreen composites—in contrast to The Americans, Frank's later images simply were not beyond the pale of accepted technique and practice by that time. Frank and Mary separated in 1969. He remarried, to sculptor June Leaf, and in 1971, moved to the community of Mabou, Nova Scotia in Cape Breton Island, Nova Scotia in Canada. In 1974, his daughter, Andrea, was killed in a plane crash in Tikal, Guatemala. Also around this time, his son, Pablo, was first hospitalized and diagnosed with schizophrenia. Much of Frank's subsequent work dealt with the impact of the loss of both his daughter and subsequently his son, who died in an Allentown, Pennsylvania hospital in 1994. In 1995, in memory of his daughter, he founded the Andrea Frank Foundation, which provides grants to artists. After his move to Nova Scotia, Canada, Frank divided his time between his home there, in a former fisherman's shack on the coast, and his Bleecker Street loft in New York. He acquired a reputation for being a recluse (particularly since the death of Andrea), declining most interviews and public appearances. He continued to accept eclectic assignments, however, such as photographing the 1984 Democratic National Convention and directing music videos for artists such as New Order ("Run"), and Patti Smith ("Summer Cannibals"). Frank produced both films and still images, and helped organize several retrospectives of his art. His work has been represented by Pace/MacGill Gallery in New York since 1984. In 1994, the National Gallery of Art in Washington, D.C. presented the most comprehensive retrospective of Frank's work to date, entitled Moving Out. Frank died on September 9, 2019, at his home in Nova Scotia.Source: Wikipedia I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. It is important to see what is invisible to others—perhaps the look of hope or the look of sadness. Also it is always the instantaneous reaction to oneself that produces a photograph. -- Robert Frank
Brooke Shaden
Brooke Shaden
United States
1987
Brooke Shaden was born in March of 1987 in Lancaster, PA, USA. She grew up near the "Amish Country" until attending Temple University. Brooke was photographically born in December 2008 after graduating from Temple with bachelor degrees in film and English. She now resides in Los Angeles, CA, USA with her husband and two cats. She began creating self-portraits for ease and to have full control over the images, and has since grown into a self-portrait artist. Self portraiture for her is not autobiographical in nature. Instead, she attempts to place herself within worlds she wishes we could live in, where secrets float out in the open, where the impossible becomes possible. Brooke works to create new worlds within her photographic frame. By using painterly techniques as well as the square format, traditional photographic properties are replaced by otherworldly elements. Brooke's photography questions the definition of what it means to be alive. Discover Brooke Shaden's Interview
Anne-Claire Vimal du Monteil
Anne-Claire Vimal du Monteil
France/Canada
1975
Originally from France, Anne-Claire Vimal du Monteil holds a master's degree in Cinematography and a degree in Art History. She worked in culture and cinema in Paris from 1998 to 2005 and then chose to become a commercial photographer and high-end retoucher. In 2009, she moved to Montréal and in 2016, she transitioned to an artistic photography practice. Since 2021, she also works in VFX industry for cinema and TV. Anne-Claire Vimal du Monteil received prices and honorable mentions in many international photography contests. She exhibited her work in Montréal, Londres, Rome and Séoul. She is showcased by Grizzly Montreal. Statement : Her artistic work has two main components : psychological portraits and plastic experimentation. Her portraits take root in psychological and philosophical themes linked to the quest for the self. They take the form of dreamlike, poetic and symbolic pictures. The difficult search and discovery of identity is one of the recurring topics of her work. Her research is also often inspired by the status of women. Her plastic experimentation pictures explore the transformation of reality in the pictorialist or impressionist lineage of photography. Feeling and emotion take precedence over the precise representation of the subject. Reality is distorted and blurred through all kind of real-life filters such as fabric, water, see-through materials.
Steve Schapiro
Steve Schapiro
United States
1934 | † 2022
Steve Schapiro discovered photography at the age of nine at summer camp. Excited by the camera's potential, Schapiro spent the next decades prowling the streets of his native New York City trying to emulate the work of French photographer Henri Cartier Bresson, whom he greatly admired. His first formal education in photography came when he studied under the photojournalist W. Eugene Smith. Smith's influence on Schapiro was far-reaching. He taught him the technical skills he need to succeed as a photographer, but also informed his personal outlook and world-view. Schapiro's lifelong interest in social documentary, and his consistently empathetic portrayal of his subjects, is an outgrowth of his days spent with Smith and the development of a concerned humanistic approach to photography. Beginning in 1961, Schapiro worked as a freelance photojournalist. His photographs have appeared internationally in the pages and on the covers of magazines, including Life, Look, Time, Newsweek, Rolling Stone, Vanity Fair, Sports Illustrated, People and Paris Match. During the decade of the 1960s in America, called the "golden age in photojournalism," Schapiro produced photo-essays on subjects as varied as narcotics addition, Easter in Harlem, the Apollo Theater, Haight-Ashbury, political protest, the presidential campaign of Robert Kennedy, poodles and presidents. A particularly poignant story about the lives of migrant workers in Arkansas, produced in 1961 for Jubilee and picked up by the New York Times Magazine, both informed readers about the migrant workers' difficult living conditions and brought about tangible change-the installation of electricity in their camps. An activist as well as documentarian, Schapiro covered many stories related the Civil Rights movement, including the March on Washington for Jobs and Freedom, the push for voter registration and the Selma to Montgomery march. Called by Life to Memphis after Martin Luther King Jr.'s assassination, Schapiro produced some of the most iconic images of that tragic event. In the 1970s, as picture magazines like Life folded, Schapiro shifted attention to film. With major motion picture companies as his clients, Schapiro produced advertising materials, publicity stills and posters for films as varied as the Godfather, the Way We Were, Taxi Driver, Midnight Cowboy, Rambo, Risky Business and Billy Madison. He also collaborated on projects with musicians, such as Barbra Streisand and David Bowie, for record covers and related art. Schapiro's photographs have been widely reproduced in magazines and books related to American cultural history from the 1960s forward, civil rights, and motion picture film. Monographs of Schapiro's work include American Edge (2000); a book about the spirit of the turbulent decade of the 1960s in America, and Schapiro's Heroes (2007), which offers long intimate profiles of ten iconic figures: Muhammad Ali, Andy Warhol, Martin Luther King Jr., Robert Kennedy, Ray Charles, Jacqueline Kennedy Onassis, James Baldwin, Samuel Beckett, Barbra Streisand and Truman Capote. Schapiro's Heroes was the winner of an Art Directors Club Cube Award. Taschen released The Godfather Family Album: Photographs by Steve Schapiro in 2008, followed by Taxi Driver (2010), both initially in signed limited editions. This was followed by Then And Now (2012), Bliss, about the changing Hippie Generation (2015), BOWIE (2016), Mercicordia (20126) an amazing facility for people with developmental problems, and in 2017 books about Muhammad Ali and Taschen's The Fire Next Time with James Baldwin's text and Schapiro's Civil Rights photos from 1963 to 1968. Since the Metropolitan Museum of Art's seminal 1969 exhibition, Harlem on my Mind, which included a number of his images, Schapiro's photographs have appeared in museum and gallery exhibitions world-wide. The High Museum of Art's Road to Freedom, which traveled widely in the United States, includes numerous of his photographs from the civil rights movement and Martin Luther King Jr. Recent one-man shows have been mounted in Los Angeles, London, Santa Fe, Amsterdam, Paris. And Berlin. Steve has had large museum retrospective exhibitions in the United States, Spain, Russia, and Germany. Schapiro continues to work in a documentary vein. His recent series' of photographs have been about India, Music Festivals, and Black Lives Matter. Schapiro's work is represented in many private and public collections, including the Smithsonian Museum, the High Museum of Art, the New York Metropolitan Museum and the Getty Museum. He has just Received the James Joyce Award and fellowship to University College in Dublin/ Previous recipients included Bishop Tutu, Jesse Jackson and J.K. Rowling Discover Steve Schapiro's Interview
Maja Strgar Kurecic
Maja Strgar Kurecic
Croatia
1972
Maja Strgar Kurecic is a fine art photographer and an Associate Professor of photography at the Faculty of Graphic Arts, University of Zagreb, Croatia. She has been involved in photography for over 25 years. At the beginning of her career, Maja engaged mostly in advertising and journalistic projects. The last few years she devoted to projects that fall within the field of abstract photography. She earned international recognition for her recent projects: Other Worlds, Escape Landscapes and Floating Garden that won many international awards. She exhibited photographs on over 50 group and 20 independent exhibitions, held in country and abroad. OTHER WORLDS (2018) In the intimacy of my room, I immerse myself in an unpredictable, hidden world of colors and liquids. I create abstract motives from scratch. With the camera, I approach the subject and stop the moment of the dynamic process of their interaction. What is elusive to the eye in real time becomes visible in photographs... Although these photographs look like an abstract expression of colors and shapes, for me they mean much more. They represent symbolic landscapes - places where I escape from everyday worries and the real world, symbolize my inner world. What drives me in creation is the eternal search for wider horizons, unfettered spaces that transcend the boundaries of where we are physically standing and transcend into the infinite space of the imagination. For me, creation is a journey to freedom, to an open flow of pure ideas.
Charles Muir Lovell
Charles Muir Lovell
United States
1952
Born in Chicago, Charles Muir Lovell lives and works in New Orleans. He holds an MFA in photography from Central Washington University and a BS in photography from East Texas State University. He began photographing as a young man traveling throughout Europe and South America. He continued his photography practice during his over 20 years as a museum director and curator, a career that took him from the Pacific Northwest to the Southwest and Deep South, everywhere finding distinctive cultures and photography subjects. Lovell has long been passionate about photographing people within their cultures. Upon moving to New Orleans in 2008, he began documenting the city's second line parades, social aid and pleasure clubs, and brass bands, capturing and preserving for posterity a unique and vibrant part of Louisiana's rich cultural heritage. An earlier series based on religious processions in Mexico, El Favor de los Santos, was a Rockefeller Foundation–supported international traveling exhibition and resulted in a book published in 1999 by the University of New Mexico Press, Art and Faith in Mexico. Lovell's photographs have been exhibited nationally and internationally, are found in several permanent collections, including the New Orleans Museum of Art and the Historic New Orleans Collection, and can be seen at www.charleslovell.com and on Instagram @charleslovellart. He received the 2020 Michael P. Smith Documentary Photographer of the Year Award from the Louisiana Endowment for the Humanities. Lovell has also developed a series of photographs called Language of the Streets he began while an artist-in-residence at the Emily Harvey Foundation in Venice, Italy, in 2006–2007. He returned to Venice for a second residency in 2015 and was scheduled to return in 2021 until coronavirus shut everything down. He has continued this series in Naples, Paris, Mexico City, New York and New Orleans. Statement "As a young man, I traveled through Europe and Latin America with my Nikon, living as one of the family with friends in the countries I visited. My travels hugely influenced my work, opening my eyes to how other people lived. As a visual artist, I gravitated toward photographing people within their cultures, trying to capture on film something true about their lives. College and grad school took me to small-town Texas (Commerce) and Washington (Ellensburg), and a long museum career took me to the Pacific Northwest (Tacoma), Southwest (Yuma, Ariz.; Las Cruces and Taos, N.M.) and Deep South (Greenville and Greensboro, N.C., and New Orleans); everywhere I found distinctive cultures and compelling photography subjects. While living in New Mexico, I traveled in Mexico photographing Holy Week religious processions, foreshadowing my current and most significant photographic project: documenting and preserving New Orleans' unique second line parade culture. Upon moving to New Orleans, I became fascinated by the pageantry and celebratory nature of the city's African American cultural tradition of second line parades. I was captivated by their visual richness, their ritual and history, and how they express a vibrant cultural and artistic heritage, intensely alive yet intimately connected to the past. The massive amount of industry that the social aid and pleasure clubs invest in creating their magnificent costumes, decorations, baskets, umbrellas and banners-truly a labor of love-blew me away. Documenting these visually stunning parades quickly became a passion-and a commitment. For more than 10 years, I've followed the weekly parades, taking tens of thousands of color photographs. I've formed friendly relationships with members of the social aid and pleasure clubs that stage the parades, allowing me behind-the-scenes access, resulting in distinctive photographs. My color photographs vividly capture the paraders and brass bands in their elaborate custom-designed, hand-sewn costumes, and the dancing parade followers, revealing the festive mood of these sacred moments of cultural celebration, and preserving them for posterity. I take great care to portray these spirited-and spiritual-ceremonial moments honestly, sensitively and respectfully. In the 20th century other American photographers-notably Ralston Crawford, Lee Friedlander and Michael P. Smith - also documented this cultural tradition, but in black and white. My use of color lets me capture not just the atmosphere of the parades but also their incredible vividness. Formerly I used traditional photographic techniques, but now I embrace new digital methods, bringing to the subject a fresh approach for the 21st century. Taken as a whole, my photographs capture the rich cultural history of second-line parades, a significant artistic and ceremonial tradition deeply rooted in New Orleans' African American culture and unparalleled elsewhere in the United States. I hope that my photographs will increase awareness of the importance of preserving second-line parade culture and contribute to the understanding of Louisiana and its culture, which has sometimes suffered from scholarly neglect and seemingly insurmountable cultural and economic challenges. Another photographic series I have pursued over the years is Language of the Streets, which began taking shape in 2007 during an artist residency at the Emily Harvey Foundation in Venice, Italy. After working in large-format silver gelatin and color photography for over 20 years, I began exploring digital photography using a small-format digital camera. Upon my return to New Mexico, I learned digital printing and exhibited my Venice work at a solo exhibition at the Taos Center for the Arts in 2008. My residency in Venice was extremely influential in the work I began doing after moving to New Orleans in 2008. I began using a medium-format digital camera to make higher-resolution color photographs. Since 2009, I have fully transitioned to a digital practice. I make my own prints on an Epson inkjet printer and work with professional printers on larger works. From the experience of taking street photographs in Venice, I continued my series Language of the Streets in New Orleans, as well as in Naples, the Amalfi Coast, Paris, Mexico City and New York City. In 2015, I was invited back to the Emily Harvey Foundation, where I designed and presented an accordion artist's book, or leporello, featuring the Venice series of photos. Off the Street: New Orleans and Venice, part of the Language of the Streets series, investigates similarities and differences between the two cities, which share a striking mixture of high and low, old and new, closeness to and dependence upon water, a vital tourism sector, a proliferation of graffiti and outdoor art alongside unparalleled historic architecture. My street photographs from the two cities explore back streets not seen by tourists frequenting commercial settings like the French Quarter or Plaza San Marco. I strive to capture the texture of the cities' largely unseen back streets. Both cities also have world-renowned contemporary art competitions: the Venice Biennale and the triennial Prospect New Orleans. Works from my Venice series were exhibited alongside photographs from Mexico City in 2016 at the Contemporary Art Center, New Orleans, in Experiments in Anarchitecture, curated by Andrea Andersson, and in 2017, works from the Venice series were included in Project 387, curated by Berty Skuber at the Archivio Emily Harvey in Venice. " -- Charles Muir Lovell
Tabitha Bernard
Tabitha Bernard
United States
1994
Tabitha Barnard was born in Freedom, New Hampshire in 1994. She is a photographer who grew up in rural Maine with three sisters. Growing up in a very Christian female-dominated family has had a huge influence on her work. Barnard works primarily in digital color photography exploring themes of femininity and religion. She received her Bachelor of Fine Art from Maine College of Art in the Spring of 2016 and a Masters of Fine Art from Massachusetts College of Art in the Spring of 2021. She has worked in both commercial studio settings, as a shooting assistant, and as the media technician for the photo department at the Maine College of Art. She currently works in Portland Maine, teaching at the Maine College of Art.
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Interview
Exclusive Interview with Guillaume Bonn
With his latest book Paradise, Inc., celebrated documentary photographer Guillaume Bonn takes us deep into the heart of East Africa, where the promises and failures of wildlife conservation collide. Far from offering a romanticized vision of nature, Bonn’s work confronts us with urgent realities: the tensions between local communities and conservation policies, the sacrifices of rangers on the frontlines, and the long-lasting impact of human activity on fragile ecosystems. Spanning more than two decades of fieldwork, the project blends powerful imagery with investigative depth, raising difficult but necessary questions about transparency, accountability, and the Western-led models that dominate conservation. Enriched by the voices of those too often left out of the conversation—including a preface by Maasai leader Ezekiel Ole Katato and an introduction by journalist Jon Lee Anderson—Paradise, Inc. is both a stunning visual journey and a call to action. In the following interview, Guillaume Bonn reflects on the making of Paradise, Inc., the ethical dilemmas at the heart of his work, and the urgent need to rethink our approach to conservation in East Africa and beyond.
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Exclusive Interview with Sander Vos
Interview
Exclusive Interview with Sander Vos
Sander Vos is a fine art photographer based in London whose work seamlessly blends elements of Surrealism with portraiture. Drawing inspiration from his background in design, Vos embraces light and contrast to sculpt striking, graphic compositions. His photographs invite the viewer into a world where revelation and concealment coexist, leaving space for imagination and interpretation.
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Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Interview
Exclusive Interview with Tomasz Trzebiatowski Editor-in-chief FRAMES Magazine
Founded in 2020 by photographer, publisher, and classical pianist Tomasz Trzebiatowski, FRAMES Magazine has quickly established itself as a thoughtful space for photography lovers who believe that powerful images deserve to live on paper. Known for its beautifully printed quarterly issues and dynamic international community, FRAMES bridges the gap between tradition and innovation in the photographic world. As editor-in-chief, Trzebiatowski has created not only a publication but a platform that celebrates diverse genres, nurtures dialogue, and champions the tactile experience of print in a digital age. In this interview, he reflects on the journey from founding FRAMES to building a global membership, the challenges of independent publishing, and the future of photography in both print and digital forms.
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Exclusive Interview with Manuel Besse
Interview
Exclusive Interview with Manuel Besse
French photographer Manuel Besse is known for his compelling black-and-white imagery, which blends portraiture, documentary, and poetic narrative into a singular visual voice. With a career spanning several decades and continents—from the gold mines of Serra Pelada to the Arctic Circle—his work reflects a deep commitment to authenticity, human connection, and the preservation of cultural and natural landscapes. His series Macadam, winner of AAP Magazine #41 B&W, offers a contemplative look at fleeting urban encounters, rendered in his signature monochrome style. We asked him a few questions about his life and work.
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