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Dave Jordano
Dave Jordano
Dave Jordano

Dave Jordano

Country: United States
Birth: 1948

Dave Jordano was born in Detroit, Michigan in 1948. He received a BFA in photography from the College for Creative Studies in 1974. In 1977 he established a successful commercial photography studio in Chicago, IL, shooting major print campaigns for national advertising agencies.

Since 2000, Jordano has concentrated on and established himself as an awarding winning mid-career fine art documentary photographer. He was awarded an honorable mention in the Houston Center for Photography’s Long Term Fellowship Project in 2003, and received the Curator’s Choice Award the following year for his documentary work on Small African American Storefront churches on the south side of Chicago. In 2006, 2008, 2013, and 2016 Jordano has been selected as a top 20 finalist in Photolucida's "Critical Mass" International Photography Competition. He was also selected for inclusion in "One Hundred Portfolios", a compilation featuring the work of 100 leading photographers from around the world and sponsored by Wright State University, Dayton, OH. A major exhibition of his work from the "Articles of Faith" project was held at the Chicago Cultural Center, Chicago, Illinois in 2009.

In 2014-15 he was a finalist in the LensCulture Exposure Awards for his documentary work on Detroit and was also included in the highly competitive Outwin Boochever Portrait Competition at the National Portrait Gallery in Washington DC. Most notably, Jordano won the prestigious Canadian AIAMI / AGO Photography prize for 2015, which included a $50,000 prize and a six week, fully paid residency anywhere in Canada which he fulfilled by documenting the northern arctic town of Iqaluit, Nunavut, Canada.

Jordano has exhibited both nationally and internationally and his work is included in several private, corporate, and museum collections. Most notably the Library of Congress, Prints and Photographs Division, Washington DC, the Museum of Contemporary Photography, Chicago, IL, The Museum of Fine Arts Boston, The Museum of Fine Arts Houston, The Detroit Institute of Arts, The Mary & Leigh Block Museum of Art at Northwestern University, Evanston, IL, the Harris Bank Collection, and the Federal Reserve Bank.

His second book, published by the Center for American Places at Columbia College, Chicago titled, "Articles of Faith, Small African American Community Churches of Chicago", released in April 2009.

His most recent publication, "Detroit - Unbroken Down" documents the cultural and societal changes of his home town of Detroit and was published in the fall of 2015 by PowerHouse Books, Brooklyn, NY.

His fourth coming publication "A Detroit Nocturne" with an essay by Karen Irvine, Co-Director of the Museum of Contemporary Photography, Chicago, will also be published by PowerHouse Books and has a launch date scheduled for April 2018.

Dave Jordano currently lives in Chicago, Illinois.
 

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More Great Photographers To Discover

Manuel Armenis
Germany
1971
Manuel Armenis is an award winning independent street and fine-art photographer based in Hamburg, Germany, dedicated to documenting daily life. He was born in Mannheim (Germany). He studied at Icart, École de Photographie in Paris (France), and at the University of the Arts in London (England). Since graduating he has been working as an independent filmmaker and photographer. The emphasis of his practice is the realization of long-term projects with a focus on exploring the human condition within everyday and commonplace urban environments. Manuel´s work has been exhibited internationally in galleries in both solo and group shows. His photographs were published in leading contemporary photography magazines and online. He has received numerous awards, including 1. prize winner at the Sony World Photography Awards in 2018, and has been a finalist at the LensCulture Street Photography Awards in 2017 and at the Meitar Award for Excellence in Photography in 2019, among others. Manuel currently lives and works as a freelance photographer in Hamburg, Germany. About Diamond Days The quintessential trait of the mundane is, of course, its lack of spectacle. It is recognizable to us, familiar, in its plainness and with its non-event-character. Due to those alleged properties it is a world that gets all too willingly labeled boring and banal. At times we might even feel offended by its lack of sophistication. We believe to know the mundane well, but, unimpressed by its unremarkable nature, we usually choose to look elsewhere. And yet, as much as we try to ignore it, there remains this suspicion that we might not be able to evade it. An inkling that it might contain something that keeps us connected. The series Diamond Days is an exploration of the commonplace. We are shown snippets of the everyday, fragments of moments, ordinary situations. There is a playful touch to this world, a colorful lightness and warmth, a sense of joy; and yet, these unassuming landscapes seem to contain something else. Elusive. Layered. Ambiguous. A somewhat bleaker undercurrent which might pick up on the sensation of slight unease that we often associate with the ordinary. By carrying signs of human behavior and a way of living, the ordinary provides us with a rendering of the now. But it also contains references to a time gone by and challenges us to look back. It exposes our need to make sense of our lives and raises the tricky question of what could have been. It confronts us with the notion of missed opportunities and unfulfilled dreams. And it reveals our disposition to fill any void with nostalgia.
Raymond Cauchetier
France
1920 | † 2021
Raymond Cauchetier was a French photographer, known for his work as the set photographer from 1959 to 1968 on many films of the French New Wave. His photographs are an important record of the New Wave directors at the beginning of their careers, and of their unconventional and groundbreaking production methods. A 2009 profile of Cauchetier in Aperture magazine declared that his photographs "are themselves central works of the New Wave." Cauchetier was born in Paris on 10 January 1920. His mother worked as a piano teacher. She raised him as a single parent; he never met his father. Cauchetier dropped out after completing grammar school. He escaped from Paris by bicycle and joined the French Resistance after the Fall of France in 1940. After World War II ended, Cauchetier enlisted in the French Air Force as the First Indochina War was unfolding. He began his career in photography there serving as a combat photographer in Vietnam. He consequently purchased his own Rolleiflex camera and utilized it for most of his career. Cauchetier was conferred the Legion of Honour by Charles de Gaulle, in recognition of his battlefield work. Cauchetier remained in the region after his service in the Air Force concluded, taking pictures of Angkor Wat in Cambodia. He gifted a set of 3,000 pictures to Norodom Sihanouk, which were ultimately destroyed by the Khmer Rouge. Cauchetier met director Marcel Camus, who was in Cambodia to shoot the film Mort en fraude (Fugitive in Saigon), in 1957. He was subsequently recruited as the set photographer. Upon Cauchetier's return to France, he failed to find work as a photojournalist. He was instead employed to take pictures for photo-romans, a kind of photographic graphic novel, by publisher Hubert Serra. Through Serra, Cauchetier became acquainted with Jean-Luc Godard, then working as a film critic and hoping to become a filmmaker himself. Godard hired Cauchetier as the set photographer for his debut film, À bout de souffle (1960), a breakthrough both for Godard and for French cinema. Other films Cauchetier worked on include Léon Morin, prêtre, directed by Jean-Pierre Melville, and Jules et Jim (1962) by François Truffaut. His photographs of the production in 1960 of Godard's film, Une femme est une femme, captured off-camera moments of Godard and lead actress Anna Karina. Godard and Karina married the following year. Raymond Cauchetier stopped working as a set photographer in 1968 due to the job's low pay. He continued publishing photographs, but his images from the New Wave are considered by critics to be his best work. Amendments to the copyright law of France in the mid-2000s granted photographers the rights to pictures they had captured as a paid employee. Consequently, many of Cauchetier's previously unseen works were able to be released. His collection titled Photos de Cinéma was published in 2007. Six years later, the Academy of Motion Picture Arts and Sciences hosted an exhibition of his work in Los Angeles. He went on to publish the artist's book Raymond Cauchetier’s New Wave in 2015. Raymond Cauchetier turned 100 in January 2020. In September of that year, an exhibition of his notable photos was held at the Galerie de l'Instant in Paris. He died five months later on 22 February 2021 in Paris. He was 101, and was diagnosed with COVID-19 during the COVID-19 pandemic in France prior to his death.Source: Wikipedia Taking a photojournalist’s approach to the job, he instead shot Belmondo and Seberg in action, making carefully framed, richly textured photographs that captured moments of play and spontaneity. His pictures also showed Godard and cinematographer Raoul Coutard at work, offering future film historians a rich trove of behind-the-scenes images. “In assembling his movie-centered still-photo dossiers, he created perhaps the greatest and most revealing photographic documents ever made of films in progress,” film author Richard Brody wrote in a 2015 New Yorker article. “Cauchetier is the auteur of set photographers.” Mr. Cauchetier photographed Godard pushing Coutard in a wheelchair, enabling the cinematographer to shoot a low-budget tracking shot; another photo showed the director with a canvas-covered trolley cart equipped with a hole for the camera, which Godard used to shoot on the busy Champs-Élysées. In one of his best-known images, he photographed Seberg kissing Belmondo on the cheek, while the actor gripped a cigarette and gazed into the distance. Although it was inspired by a sequence in “Breathless,” the image never appeared in the film. “That day, to avoid the crowds, Godard shot from up high on the fifth-floor of a building,” Mr. Cauchetier told The Guardian in 2015. “You could just make out this minuscule couple parting with a chaste kiss in front of a newspaper stand. I went down afterwards and said I wanted to do a close-up of a kiss because it summed up their characters so well. They obliged. It lasted five seconds.”Source: The Washington Post
Anastasia Egonyan
Ukraine/Armenia
1987
Anastasia Egonyan (b.1987, Kharkiv, Ukraine) is an international artist of Armenian descent based in Berlin. Her practice is driven by emotional fluctuations and psychological experiences that are deeply rooted in her introspective life experiences. She continues to balance a longstanding practice in photography with evolving focus on painting and textile. Frequent engagement with family narratives, Armenian ancestry, and the exploration of female fragility are closely integrated into the evolving sense of self, as she continues to expand her approach across diverse mediums. Anastasia integrates textiles and predominantly natural materials into her artistic practice, delving into the tactile and symbolic dimensions of her heritage. Her work includes manual photo transfer techniques, traditional Armenian sheep wool, and the delicate use of pearls. By incorporating Armenian words and common phrases into her creations, she preserves and celebrates her cultural identity. Anastasia finds profound symbolism in the simplicity of everyday life while honouring the strength and resilience of women through historical and cultural lenses. Egonyan’s artistic practice is grounded in psychological self-reflection, where themes of ancestral heritage and identity gradually unfold. Her use of oil paint, textile, photography collages, and mixed media often employs layering techniques to shield the vulnerable aspects of emotional and personal experience. These layers, whether of paint or fabric, serve to shield the intimacy of these personal explorations, preserving a sense of privacy while concealing the raw intensity of the truth. The act of layering thus becomes an allegory, creating a barrier between the deeply personal and the viewer, who may not yet be prepared for such exposure. ցավդ տանեմ - I take your pain mixed media (textile, wool, photography transfer) 220 x 320 cm With love for the people of Artsakh who lost their homes. My family heritage originates from the village of Togh (Տող) in the Hadrut region, Artsakh. The great ancestor wrote at the entrance of his chamber “I did not allow that people from Armenia be taken captive.” In September 2023, history took a different course as the indigenous people of Artsakh were forcibly displaced. Over 100,000 individuals lost their homes, and the land now falls under the control and administration of occupying forces, with the region being transformed into a nature reserve. I take your pain is an object that represents the traditional Armenian way of making wool blankets. With the use of sheep wool and cotton fabric it is quilted in the original manner, following the rectangular shape. It is common for every Armenian family to own several of these blankets and mattresses, which are typically crafted by the women of the household. The object is composed of multiple layers of textile and wool, forming a mosaic of fabrics sourced from my collection of vintage scraps and family garments. It connects to my family, my current residence, my place of birth, and the lost land that forever holds my heart and soul.
Giles Clarke
United Kingdom
1965
Giles Clarke is a photojournalist focusing on capturing the human face of current and post-conflict global issues. Clarke began his film and photography career in West Berlin as a 16mm camera assistant at the height of the Cold War during the mid-1980s before switching to a successful professional black-and-white photographic printer career in London and New York. In 1997, Clarke worked in the Richard Avedon darkroom in New York on some now-iconic fashion campaigns. From 1998 to 2008, Clarke moved to Los Angeles, where he worked with Channel 4 (UK) on film-based content stories and directed and produced web content for clients such as Budweiser, Hummer, and Cadillac. In 2007, Clarke began reporting from Bhopal, India on the ongoing toxic legacy of the Union Carbide gas disaster in 1984. His work for the Bhopal Medical Appeal is an ongoing awareness project similar to his environmentally-led work in Louisiana, Haiti, and the gangland areas within Latin America. In 2013, Clarke was signed by Getty Images Reportage and continues today to syndicate news/feature work through Getty Images as a featured contributor. In 2016, Clarke traveled with Mr. Ban Ki-moon to over 40 countries documenting the UN Secretary-General's final year of tenure. Also in 2016, Clarke was awarded 1st prize by the National Press Photographers Association for his Haiti work 'Waste In Time' (Environmental Picture Story). In 2017, he was presented with a Lucie Statue at Carnegie Hall for 'Yemen In Crisis'. Clarke received a Gold Award for his work covering Yemen by PX3 Prix De La Photographie Paris in 2021. In September 2021, 'Yemen; Conflict + Chaos' was exhibited in a solo show at Visa pour L'Image in Perpignan. In December 2021, Clarke was awarded the 'WARS Photography Award' created by 'Associazione 46 Parallelo / Atlante Delle Wars in Italy. In October 2022, Clarke was awarded the Sharjah Government Communication Award for his past work in El Salvador.
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All About Photo Awards 2026
$5,000 Cash Prizes! Juror: Steve McCurry