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Lori Pond
Lori Pond
Lori Pond

Lori Pond

Country: United States
Birth: 1959

Lori Pond is an artist using the photographic process to explore the human condition as seen through the conflict of good vs. evil, contemporary anxiety and the impermanence of all things.

She received a B.S. in Music Performance and Spanish from Indiana University and an M.A. in Broadcast Journalism from USC before embarking on a career in television, where she is a graphic artist at Conan O'Brien's talk show, "Conan." She splits her time between this and her fine art photography.

Her work has been included in numerous solo shows at institutions such as: The Griffin Museum of Photography, (Boston) Oceanside Museum of Art, University of the Arts (Philadelphia) and Gallery 825 in Los Angeles. Lori has exhibited in over 30 group shows around the globe.

Lori's body of work, "Bosch Redux," has been featured in online publications and interviews, such as: Beta Developments in Photography, Adobe Create, LENSCRATCH, Peripheral Vision Arts Salon and Your Daily Photograph. Hard copy publications of her photography have appeared in The Sun Magazine, Seeing in Sixes, Arboreal, Bosch Redux and Self.

Lori's art can be found in the permanent collections of : The Center for Fine Art Photography, Morgan Stanley headquarters and The Center for the Arts, Los Angeles.

She lives and works in Los Angeles.

Websites

www.loripond.com

@loriapond

 

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Berenice Abbott
Berenice Abbott
United States
1898 | † 1991
Berenice Abbott was an American photographer best known for her portraits of between-the-wars 20th-century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s. Abbott was born in Springfield, Ohio, and brought up in Ohio by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886). She attended Ohio State University for two semesters but left in early 1918 when her professor was dismissed because he was a German teaching an English class. She moved to New York City, where she studied sculpture and painting. In 1921 she traveled to Paris and studied sculpture with Emile Bourdelle. While in Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography. Abbott took revealing portraits of Ray's fellow artists. Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes. She also disliked the work of pictorialists who had become popular during a substantial span of her career, leaving her work without support from this school of photographers. Most of Abbott's work was influenced by what she described as her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams. Throughout her career, Abbott's photography was very much a reflection of the rise in the development of technology and society. Her works documented and extolled the New York landscape. This was guided by her belief that a modern-day invention such as the camera deserved to document the 20th century. The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned, "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian and lived with her partner, art critic Elizabeth McCausland, for 30 years. Berenice Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.Source: Wikipedia Let us first say what photography is not. A photograph is not a painting, a poem, a symphony, a dance. It is not just a pretty picture, not an exercise in contortionist techniques and sheer print quality. It is or should be a significant document, a penetrating statement, which can be described in a very simple term—selectivity. -- Berenice Abbott Berenice Abbott was born and raised in Ohio where she endured an erratic family life. In 1918, after two semesters at Ohio State University, she left to join friends associated with the Provincetown Players, in Greenwich Village. There she met Djuna Barnes, Kenneth Burke, Elsa von Freytag-Loringhoven, Edna St. Vincent Millay, Little Review editors Margaret Anderson and Jane Heap, and other influential modernists. From 1919-1921, while studying sculpture, Abbott supported herself as an artist's model, posing for photographers Nikolas Muray and Man Ray. She also met Marcel Duchamp, and participated in Dadaist publications. Abbott moved to Paris in 1921, where she continued to study sculpture (and in Berlin), and to support herself by modeling. During 1923-1926, she worked as Man Ray's darkroom assistant (he had also relocated to Paris) and tried portrait photography at his suggestion. Abbott's first solo exhibition, in 1926, launched her career. In 1928 she rescued and began to promote Eugène Atget's photographic work, calling his thirty years of Parisian streetscapes and related studies "realism unadorned." In 1929 Abbott took a new artistic direction to tackle the scope (if not the scale) of Atget's achievement in New York City. During 1929-38, she photographed urban material culture and the built environment of New York, documenting the old before it was torn down and recording new construction. From 1934-58, she also taught photography at the New School. During 1935-39, Abbott worked as a "supervisor" for the Federal Art Project to create Changing New York (her free-lance work and New School teaching commitment made her ineligible for unemployment relief) . From 1939-60, Abbott photographed scientific subjects, concluding with her notable illustrations for the MIT-originated Physical Sciences Study Committee's revolutionary high school physics course. In 1954, she photographed along the length of US 1; the work never found a publisher. In 1968, Abbott sold the Atget archive to the Museum of Modern Art in New York, and moved permanently to her home in central Maine (bought in 1956 and restored over several decades) . 1970 saw Abbott's first major retrospective exhibition, at the Museum of Modern Art. Her first retrospective portfolio appeared in 1976, and she received the International Center of Photography's Lifetime Achievement Award in 1989. She died at home in Monson, Maine in December 1991.Source: New York Public Library I took to photography like a duck to water. I never wanted to do anything else. Excitement about the subject is the voltage which pushes me over the mountain of drudgery necessary to produce the final photograph. -- Berenice Abbott In 1929, Abbott returned to the United States, where she embarked on her best-known body of work--a documentation of New York City for which she developed her famous bird's-eye and worm's-eye points of view. She worked on the project independently through the early years of the Depression, and in 1935, secured funding from the Federal Art Project (a part of the Works Progress Administration). Her pictures were published as Changing New York (1939), which was both critically and commercially successful; it remains a classic text for historians of photography. One of Abbott's later final projects was an illustration of a scientific phenomenon, produced in the 1950s in collaboration with the Physical Sciences Study Committee based at the Massachusetts Institute of Technology. Although not as well known as her New York work, these pictures are exquisite examples of her acumen for technical experimentation and her natural instinct for combining factual photographic detail with stunning artistic accomplishment. With their clear visual demonstration of abstract scientific principles, the photographs were chosen to illustrate physics textbooks of the 1950s and 1960s.Source: International Center of Photography
Mustafa Hassona
Mustafa Hassona
Palestine
1981
A photographer from Gaza Strip, Palestine works now with Anadolu Agency AA, and Freelance photojournalist, working as photographer since 2007, worked as freelancer for AFP, RETURES Besides number of international press outlets, winner of POYI 73th prize (picture of the years), winner of Sony World Photography Awards, winner of maltaphotoaward, winner of All About Photo Photographer of the Year 2019, winner of LENSCULTURE AWARDS Visual Storytelling Awards 2019, Finalist, Documentary, selected by the Guardian in Agency photographer of the year - 2018 shortlist, in 2015, and selected by the Guardian for the best photographer for 2014, number of my photos selected in the best photograph for 2018 by number on international photography outlets.Mustafa Hassona is All About Photo's 2019 Photographer of the Year.
Michael Young
Michael Young
United States
Michael Young is a New York-based photographer. His work has been shown internationally in Switzerland and Australia as well as nationally in New York City, Kentucky, Colorado, Oregon and Massachusetts. His work will be on display this coming spring at Fotofestival Lenzburg's Search for Beauty open-air show. He was a finalist in Shoot the Frame's Shoot the Face competition this past January and won 2nd place in color photography from the Plymouth Center for the Arts in Massachusetts. His work will be published later this year in the first annual Feature Shoot's The Print Swap book. Additionally, his work has previously been published in Spunk [arts] Magazine, Taking Pictures (Black Box Gallery), and The Literate Image (Plymouth Center for the Arts). Michael has a MA in Teaching from New York University and a BA in Spanish Language & Literatures from Yale University. Statement Starla, Photographer in Her Studio is part of of the series Ashes to Ashes/Dust to Dust that I began eight years ago when I first visited my partner's family, the Groves, in western Kentucky. Since I grew up in the northeast, my upbringing was different from my partner's, and initially I thought that I had little in common with his family. As an outsider I received a lukewarm welcome by many, but I remained intrigued by his family. It was my camera that afforded me an invitation into their lives and helped me build meaningful relationships with his relatives. As the project has continued, not only have I become closer to my partner's family, but I have also been fortunate to document a part of the US that has been ignored by many and deemed 'flyover country'. The Groves, who have lived in Muhlenberg County for generations, are a microcosm for Muhlenburg county. Most are hardworking coal miners, farmers, nurses, and entrepreneurs looking to better their lives. Sadly, however, some have lost parents to addiction and others have passed due to overdoses. Like many rural towns in the Bible Belt, industry continues to leave the area. While well-paying jobs in the coal industry disappear, miners must travel about an hour to find lucrative work. When Trump announced promises to rollback legislation restricting coal emissions, many in the community grew excited for a return to the prosperous past that has for many years been slipping away. These images show the dichotomy between the current stark realities and flickers of hope and beauty as the county works to rebuild and redefine itself. "
Roberta Vagliani
Roberta Vagliani
Italy
1987
Roberta Vagliani (born 1987) is a photographer residing in a small town in the province of Mantua, Canneto s/O. The leitmotif of her shots revolves around three fundamental aspects: Emotion, Love, and Simplicity. She embarked on her photographic journey at the age of 17, delving into the realms of reportage and visual communication. For her, traveling signifies discovery and the longing to capture the emotions she experiences, aiming to evoke them in those who view her work. Photography serves as the medium through which she narrates, wordlessly, the scenes her eyes behold.
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
Bunny Yeager
Bunny Yeager
United States
1929 | † 2014
Linnea Eleanor "Bunny" Yeager was an American photographer and pin-up model. She was born in the Pittsburgh suburb of Wilkinsburg, Pennsylvania, to Raymond Conrad and Linnea (née Sherlin) Yeager on March 13, 1929. Her family moved to Florida when she was 17. She adopted the nickname "Bunny" from Lana Turner's character Bunny Smith in the 1945 movie Week-End at the Waldorf. The nickname has also been attributed to her portrayal of the Easter Bunny in a high school play. Bunny Yeager graduated from Miami Edison High School and afterward enrolled at the Coronet Modeling School and Agency. She won numerous local beauty pageants including in rapid succession Queen of Miami, Florida Orchid Queen, Miss Trailercoach of Dade County, Miss Army & Air Force, Miss Personality of Miami Beach, Queen of the Sports Carnival and Cheesecake Queen of 1951. Yeager became one of the most photographed models in Miami. Photos of Yeager appeared in over 300 newspapers and magazines. She also designed and sewed many of the outfits she and her models wore, at one time boasting that she never wore the same outfit twice while modeling. She designed and produced hundreds of bikinis when the two-piece swimsuit was a new fashion item and is credited with its popularity in America. Bruno Banani, the German fashion company, has developed a line of swimwear based on Yeager's designs from the 1950s. Yeager entered photography to save money by copying her modeling photographs, enrolling in a night class at a vocational school in 1953. Her career as a professional photographer began when a picture of Maria Stinger, taken for her first school assignment, was sold to Eye magazine for the cover of the March 1954 issue. She became a technically skilled photographer noted for, among other things, her early use of the fill flash technique to lighten dark shadows when shooting in bright sun. Yeager was one of the first photographers to photograph her models outdoors with natural light. Matt Schudel wrote in the Washington Post that her images were vivid and dynamic, going on to say, "She favored active poses and a direct gaze at the camera lens, in what could be interpreted alternately as playful innocence or pure lust." She met Bettie Page in 1954, and took most of the photographs of her that year. During their brief collaboration, she took over 1,000 pictures of Page. Along with photographer Irving Klaw, Yeager played a role in helping to make Page famous, particularly with her photos in Playboy magazine. American Photo magazine described Yeager's work with Page as "a body of imagery that remains some of the most memorable — and endearing — erotica on record" in a 1993 article. The most famous images of Page by Yeager include the January 1955 Playboy centerfold in which she kneels wearing only a Santa hat while hanging a silver ornament on a Christmas tree and a series of photographs with a pair of live cheetahs. Yeager was a very prolific and successful pinup photographer in the 1950s and 1960s, so much so, that her work was described as ubiquitous in that era. She continued to work extensively with Playboy shooting eight centerfolds in addition to covers and pictorial spreads. She discovered Lisa Winters, the first Playmate of the Year. Yeager also appeared in the magazine as a model five times. One appearance with the headline, "Queen of the Playboy Centerfolds", was photographed by Hugh Hefner. Her work was also published in mainstream magazines including Cosmopolitan, Esquire, Pageant, Redbook and Women's Wear Daily. The famous still images she took of Ursula Andress emerging from the water on the beach in Jamaica for the 1962 James Bond film Dr. No are probably her best-known bikini photographs. She discovered many notable models. In the 1970s as men's magazines became more anatomically graphic Yeager largely stopped photographing for them, saying they were somewhat "smutty" and that, "They had girls showing more than they should." In 1998 she stated, "The kind of photographs they wanted was something I wasn't prepared to do." An exhibition titled Beach Babes Bash in the early 1990s at the Center for Visual Communication (at that time located in Coral Gables, Florida) featured photographs by Yeager of models from Miami on the beach from the 1950s. Another exhibit at the same gallery featuring Yeager's work was titled Sex Sirens of the Sixties. In 1992 Playboy published a retrospective of her work titled The Bettie Boom. Since 2002, Yeager's work has been exhibited in contemporary art galleries. In early 2010, The Andy Warhol Museum held the first major museum exhibition of Yeager's work. The exhibit, The Legendary Queen of the Pin Up, featured her self-portraits, some from her book How I Photograph Myself published by A.S. Barnes & Co. in 1964. The Fabulous Bunny Yeager an exhibit in 2011 at the Harold Golen Gallery in Miami also featuring self-portraits by Yeager was of photographs that had not been exhibited previously. Also in 2011 Helmut Schuster curated an exhibition for Art Basel at the Dezer Schauhalle in Miami titled Bunny Yeager: Retrospective to the Future featuring over 200 of Yeager's photos. Included were some images that had not been shown before of models including Bettie Page. In 2012 Bunny Yeager had two exhibitions in Germany, Funland at Gallery Schuster Potsdam and Femme Fatale in December 2012 at Gallery Schuster Berlin. The Museum of Art Fort Lauderdale held a 2013 exhibit, Bunny Yeager: Both Sides of the Camera featuring her photographs of herself, Page, and model Paz de la Huerta. The exhibit also included some of Yeager's first new pictures in twenty years. Yeager had a show at the Sofia Vault in Sofia, Bulgaria in October 2013. The Gavlak Gallery in Palm Beach, Florida put on an exhibit, Bunny Yeager: Selections from How I Photograph Myself in 2014. The Sin City Gallery in Las Vegas held a posthumous exhibit, Bunny's Bombshells, from June 5 to July 20 2014. She had her own studio in the Wynwood Art District of Miami, part of the Center for Visual Communication. There is a "Bunny Yeager Lounge" in Berlin which is open to the public and shows photos, memorabilia and movies. Yeager was also founding editor and publisher of a trade magazine for entertainment professionals, Florida Stage & Screen. As of 1998 her 24 books had sold over 1 million copies. Bunny Yeager was married twice, first to Arthur Irwin who died in 1977 and then to Harry Schaefer who died in 2000.[5] She had two daughters, Lisa and Cherilu. Yeager died on May 25, 2014 of congestive heart failure at age 85 in North Miami, Florida.Source: Wikipedia
Tianhu Yuan
Tianhu Yuan
China
1986
Tianhu Yuan (Tales Yuan) is a self-taught Chinese visual artist based in Chengdu and Chongqing. He has a long-standing interest in ACG-related generalized Nijigen subcultural community, and aims to build a dialogue between mainstream society and subculture through his work. He also focuses on the progress of society to explore the relationship between current technology and future developments. His work has been exhibited at China 29th National Photographic Art Exhibition, RPS IPE165, Galerie Huit Arles, PHOTO IS:RAEL International Photo Festival, Jakarta International Photo Festival, PhEST Festival, Head On Photo Festival and Lishui Art Museum. He was also awarded or shortlisted from Sony World Photography Awards, Fine Art Photography Awards, BJP OpenWalls Arles, BJP Portrait of Humanity, Lucie Foundation Scholarships, PhMuseum Photography Grant, the Meitar Award for Excellence in photography and Head On Photo Awards. Self Iterating of Chongqing A traditional neighbourhood is demolished to make way for bustling shopping districts. People are digging tunnels and building bridges to build railways, leaving behind the mountains and rivers that once defined the city's character. Citizens cope with the extremes of summer in the city known as the furnace of China. It is a city of tradition, but it is also a city looking to the future. In choosing to develop, human beings leave something behind and gain something new. People believe in moving towards a better future at the moment of choice. By capturing these moments of transition and transformation, I aim to highlight the complexities of urban development and the challenges that societies face when balancing progress with environmental preservation. I try to contemplate the role of human beings in shaping our cities and the environment, and to consider the choices we make as we look towards the future. AAP Competitions All About Photo Awards 2025
Pentti Sammallahti
Pentti Sammallahti
Finland
1950
Pentti Sammallahti was born in 1950 in Helsinki, Finland. Growing up, he was surrounded by the works of his grandmother, Hildur Larsson (1882-1952), a Swedish-born photographer, who worked for the Helsinki newspaper Kaiku in the early 1900s. After visiting The Family of Man exhibition at Helsinki Art Hall (1961) Sammallahti made his first photographs at age eleven. Pentti joined the Helsinki Camera Club in 1964. His first solo exhibition was in 1971. Sammallahti has travelled widely as a photographer, from his native Scandinavia, across the Soviet Republics through Siberia, to Japan, India, Nepal, Morocco, Turkey, across Europe and Great Britain, and even to South Africa. Sammallahti’s travels and interest in fine printing and lithography has led him to publish numerous portfolios of which the largest and most well known is “The Russian Way” (1996). As a benchmark figure in contemporary Finnish photography, his work has a supernatural sense of a moment in time with the sensitivity and beauty of the world displayed through its animalistic existence. His particular use of dogs, which reflects the human existential experience, shows the shared nature of the earth with a gentle humor and fleeting attitude. Sammallahti describes himself as a wanderer who likes the nature of the great north, the silence, the cold, and the sea. He likes the people and the animals of far off places and he records the relationships between them and their environment. As a master craftsman, he meticulously tones his prints, which come in various formats, from 4 by 5 inches in image size to panoramas of 6 by 14 inches. In 2010 for his retrospective exhibition in Helsinki he created large format pigment prints, about 9 by 21 inches and 15 by 35.5 inches in size. As a passionate seeker of the perfect mechanical printing method, his own innovative printing techniques and reintroduction of the portfolio form have re-awakened broader interest in published photographic art. Influenced by the idea of ‘artist books’ – individual works in which the artist is responsible for the whole: photography, the making of prints, layout, design and typography, reproduction and often the actual printing process either with the offset or the gravure method. Since 1979, Pentti Sammallahti has published thirteen books and portfolios and has received awards such as the Samuli Paulaharju Prize of the Finnish Literature Society, State Prizes for Photography, Uusimaa Province Art Prize, Daniel Nyblin Prize, and the Finnish Critics Association Annual. From 1974 to 1991 Sammallahti taught at the University of Art and Design in Helsinki, retiring when he received a 15-year grant from the Finnish government, an unusually long endowment, which is no longer awarded. Both as a photographer and a teacher, he has had an enormous influence on a whole generation of documentary photographers in Scandinavia. Sammallahti had a solo exhibition at Paris' Mois de la Photographie in 1996 and another in 1998 at Houston Fotofest, Texas. In 2001 the Helsinki University of Art and Design awarded Pentti Sammallahti the title of Honorary Doctorate in Art. In 2004, the famous French photographer Henri Cartier-Bresson ranked Sammallahti among his 100 favorite photographers for his Foundation's inaugural exhibition in Paris. The French Photo Poche book series published his book edited by Robert Delpire in 2005, and the same year, Sammallahti had a personal exhibition at the International Photography Festival in Arles. His second exhibition at Recontres d'Arles was a major retrospective in 2012 accompanied by the release of the first retrospective monograph Here Far Away, published in six languages (German, French, English, Italian, Spanish, and Finnish). Among museum collections Sammallahti’s work can be found at the Victoria & Albert Museum, London, England; Museum of Fine Arts, Houston, Texas, USA; Bibliothèque Nationale, Paris, France; Stedelijk Museum, Amsterdam, the Netherlands; Museum fur Kunst und Gewerbe, Hamburg, Germany; Moderna Museet / Fotografiska Museet, Stockholm, Sweden; and The Finnish State Collections and the Photographic Museum of Finland.Source: Nailya Alexander Gallery Sammallahti has been photographing the world around him with a poetic eye since the age of eleven. At the age of nine he visited "The Family of Man" exhibition at Helsinki Art Hall, confirming at a young age his photographic path in life. Featured in solo exhibitions by the age of 21, Sammallahti continued to exhibit and teach at the Helsinki University of Art and Design until receiving the Finnish State's 15-year artist grant in 1991. Sammallahti describes himself as a nomad who enjoys the nature of the great north: the darkness, the cold, and the sea. Sammallahti is a master craftsman, carefully toning his prints, to create a poetic atmosphere of desolate silence.

 Sammallahti was honored to be included among the 100 favorite photographs in the personal collection of Henri Cartier-Bresson, which was the inaugural exhibition for the Foundation Henri Cartier-Bresson in 2003. Since 1979, Pentti Sammallahti has published thirteen books and portfolios and has received awards such as the Samuli Paulaharju Prize of the Finnish Literature Society, State Prizes for Photography, Uusimaa Province Art Prize, Daniel Nyblin Prize, and the Finnish Critics Association Annual.Source: Peter Fetterman Gallery
Tuan Nguyen Tan
Tuan Nguyen Tan
Vietnam
1983
My name is Nguyen Tan Tuan, born in 1983. I was born and raised in Central Vietnam. When I came to photography in 2015, I was fascinated with capturing the beautiful scenes of my homeland, especially the labor beauty of my people. The photographs of my homeland have brought me some success in international photo contests such as: SkyPixel Awards 2018 & 2019, 2 photo finalists of the 17th annual Smithsonian magazine photo contest, winner 35Awards (2016-2017-2018-2019-2020), Hero Sport Agora 2020, AAP Magazine #11 Travel , 3RD PLACE WINNER (PORTRAIT) MONOCHROME AWARDS 2020, The Pano Awards 2020...
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