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Ying Tang
Ying Tang
Ying Tang

Ying Tang

Country: China

Ying Tang was born and raised in Shanghai, China, and then moved to Japan where she enrolled at the Nanzan University of Nagoya and obtained a B.A. degree.

She later moved to the United States of America and graduated with a Master's degree in Broadcasting Communications from Washington State University. Soon after that, Ying moved to San Francisco, California where she worked as a corporate freelance camera person and video editor for numerous corporate and broadcast clients.

During this period, Ying developed her passion for the photography arts and mastered a skill in street photography in and around the city of San Francisco. It was at this time when she returned to school to study photography both at the New York Institute of Photography and at the School of Photography of C.C.S.F. where she obtained advanced degrees. Ying's work has been featured in the San Francisco Chronicle, San Francisco Magazine and She worked for The New York Times and The International Herald Tribune in China, Shanghai TV Magazine. Currently she relocated in Cologne, Germany and work as a Freelance Photographer.

Websites

www.yingphotography.com

@yingshanghai

 

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Michelle Sank
Michelle Sank
South Africa
Michelle Sank was born in South Africa and settled in the UK in 1987. She cites this background of growing up during Apartheid and being the child of immigrant parents as informing her interest in sub-cultures and the exploration of contemporary social issues and challenges. Her crafted portraits meld place and person creating sociological, visual and psychological landscapes and narratives. Known for her work on youth culture, her practice has expanded into long term projects documenting communities and cultures in depth. Sank undertook a BA Fine Art Degree at The Michaelis School of Fine Art in Cape Town where her work was picked up by David Goldblatt who became a lifelong mentor. In leaving South Africa in the late 70’s she had a big gap in her career redefining her practice after many years when she completed her MA at De Montford University, Leicester in 2001. Her photographs have been exhibited and published extensively in the UK, Europe, Australia and Mexico, South Africa and the U.S.A. and her imagery is held in private and permanent collections worldwide to include Open Eye Gallery, Liverpool, The Museum of Youth Culture, UK, Southeast Museum of Photography, Florida and The Museum of Fine Arts, Houston, Texas. She has undertaken continuous commissions and residencies for prominent galleries and magazines in Europe and the USA and her work has won awards in numerous prestigious competitions to include the Taylor Wessing Prize, British Journal of Photography, Head on Foundation, IPA awards, Lens Culture and The Juliet Margaret Cameron award for Female Photographers. She was recently a winner in The Portrait of Britain and in 2024 she won the Open Portrait section in the Sony World Photography Awards. She has just been granted an Honorary Fellowship by The Royal Photographic Society. Sank has five published books to date her latest being “Burnthouse Lane” published by Dewi Lewis, 2024 – a celebratory account of an historic working class community in Exeter, Devon, UK. Burnthouse Lane The Burnthouse Lane estate was first dreamt up by Exeter City council in the idealistic 1920s in the UK to rehouse people from the West Quarter slum. Designed along garden city lines and purposely self-contained, it was a place for working-class families to live. The deprivation it was supposed to overcome has continued to haunt it, but the isolated nature of the estate and its intricate labyrinth of lanes have also made for positives, such as a close-knit community and a sense of solidarity among the residents. Ballade Ballade is a poetic homage to my birthplace, Cape Town. My strongest memories are of the Sea Point Promenade in Cape Town and its accompanying Pavilion swimming pool where I frequented the long walkway and its bordering vast grass areas through all of my formative years. I was born there, and my recall is one of tableaus transpiring through play, encounters and festivities. The pool, the walkway, the beaches and the green areas continue to serve as stage sets within which diverse performances unfold. Article Burnt House Lane
Joyce P. Lopez
Joyce P. Lopez
United States
Joyce P. Lopez started out as a weaver, moved with her family to Copenhagen for three years, and upon returning moved into photography with an international p.o.v. Winning a number of international competitions, she established her own recognizable photography style and has continued working for over 40 years. Statement In my work, I photograph the beauty in the Natural World that is on the brink of extinction. The Earth series: "Each image is a separate problem that is happening to Earth." The Trouble with Birds series: "The number of birds we are losing due to collisions with buildings."
Herbert List
Herbert List
Germany
1903 | † 1975
Herbert List was a German photographer, who worked for magazines, including Vogue, Harper's Bazaar, and Life, and was associated with Magnum Photos. His austere, classically posed black-and-white compositions, particularly his homoerotic male nudes, taken in Italy and Greece being influential in modern photography and contemporary fashion photography. He was born on 7 October 1903 to a prosperous business family in Hamburg, the son of Luise and Felix List. He attended the Johanneum Gymnasium, and afterwards studied literature 1921–23 at the University of Heidelberg. While still a student he became apprenticed in the family company, Landfried Coffee. In 1923, after two years in Heidelberg learning about the coffee trade and attending lectures at the university on Greek art and literature, List traveled for the family business Kaffee-Import Firma List & Heineken, Hamburg. Between 1925 and 1928 he visited plantations and contacts in Guatemala, Costa Rica, San Salvador, Brazil (where he stayed for six months) and San Francisco. During this time he began taking photographs. In 1929 he met Andreas Feininger who inspired his greater interest in photography and gave him a Rolleiflex camera. From 1930 he began taking portraits of friends and shooting still life; was influenced by the Bauhaus and artists of the surrealist movements, Man Ray, Giorgio De Chirico and Max Ernst; and created a surrealist photograph titled Metaphysique in a style he called fotografia metafisica in homage to De Chirico, his most important influence during this period. List used male models, draped fabric, masks and double-exposures to depict dream states and fantastic imagery. He has explained that his photos were "composed visions where [my] arrangements try to capture the magical essence inhabiting and animating the world of appearances." While there are surface similarities to Nazi imagery of the athletic male body—that of Leni Riefenstahl for example—unlike them, List's pictures of friends are portraits as much as they are nudes, nor did List endorse Nazi ideas, nor did his work influence National Socialist photography. He never published his male nudes in his own lifetime, and kept them hidden in his mother's house in a sack he called his poison bag". He was however influenced in his depiction of romantic paganism by the Jugendbewegung youth and physical health movement, though he did not join any of its associations, and some of the ideals of the Jugendbewegung were co-opted by the Nazis (though they later denounced the movement) and influenced their idealizing Romantic realism. List in his own notes uses a pun—"Das Objektiv ist nicht objectiv,"—to emphasize his creative, non-realist, application of photography. The lens is not objective. Otherwise photography would be useless as an artistic medium. -- Herbert List In 1936, in response to the danger of Gestapo attention to his openly gay lifestyle and his Jewish heritage, List left Germany for Paris, where he met George Hoyningen-Huene with whom he travelled to Greece, deciding then to become a photographer. In 1937 he worked in a studio in London and held his first one-man show at Galerie du Chasseur d'Images in Paris. Hoyningen-Huene referred him to Harper's Bazaar magazine, and 1936–39 he worked for Arts et Metiers Graphiques, Verve, Vogue, Photographie, and Life. List was unsatisfied with fashion photography. He turned back to still-life imagery, continuing in his fotografia metafisica style. From 1937 to 1939 List traveled in Greece and took photographs of ancient temples, ruins, sculptures, and the landscape for his book Licht über Hellas. In the meantime he supported himself with work for magazines Neue Linie, Die Dame and for the press from 1940 to 1943, and with portraits which he continued to make until 1950. In List's work the revolutionary tactics of surrealist art and a metaphysical staging of irony and reverie had been honed in on the fashion industry that relied on illusion and spectacle which after World War II returned to a classical fixation on ruins, broken male statuary and antiquity. In 1941, during World War II, he was forced to return to Germany; but because one of his grandparents was Jewish he was not allowed to publish or work professionally. In 1944 he was drafted into the German military, despite being of partly Jewish ancestry. He served in Norway as a map designer. A trip to Paris allowed him to take portraits of Picasso, Jean Cocteau, Christian Bérard, Georges Braque, Jean Arp, Joan Miró, and others. After the war, he photographed the ruins of Munich where he continued to live until 1960, working mainly for the Swiss magazine Du, with freelance photo essays for Heute, Epoca, Look, Harper's Bazaar, Flair, and Picture Post. He was made art editor of Heute magazine, published by the Allied occupying forces, in 1948. In 1951, List met Robert Capa, who invited him to work as a contributor to Magnum, but he rarely accepted assignments. For the next decade he produced copious work in Italy. During this time he also started using a 35 mm film camera and a telephoto lens. He was influenced by his Magnum colleague Henri Cartier-Bresson as well as the Italian neorealist film movement. In the 1950s he also shot portraits of Marino Marini, Paul Bowles, W. H. Auden, and Marlene Dietrich in 1960. Over the period 1949–62 he visited Italy, Greece, Spain, France, Mexico, and the Caribbean. List's 1950 picture of a woman, her black dress spread about her, reclining at a respectable distance from an elderly man reading, with one leg of his trousers rolled above his socks and garter, both enjoying the spring sunshine on the front steps of the Glyptothek in Munich, was selected by curator Edward Steichen for the world-touring Museum of Modern Art exhibition The Family of Man, seen by 9 million visitors. In 1964 List was awarded the David Octavius Hill Prize of the Gesellschaft Deutscher Lichtbildner. Herbert List is best known for his book Junge Männer (1988) which contains more than seventy images of young men lounging in the sun, wrestling and innocently regarding the camera lens. It is introduced by Stephen Spender in whose autobiographical novel The Temple, written in 1929 but not published until 1988, List is fictionalized as Joachim Lenz. List gave up photography in the early 1960s to concentrate on his collection of Italian Old Master Drawings. He died in Munich on 4 April 1975, and his archive was absorbed in the Ratjen collection which was later acquired by the National Gallery of Art in Washington.Source: Wikipedia
Erik Hijweege
Erik Hijweege
The Netherlands
1963
Erik Hijweege (1963) is fascinated with the overwhelming power of nature. He started chasing big weather and tornadoes in 2006. During his first years of stormchasing Hijweege chose an alter ego for this body of work in the making. Kevin Erskine a farmer from Valentine Nebraska was born. This resulted for Erskine (a.k.a Hijweege) in his first international solo show in New York and the Supercell book. Sequel to Supercell are his Sublime Nature series focusing on the beauty of nature that is grand and dangerous. Following his 19th century inspired longing for remote places and distant shores he travels the world working on his long-term Uncharted and waterfalls projects. Capturing landscapes on tintype and using old copper lenses, he shows us the world as seen through the eyes of early explorers. The multiple threats of our natural surroundings triggered Hijweege to start a second line in his work focusing on endangered species. Based on the Red List of the IUCN he photographed 23 endangered animals preserved in ice. Being a fragile subject matter Hijweege used the 19th century wetplate collodion process to capture these frozen animals on ambrotype. His Endangered series was exhibited at the Dutch Natural History Museum in Rotterdam raising awareness for this important matter. The Endangered book was published in 2014. In succession of this series Hijweege is currently working on 'New Habitat'. This series is about relocating endangered species to safer grounds. New Habitat is exhibited in the Dutch Natural History Museum during the first three months of 2020.
Madison Casagranda
Madison Casagranda
United States
Madison Casagranda is a recent graduate from Brigham Young University where she studied photography and art education. She works primarily with alternative photographic processes in the darkroom, and enjoys the hands-on nature of these processes. Her goal is to communicate culturally and historically significant concepts and connect us to the past in order to address challenges in the present day. Her photography most often centers around her personal and family history, United States history, anti racism, and amplifying voices from marginalized communities. She has had two solo exhibitions at BYU and her work has been included in many group exhibitions across the country, including at The Springville Museum of Art, The Southeast Center for Photography, and The Praxis Gallery. Her work has been published in Communication Arts and she is currently working on self publishing a book of her series, The Black Stories Project. The Black Stories Project The wet plate collodion tintype process was first invented in the 1850s and became a primary photographic practice in the 1860s and 1870s, documenting much of the Civil War. The tintypes of the Black Stories Project embody the history of photography and the history of racial inequity in the United States and more specifically in the state of Utah. They draw a connection between the history of racism and the dialogue about race today. In a state where the black population is less than two percent and a dominant religious culture presents a unique and complicated narrative of the past and present, we can only address the current issues of systemic inequality while acknowledging and grappling with the history behind them. This project is a study about how the weight of our state's history and the lens through which it is told, affects how black individuals experience life here today. The Black Stories Project is made up of the portraits and voices of members of the black community here in Utah, and stands as an effort towards opening the conversation, understanding the past and changing the future narrative of our history.
Helmut Newton
Helmut Newton
Germany/Australia
1920 | † 2004
Helmut Newton was a German-Australian photographer. The New York Times described him as a "prolific, widely imitated fashion photographer whose provocative, erotically charged black-and-white photos were a mainstay of Vogue and other publications." Newton was born in Berlin, the son of Klara "Claire" (née Marquis) and Max Neustädter, a button factory owner. Newton attended the Heinrich-von-Treitschke-Realgymnasium and the American School in Berlin. Interested in photography from the age of 12 when he purchased his first camera, he worked for the German photographer Yva (Elsie Neuländer Simon) from 1936. Any photographer who says he’s not a voyeur is either stupid or a liar. -- Helmut Newton The increasingly oppressive restrictions placed on Jews by the Nuremberg laws meant that his father lost control of the factory in which he manufactured buttons and buckles; he was briefly interned in a concentration camp on Kristallnacht, 9 November 1938, which finally compelled the family to leave Germany. Newton's parents fled to Argentina. He was issued with a passport just after turning 18 and left Germany on 5 December 1938. At Trieste, he boarded the Conte Rosso (along with about 200 others escaping the Nazis), intending to journey to China. After arriving in Singapore, he found he was able to remain there, first briefly as a photographer for the Straits Times and then as a portrait photographer. Newton was interned by British authorities while in Singapore and was sent to Australia on board the Queen Mary, arriving in Sydney on 27 September 1940. Internees travelled to the camp at Tatura, Victoria by train under armed guard. He was released from internment in 1942 and briefly worked as a fruit picker in Northern Victoria. In August 1942, he enlisted with the Australian Army and worked as a truck driver. After the war in 1945, he became a British subject and changed his name to Newton in 1946. In 1948, he married actress June Browne, who performed under the stage name June Brunell. Later she became a successful photographer under the ironic pseudonym Alice Springs (after Alice Springs, the town in Central Australia). In 1946, Newton set up a studio in fashionable Flinders Lane in Melbourne and worked on fashion, theatre and industrial photography in the affluent postwar years. He shared his first joint exhibition in May 1953 with Wolfgang Sievers, a German refugee like himself, who had also served in the same company. The exhibition of New Visions in Photography' was displayed at the Federal Hotel in Collins Street and was probably the first glimpse of New Objectivity photography in Australia. Newton went into partnership with Henry Talbot, a fellow German Jew who had also been interned at Tatura, and his association with the studio continued even after 1957, when he left Australia for London. The studio was renamed Helmut Newton and Henry Talbot. Newton's growing reputation as a fashion photographer was rewarded when he secured a commission to illustrate fashions in a special Australian supplement for Vogue magazine, published in January 1956. He won a 12-month contract with British Vogue and left for London in February 1957, leaving Talbot to manage the business. Newton left the magazine before the end of his contract and went to Paris, where he worked for French and German magazines. He returned to Melbourne in March 1959 to a contract for Australian Vogue. Newton and his wife finally settled in Paris in 1961 and work continued as a fashion photographer. His images appeared in magazines including the French edition of Vogue and Harper's Bazaar. He established a particular style marked by erotic, stylized scenes, often with sadomasochistic and fetishistic subtexts. A heart attack in 1970 reduced Newton's output, nevertheless his wife's encouragement led to his profile continuing to expand, especially with a big success, the 1980 studio-bound stark infinity of the Big Nudes series. His Naked and Dressed portfolio followed and in 1992 Domestic Nudes which marked the pinnacle of his erotic-urban style, these series all underpinned with the prowess of his technical skills. Newton also worked in portraiture and more fantastical studies. Newton shot a number of pictorials for Playboy, including pictorials of Nastassja Kinski and Kristine DeBell. Original prints of the photographs from his August 1976 pictorial of DeBell, "200 Motels, or How I Spent My Summer Vacation" were sold at auctions of Playboy archives by Bonhams in 2002. I just had a bellyful and realized I had shot enough nudes to last a lifetime. In fact, although I have no idea of the number, I think I photographed too many naked women. -- Helmut Newton In 2009, June Browne Newton conceptualized a tribute exhibition to Newton, based on three photographers that befriended Newton in Los Angeles in 1980: Mark Arbeit, Just Loomis, and George Holz. All three had been photography students at The Art Center College of Design in Pasadena, California. All three became friends with Helmut and June Newton and to varying degrees assisted Helmut Newton. Each went on to independent careers. The exhibit premiered at the Helmut Newton Foundation in Berlin and combined the work of all three with personal snapshots, contact sheets, and letters from their time with Newton. Since the 1970s Newton regularly used Polaroid cameras and film for instant visualization of compositions and lighting situations, especially for his fashion photography. By his own admission, for the shoot of Naked and Dressed series that started in 1981 for the Italian and French Vogue he used Polaroid film “by the crate”. These polaroids also served as a sketchbook, where he scribbled notes with regard to the model, client or location and date. In 1992 Newton published Pola Woman, a book consisting only of his Polaroids. Over 300 works based on the original Polaroids were shown at 2011 exhibition Helmut Newton Polaroids at the Museum für Fotografie in Berlin. In his later life, Newton lived in both Monte Carlo and Los Angeles, California where he spent winters at the Chateau Marmont, which he had done every year since 1957. On 23 January 2004, he suffered a serious heart attack while driving his automobile down Marmont Lane from the Chateau Marmont to Sunset Boulevard. He was taken to Cedars-Sinai Medical Center; doctors were unable to save him, and he was pronounced dead. His ashes are buried at the Städtischer Friedhof III in Berlin.Source: Wikipedia
Jeffrey Kellner
Jeffrey Kellner
United States
In his early teens, Jeffrey Kellner traveled often from his home on Long Island to photograph in New York City. After graduating from Alfred University in 1971, Kellner became an assistant to a photographer. Two years later, he opened his own studio specializing in Corporate and Industrial Photography. Throughout his thirty-five years as a commercial photographer, Kellner also roamed the streets of New York City, photographing its people, places and things. His preference now, as it was then, is using vintage film cameras. Kellner is currently working on a book of his work spanning more than fifty years. Doorperson Wikipedia definition of doorperson: A doorperson is someone hired to provide courtesy and security at a residential building or hotel. They are particularly common in urban high-rises. A doorperson is responsible for opening doors and screening visitors. I made my first doorperson photograph in the early 1970's. It is a portrait of a doorperson at a Park Avenue resident in New York City. That image was made with a 35mm Nikon F. In 2019 I decided to 'continue' the series. These medium format images are photographed with an Ansco Super Speedex and a Rolleiflex slr.
Harry Benson
Harry Benson
Scotland
1929
Scottish born photojournalist Harry Benson arrived in America with the Beatles in 1964. Harry has photographed every U.S. president from Eisenhower to Barack H. Obama; was just feet away from Bobby Kennedy the night he was assassinated; in the room with Richard Nixon when he resigned; on the Meredith march with Martin Luther King, Jr., next to Coretta Scott King at her husband's funeral; on maneuvers with the IRA; was there when the Berlin Wall went up and when it came down; and covered the aftermath of Katrina in New Orleans. In 2013 Harry received an Honorary Doctor of Letters from The University of St. Andrews, Scotland. On January 1, 2009, Harry was appointed a Commander of the Order of the British Empire by Her Majesty Queen Elizabeth II and received his honor at Buckingham Palace in March. In London in November 2009 Harry received an Honorary Fellowship in the Royal Photographic Society. Harry was honored with a Doctor of Letters from the Glasgow School of Art and Glasgow University in 2007. Twice named NPPA Magazine Photographer of the Year, Harry received the 2005 LUCIE Award for Lifetime Achievement in Portrait Photography; the 2005 AMERICAN PHOTO Magazine Award for Achievement in Photography; the 2006 Lifetime Achievement Award from the Scottish Press Photographers Association; and has twice received the Leica Medal of Excellence. He has had 40 gallery solo exhibitions and fourteen books of his photographs have been published. His photographs are in the permanent collection of the Scottish National Portrait Gallery in Edinburgh, and the Smithsonian National Portrait Gallery in Washington, DC, both museums hosted his Harry Benson: Being There exhibition (2006-7). A major retrospective exhibition of Harry's photographs was at Kelvingrove Museum in Glasgow from June to September, 2008. Harry was under contract to LIFE Magazine from 1970 to 2000. His photographs appear in major magazines including Vanity Fair, Town & Country, Architectural Digest, Time, Newsweek, Vice, Paris Match, and The London Sunday Times Magazine. Harry lives in Wellington, Florida with his wife, Gigi, who works with him on his book and exhibit
John Thomson
John Thomson
Scotland
1837 | † 1921
John Thomson, one of the great figures of nineteenth century photography, is known for the unusual and exotic nature of his chosen subject matter. Born in Edinburgh, Scotland in 1837, Thomson took up photography as a profession in his early twenties. For ten years, from 1862, he traveled and explored the Far East, visiting Hong Kong, Singapore, Penang and the Malay Peninsula, Siam, Cambodia, Vietnam, Formosa and especially China. Utilizing a large wooden box-type camera capable of accommodating a glass plate of up to 12 x 16 inches, John Thomson photographed commoners and kings, attempting to capture the individual behind the veneer of social status. His photographic record of the Far East documented a complete panorama of the cultures and people of the Far East at a time when Westerners were a few and curious lot. John Thomson not only created a photographic history, but also wrote numerous articles and books on his travels and views of life in the Far East. There is no doubt that it was Thomson’s sympathetic approach to his subjects, and the dignity with which he embued them, as much as his great technical expertise, which enabled him to produce such an outstanding photographic documentary. It is this marriage between sensitivity, technical expertise and sheer professionalism, not to mention his voluminous literary output and descriptions of the scenes and people, which he photographed, that has earned Thomson the title of the ‘first of the great photo-journalists’. His work, which has only recently gained full recognition, represents one of the great photo-historical records in the history of documentary photography. Source Westwood Gallery
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