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Kai Moerk
Kai Moerk
Kai Moerk

Kai Moerk

Country: Germany
Birth: 1964

My nationality is German and I was born 1964. After graduating from the Adolf Lazi Academy near Stuttgart/Germany with a degree in media design and a job in a film studio, I tried something completely different: mountaineering, climbing and other outdoor activities. For a few years I lived completely isolated with my current wife in northern Italy. Without neighbours, TV, telephone, electricity and warm running water. The experiences and impressions in the peace and seclusion moved me deeply and taught me to observe my environment carefully. This was followed by a contrasting program. I got a job in Munich/Germany as a press photographer which I practiced for several years. Today I live and work without constraints and obligations as a Freelance Photographer, Fine-Art-Printer in Italy and Germany.

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www.kaimoerk.de

 

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More Great Photographers To Discover

Francis Haar
Francis Haar
Hungary
1908 | † 1997
Francis Haar born as Haár Ferenc was a Hungarian socio-photographer. He studied interior architecture at Hungarian Royal National School of Arts and Crafts between 1924 and 1927. His master was Gyula Kaesz.He started working as an interior architect and poster designer in 1928, and taught himself photography. In 1930 he became acquainted with Munka-kör (Work Circle) led by socialist avant-garde poet and visual artist Lajos Kassák, who just returned from Vienna. Kassák pointed out that the photography is more than the painting and can access to such part of reality that cannot be accessed by painters. Kassák's motto was photography is the real child of our age not the painting. That was a life long inspiration to Francis. He became an active and leading member of the Munka Kör, his partners in socio-photography were among others Sándor Gönci, Árpád Szélpál and Lajos Lengyel, who later became renowned graphic artist and book designer. The first socio photo exhibition ever in Hungary was held in 1932, which brought the first success to Francis. His first photo studio was opened in Budapest in 1934. Some of his photos were exhibited at the Paris Exposition Internationale des Arts et Techniques dans la Vie Moderne in 1937, so Francis Haar decided to move to Paris where he established himself as a portrait photographer. However in 1939 he was invited by Hiroshi Kawazoe to Japan and the International Cultural Society of Japan (Kokusai Bunka Shinkokai) officially arranged his trip. With help of Japanese friends he opened and operated his photo studio in Tokyo between 1940 and 42. The Haar family was evacuated to Karuizawa in 1943 and they spent 3 years there. He became the photographer of Yank, the Army Weekly magazine of the U.S. occupation forces in Japan, and subsequently filmmaker with U.S. Public Health and Welfare Section (1946-48). Again his Tokyo photo studio was opened in 1946 and was in active business until 1956. His wife Irene opened the famous restaurant Irene's Hungaria in Ginza, downtown Tokyo, which was frequented by celebrities, intellectuals, army men and sports people from all over the world besides the Japanese. Accepting a challenge he moved and worked as photographer for the Container Corporation of America, Chicago from 1956 until 1959. He returned to Tokyo and operated his photo studio again for a year. 1960 brought a great decision and the Haars moved to Hawai'i and Francis started his photo studio there. He taught photography at the University of Hawai'i between 1965 and 1985. He became the production photographer for the Kennedy Theater, the University of Hawai'i Drama Department. Francis Haar died at the age of 89 in Honolulu.Source: Wikipedia
Jared Ragland
Jared Ragland
United States
1977
Jared Ragland is a fine art and documentary photographer and former White House photo editor. He currently teaches and coordinates exhibitions and community programs in the Department of Art and Art History at the University of Alabama at Birmingham and is at work on a long-term documentary on methamphetamine users living in northeast Alabama. He is the photo editor of National Geographic Books' "The President's Photographer: Fifty Years Inside the Oval Office," and has worked on assignment for NGOs in the Balkans, the former Soviet Bloc, East Africa and Haiti. His photographic work is rooted in his lifelong exposure to the landscapes, people, aesthetics, and storytelling traditions of the American South, and his work has been exhibited internationally and featured by The Oxford American, The New York Times, and TIME Magazine. Jared is an alumni of LaGrange College and a 2003 graduate of Tulane University with an MFA in Photography. He resides in his hometown of Birmingham, Alabama. Statement: The rise in use of methamphetamine across the United States over the last decade has led to increased cultural anxiety about the drug and those who use it, while the general perception of the meth-head is perpetuated by popular television programs and pervasive anti-meth campaigns. These limited representations typically paint one-dimensional, demonized characters whose chronic drug use is epitomized by obsessiveness, paranoia, and monstrous physical side effects. But while there are certainly deleterious consequences to meth use and stereotypes often ring too true, existing cultural narratives too often fall short of more complex, individually considered realities. Photographed over 18 months in collaboration with University of Alabama at Birmingham sociologist Heith Copes, Ph.D., GOOD BAD PEOPLE documents the tumultuous lives of meth users from Sand Mountain, a sandstone plateau in northeast Alabama infamous for extreme poverty, poultry processing plants, Pentecostal snake-handlers, and meth production. The images simultaneously reinforce and undermine assumptions of what it means to be a methamphetamine user and present an intimate look into the lives of those who struggle amidst drug use and diminished social status.
Brett Weston
Brett Weston
United States
1911 | † 1993
Brett Weston (originally Theodore Brett Weston; December 16, 1911, Los Angeles–January 22, 1993, Hawaii) was an American photographer. Van Deren Coke described Brett Weston as the "child genius of American photography." He was the second of the four sons of photographer Edward Weston and Flora Chandler. Weston began taking photographs in 1925, while living in Mexico with Tina Modotti and his father. He began showing his photographs with Edward Weston in 1927, was featured at the international exhibition at Film und Foto in Germany at age 17, and mounted his first one-man museum retrospective at age 21 at the De Young Museum in San Francisco in January, 1932. Weston's earliest images from the 1920s reflect his intuitive sophisticated sense of abstraction. He often flattened the plane, engaging in layered space, an artistic style more commonly seen among the Abstract Expressionists and more modern painters like David Hockney than other photographers. He began photographing the dunes at Oceano, California, in the early 1930s. This was a favorite location of his father Edward and a location that they later shared Brett's with wife Dody Weston Thompson. Brett preferred the high gloss papers and ensuing sharp clarity of the gelatin silver photographic materials of the f64 Group rather than the platinum matte photographic papers common in the 1920s and encouraged Edward Weston to explore the new silver papers in his own work. Brett Weston was credited by photography historian Beaumont Newhall as the first photographer to make negative space the subject of a photograph. Donald Ross, a photographer close to both Westons, said that Brett never came after anyone. He was a true photographic equal and colleague to his father and "one should not be considered without the other." "Brett and I are always seeing the same kinds of things to do - we have the same kind of vision. Brett didn't like this; naturally enough, he felt that even when he had done the thing first, the public would not know and he would be blamed for imitating me." Edward Weston - Daybooks - May 24, 1930. Brett Weston used to refer to Edward Weston lovingly as "my biggest fan" and there was no rivalry between the two photographic giants. Brett and his wife Dody loyally set aside their own photography to help Edward after he was unable to print his own images due to Parkinson's disease, which claimed Edward's life in 1958. Brett Weston married and divorced four times. He had one daughter, Erica Weston. Brett Weston lived part time on the Big Island of Hawaii and in Carmel, California for the final 14 years of his life. He maintained a home in Waikoloa that was built by his brother Neil Weston, and later moved to Hawaii Paradise Park. He died in Kona Hospital on January 22, 1993 after suffering a massive stroke. Works by Brett Weston are included in collections of the Colorado Springs Fine Arts Center, the Honolulu Museum of Art, the Los Angeles County Museum of Art, the Museum of Contemporary Art, Los Angeles, the Oklahoma City Museum of Art and the San Francisco Museum of Modern Art. In November of 1996, Oklahoma City collector Christian Keesee acquired from the Brett Weston Estate the most complete body of Weston’s work. Source: Wikipedia
Antonio Denti
Antonio Denti
Italy
1972
Antonio Denti is an award-winning news cameraman in love with still photography. A Reuters staff video journalist for over 20 years, he covered conflict in Kosovo, Afghanistan, Iraq, Israel, Gaza, Lebanon. He also covered the beginning of the Arab Spring in Tunisia and the epic human migration to Europe across the Mediterranean sea. He often travelled with Popes during their travels, including to Iraq and recently to Canada. He also filmed the aftermath of the death of Pope John Paul II at the Vatican and of Queen Elizabeth II in London. The Kid of MosulAntonio Denti He loves still photography, which he tries to integrate more and more in his moving pictures work. His still pictures have won awards (Ippawards, All About Photo awards, International Photography Awards, Urban Photo Awards, ND Awards, Mifa Awards etc...) and have been published on The Eye of Photography magazine, the Social Documentary Network, LensCulture and other international online photography publications. He strongly believes that visual story-telling can bring a precious contributions to counter the contemporary tendency towards a results-focused, speed-obsessed, screamed and over all standardized journalism and push towards a more authentic, respectful and meaningful way to tell about our world.
Annie Leibovitz
Annie Leibovitz
United States
1949
Annie Leibovitz is an American portrait photographer best known for her engaging portraits, particularly of celebrities, which often feature subjects in intimate settings and poses. Leibovitz's Polaroid photo of John Lennon and Yoko Ono, taken five hours before Lennon's murder, is considered one of Rolling Stone magazine's most famous cover photographs. The Library of Congress declared her a Living Legend, and she is the first woman to have a feature exhibition at Washington's National Portrait Gallery.Source: Wikipedia Annie Leibovitz was born on October 2, 1949, in Waterbury, Connecticut. While studying painting at the San Francisco Art Institute, she took night classes in photography, and in 1970, she began doing work for Rolling Stone magazine. She became Rolling Stone’s chief photographer in 1973. By the time she left the magazine, 10 years later, she had shot 142 covers. In 1983, she joined the staff at Vanity Fair, and in 1998, she also began working for Vogue. In addition to her magazine editorial work, Leibovitz has created influential advertising campaigns for American Express and the Gap and has contributed frequently to the Got Milk? campaign. She has worked with many arts organizations, including American Ballet Theatre, the Brooklyn Academy of Music, and the Mark Morris Dance Group, and with Mikhail Baryshnikov. Her books include Annie Leibovitz: Photographs (1983), Photographs: Annie Leibovitz 1970–1990 (1991), Olympic Portraits (1996), Women (1999), American Music (2003), A Photographer’s Life: 1990–2005 (2006), Annie Leibovitz at Work (2008), Pilgrimage (2011), Annie Leibovitz: Portraits 2005-2016 (2017), The Early Years, 1970–1983 (2018), and Wonderland (2021). Exhibitions of her images have appeared at museums and galleries all over the world, including the National Portrait Gallery and the Corcoran Gallery, in Washington, D.C.; the International Center of Photography, in New York; The Brooklyn Museum; the Stedelijk Museum in Amsterdam; the Centre National de la Photographie, in Paris; and the National Portrait Gallery in London. Leibovitz has been designated a Living Legend by the Library of Congress and is the recipient of many other honors, including the Barnard College Medal of Distinction and the Infinity Award in Applied Photography from the International Center of Photography. She was decorated a Commandeur in the Ordre des Arts et des Lettres by the French government. She lives in New York with her three children, Sarah, Susan, and Samuelle.Source: Vanity Fair Leibovitz became Rolling Stone’s chief photographer in 1973, and by the time she left the magazine, she had amassed 142 covers and published photo essays on scores of stories, including the 1975 Rolling Stones tour. Moments of freedom and an unyielding imagination fed the evolution of Leibovitz’s photography. The monumental body of work taken during her thirteen-year tenure at Rolling Stone blurred the lines between celebrity and civilian, interviewer and interviewee, artist and subject, dissolving the boundary separating Leibovitz from those captured in her photographs. Documenting fellow reporters and photographers in addition to their subjects, Leibovitz highlighted those hidden behind the camera and brought them to the forefront. Leibovitz recorded major political moments of the Seventies in the United States, including the 1972 presidential campaign, which she covered with the writer Hunter S. Thompson. In a haunting photograph taken when President Richard Nixon resigned, on August 9, 1974, Leibovitz’s camera records his helicopter as it takes off from the White House lawn. Her immersion within the political landscape extended to photographs from the 1976 election, when figures such as Jerry Brown and Jimmy Carter seized national attention. The artist photographed the Democratic National Convention in New York City, showcasing candid moments with Dianne Feinstein and journalists such as Sally Quinn and Dan Rather. Leibovitz’s unobtrusive lens implicates both the photographer and her colleagues as significant actors and contributors to cultural moments. When traveling with the Rolling Stones to document their tour of the Americas in the summer of 1975, Leibovitz entered the band’s world to such a degree that only her camera served as a reminder of her identity. It was Leibovitz’s distinct ability to immerse herself in varying environments that enabled a direct engagement with her subjects, revealing their true, honest, and perhaps most vulnerable selves. Leibovitz began using a medium-format camera that produced square photographs and was appropriate for shooting set-up portraits with a strobe light. The planned portraits were based on a straightforward idea often stemming from a deeply personal collaboration with her subjects. Evidencing a level of uncanny intimacy and an uncommon depth of engagement, this relationship can be seen in one of her most celebrated photographs, in which a naked John Lennon clutches Yoko Ono. The portrait, made on December 8, 1980, was meant to serve as an intimate emblem of the couple’s relationship. When Lennon was killed just hours after the photo was taken, the image became a powerful visual memorial. In 1983, when Leibovitz joined the staff of the revived Vanity Fair, she was established as the foremost rock-music photographer and an astute documentarian of the social landscape. At Vanity Fair, and later at Vogue, she developed a large body of work – portraits of actors, directors, writers, musicians, athletes, and political and business figures, as well as fashion photographs. Leibovitz’s portraiture reflects a signature technique she developed early in her career, as she consciously and consistently fit style to subject through collaborating with her subjects, photographing them in their homes or in a location that meant something to them, where friends, lovers, children, and other personal markers might appear. Annie Leibovitz’s prolific output and her inventive approach to photography itself position her distinctly within the traditions and trajectory of American portraiture during the twentieth century. Her unique photographic language dovetailed with – and advanced – the medium’s evolution as a force for art making. The singularity of her vision, which included combining portraiture with photojournalism that captured historical and cultural touchstones throughout the United States and abroad, places her within a lineage of some of her personal heroes – artists like Andy Warhol and Richard Avedon, both innovators of their mediums. Influences such as Robert Frank and Henri Cartier-Bresson inspired Leibovitz to turn the tide on photography’s reception. Combining Frank’s highly personal and emotional style of photographic reportage with Cartier-Bresson’s Surrealist and even sculptural art photography, Leibovitz embraced her own inclination toward personal journalism. The artist’s large and distinguished body of work encompasses some of the most well-known portraits of our time.Source: Hauser & Wirth
Sudabe Vatanparast
Sudabe Vatanparast
Iran
1983
Sudabe Vatanparast is an Iranian famale photographer who was born in 1983 in Tehran. Sudabe is a graduate photography. Social concerns centered on the problems of women in iranian society are evident in Sudabe projects. Sudabe considers herself a freelance photographer whose photos are inspired by the nightmares, problems and experiences of her life and that of her community. Her first solo exhibition was held in 2015. In addition to holding exhibitions in prestigious galleries in Iran, Garibaldi Gallery in Modica, Italy and Bioçkecmac Gallery in Turkey have also hosted his works separately and as a group. Sudabe has been praised many times at various festivals under the auspices of the World Photography Federation (FIAP) and has been one of the top members of these festivals. Her latest solo exhibition is a reflection of the fear, insecurity and anxiety of Iranian women in the home environment, which has been welcomed by critics and activists in this field.
Margaret Bourke-White
Margaret Bourke-White
United States
1904 | † 1971
Margaret Bourke-White studied at the University of Michigan and then at Cornell University where she first discovered photography in 1927. She started taking pictures of buildings and engines. Henri Luce who created the magazine Fortune was very impressed with her work and decided to hire her as editor-in-chief in 1930. In November 1936 her picture of the Fort Peck dam makes the cover of Life magazine. It was the beginning of a long collaboration (1931-1971) and the real beginning of her career. She traveled to USSR in 1931 and then worked with E. Caldwell on the subject of poverty in the US (1937). She is then a photographer for the US Air Force and travels to Moscow, Germany, India, South Africa, and Korea. At the same time, she works for advertising agencies. At the end of the 50s, she has to stop working because of Parkinson disease.Source: Wikipedia Photography is a very subtle thing. You must let the camera take you by the hand, as it were, and lead you into your subject. -- Margaret Bourke-White Margaret Bourke-White, original name Margaret White, American photographer known for her contributions to photojournalism. Margaret White was the daughter of an engineer-designer in the printing industry. She attended Columbia University (1922–23), the University of Michigan (1923–25), Western Reserve University (now Case Western Reserve University), and Cornell University (A.B., 1927). During this period she took up photography, first as a hobby and then, after leaving Cornell and moving to New York City, on a professional freelance basis. She combined her own last name with her mother’s maiden name (Bourke) to create her hyphenated professional name. Beginning her career in 1927 as an industrial and architectural photographer, she soon gained a reputation for originality, and in 1929 the publisher Henry Luce hired her for his new Fortune magazine. In 1930 Fortune sent Bourke-White to photograph the Krupp Iron Works in Germany, and she continued on her own to photograph the First Five-Year Plan in the Soviet Union. She became one of the first four staff photographers for Life magazine when it began publication in 1936, and her series of photographs of Fort Peck Dam was featured on the cover and as part of the feature story of the first issue. Throughout the 1930s Bourke-White went on assignments to create photo-essays in Germany, the Soviet Union, and the Dust Bowl in the American Midwest. These experiences allowed her to refine the dramatic style she had used in industrial and architectural subjects. These projects also introduced people and social issues as subject matter into her oeuvre, and she developed a compassionate, humanitarian approach to such photos. In 1935 Bourke-White met the Southern novelist Erskine Caldwell, to whom she was married from 1939 to 1942. The couple collaborated on three illustrated books: You Have Seen Their Faces (1937), about Southern sharecroppers; North of the Danube (1939), about life in Czechoslovakia before the Nazi takeover; and Say, Is This the U.S.A. (1941), about the industrialization of the United States. Bourke-White covered World War II for Life and was the first woman photographer attached to the U.S. armed forces. While crossing the Atlantic to North Africa her transport ship was torpedoed and sunk, but Bourke-White survived to cover the bitter daily struggle of the Allied infantrymen in the Italian campaign. She then covered the siege of Moscow and, toward the end of the war, she crossed the Rhine River into Germany with General George Patton’s Third Army troops. Her photographs of the emaciated inmates of concentration camps and of the corpses in gas chambers stunned the world. After World War II, Bourke-White traveled to India to photograph Mahatma Gandhi and record the mass migration caused by the division of the Indian subcontinent into Hindu India and Muslim Pakistan. During the Korean War she worked as a war correspondent and traveled with South Korean troops. Stricken with Parkinson disease in 1952, Bourke-White continued to photograph and write. She retired from Life magazine in 1969.Source: Encyclopaedia Britannica The beauty of the past belongs to the past. -- Margaret Bourke-White
Eleni Mahera
Eleni Mahera
Greece
1974
"I was born and raised in Agios Lavrentios, a small village on Mt Pelion, Greece. I have a Bachelor in English Language and Literature and a Master in Interdisciplinary Approach to Teaching Foreign Languages. I live in Komotini, a small provincial town in northern Greece and I am currently involved with Adult Education. My first contact with photography came in 2009 through a course offered by a local photography club. What actually gave me a new insight not only into photography but in life altogether was the sudden loss of a beloved person: my mother. In my attempt to redefine myself, photography came as a real blessing, an outlet for my pent-up emotions. My 'project' is to make the most of this therapeutical effect photography has on me and transform my inner world into images."
Marijn Fidder
Marijn Fidder
Netherlands
1997
Marijn Fidder is a Dutch documentary photographer who focuses on current affairs and contemporary social issues. She uses photography to speak on behalf of the voiceless, and to advocate for the rights of all who are vulnerable. Her work has appeared in National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent and ZEIT Magazin, among others. Her work has received multiple awards, including from World Press Photo and Global Peace Photo Award. Based in the Netherlands, Fidder has worked for many years in Uganda, researching disability rights in the country. Inclusive Nation Life can present many obstacles for people with disabilities. These challenges lead to social isolation, poverty and reduced quality of life. However, amid these obstacles, Uganda is gradually transforming to become more inclusive. As of 2020, Uganda has one of the most progressive laws for people with disabilities in the world. This states, among other things, that discrimination against people with disabilities is prohibited. Children with disabilities have the right to education and adults have the right to a job. This is very important because 80% of all people with disabilities in the world live in developing countries, such as Uganda. While there is still much work to be done, the progress made thus far is a glimmer of hope for people with disabilities.
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Call for Entries
AAP Magazine #54 Nature
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