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Spencer Cox
Spencer Cox
Spencer Cox

Spencer Cox

Country: United States
Birth: 1997

Spencer Cox is a 22 year old landscape photographer based in Colorado. He is Editor in Chief of photographylife.com, one of the largest educational photography websites on the internet, with over 25 million visitors each year.

Cox's photographs show the dark, intricate beauty of often-remote landscapes, rarely including any people or manmade elements. His work has been displayed in the Smithsonian Museum of Natural History and Travel Photographer of the Year exhibits across the world.

What Cox enjoys most is teaching. He has filmed and written hundreds of photography tutorials with the goal of educating the new generation of photographers. His mantra is that every decision in photography, from technical to creative, should be given deliberate, conscious thought in order to succeed.
 

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More Great Photographers To Discover

Ferdinando Scianna
Ferdinando Scianna (born 1943) is an Italian photographer. Scianna won the Prix Nadar in 1966 and became a full member of Magnum Photos in 1989. He has produced numerous books. Scianna took up photography while studying literature, philosophy and art history at the University of Palermo in the 1960s. He moved to Milan in 1966 and started working as a photographer for L'Europeo in 1967, becoming a journalist there in 1973. Scianna wrote on politics for Le Monde diplomatique and on literature and photography for La Quinzaine Littéraire. He first joined Magnum Photos in 1982, becoming a full member in 1989. He took up fashion photography in the late 1980s. His first work, in 1987, was to photograph Marpessa Hennink for Dolce & Gabbana's advertising campaign for their Fall/Winter collection, clothing which was inspired by Sicily.Source: Wikipedia Ferdinando Scianna started taking photographs in the 1960s while studying literature, philosophy and art history at the University of Palermo. It was then that he began to photograph the Sicilian people systematically. Feste Religiose in Sicilia (1965) included an essay by the Sicilian writer Leonardo Sciascia, and it was the first of many collaborations with famous writers. Scianna moved to Milan in 1966. The following year he started working for the weekly magazine L’Europeo, first as a photographer, then as a journalist from 1973. He also wrote on politics for Le Monde Diplomatique and on literature and photography for La Quinzaine Littéraire. In 1977 he published Les Siciliens in France and La Villa Dei Mostri in Italy. During this period, Scianna met Henri Cartier-Bresson, and in 1982 he joined Magnum Photos. He entered the field of fashion photography in the late 1980s and at the end of the decade he published a retrospective, Le Forme del Caos (1989). Scianna returned to exploring the meaning of religious rituals with Viaggio a Lourdes (1995), then two years later he published a collection of images of sleepers – Dormire Forse Sognare (To Sleep, Perchance to Dream). His portraits of the Argentinean writer Jorge Luis Borges were published in 1999, and in the same year, the exhibition Niños del Mundo displayed Scianna’s images of children from around the world. In 2002 Scianna completed Quelli di Bagheria, a book on his home town in Sicily, in which he tries to reconstruct the atmosphere of his youth through writings and photographs of Bagheria and the people who live there.Source: Magnum Photos
Leonard Misonne
Belgium
1870 | † 1943
Leonard Misonne (1870-1943) was a Belgian photographer. Misonne was born on July 1, 1870, in Gilly, Belgium, his lifelong home. Misonne was the seventh son of Louis Misonne, lawyer and industrialist, and Adele Pirmez. He studied mining engineering at the Catholic University of Louvain, but never worked as an engineer. Still a student, he became interested in music, painting and from 1891, in photography which he started to work on exclusively from 1896. Misonne made several trips to Switzerland, Germany and France. He made himself known with his retouched lighting effects. "The subject is nothing, light is everything," he said. Misonne was known for his sense of creating an atmosphere, but his approach is labeled from an artistic point of view as conservative and sentimental. His blurred effects, like the impressionist's approach, earned him the nickname of the "Corot of photography". Misonne first worked mainly with the process of photography obtained from a suspension of silver bromide in gelatin that he learned in 1910 in Paris from the famous photographer Constant Puyo. Then he became an internationally renowned leader in Pictorialism and a well-known figure in avant-garde circles. Most of his shots were taken in Belgium and the Netherlands; they are mainly landscapes, sometimes scenes of beaches and views of Ghent and Antwerp. Misonne suffered from a severe form of asthma and died from it in 1943, in Gilly, Belgium.Source: Wikipedia Misonne said, “The sky is the key to the landscape.” This philosophy is clear in many of Misonne’s images, often filled with billowing clouds, early morning fog, or rays of sunlight. The artist excelled at capturing his subjects in dramatic, directional light, illuminating figures from behind, which resulted in a halo effect. Favoring stormy weather conditions, Misonne often found his subjects navigating the streets under umbrellas or braced against the gusts of a winter blizzard. Misonne’s mastery of the various printing processes that he used is evidenced by the fine balance between what has been photographically captured and what has been manipulated by the artist’s hand in each print. To perfect this balance, Misonne created his own process, called mediobrome, combining bromide and oil printing. The artist’s monochromatic prints in both warm and cool tones convey a strong sense of place and time, as well as a sense of nostalgia for his familiar homeland. Whether the subject is a city street or a pastoral landscape, the perfect light carefully captured by Misonne creates a serene and comforting scene reminiscent of a dreamscape.Source: The Eye of Photography
Philippe Marchand
Philippe Marchand was born in 1961, self-taught photographer. He lives in Nantes in the West of France. He collaborates with numerous advertising and illustration agencies where his photographies contribute to the promotion of renowned brands. He is also developing a personal work on the link between man and the sea. We find in the pictures he brings back from his hikes all the Power and the magic of the places he goes through. Its aesthetic approach, the technical constraints it imposes on itself contribute to the creation of a singular photographic universe and resolutely personal. This award-winning work is regularly published in the international press. About The Man and the Sea "The sea is present in everyone's imagination, it means dream and adventure, but also mystery and fear. What I am trying to develop through the link that unites man with the sea concerns the emotions that the ocean can arouse in each of us, through evocative images. Not the translation of reality. In the manner of the pictorialists whose movement originated at the end of the 19th century and for whom the image must go beyond the reality photographed. I try to capture the atmosphere of the place, the poetry and the mystery that surrounds it. The shooting is the first part of a process that also includes a long work in "darkroom" to try to recreate the 'Feeling' of the moment". Philippe Marchand, photographer of seafarers. Black, white, shadow, light, what can be seen and what can be guessed, the ocean and those who are close to it. Philippe Marchand opens the world of the sea to us in its most intimate and human aspects. His approach is sensitive, full of nuances and modesty. Philippe Marchand's photos are like fragments of history. He highlights the relationship between the sea and people: how they look at it, how they approach it and the intimacy they share with it through their activities and passions. Man's imprint on the seascape and the ocean's imprint on the lives of men, even in their attitudes and faces. The secret communion between people and the sea. The artist has opted for the panoramic format and black and white. Facing the ocean, the format imposed itself. The immensity of the sea is exalted, the fragility of men is highlighted. With black and white, more timeless than colour, Philippe shows us the permanence of the places and gestures of the unchanging world of the sea. We have the feeling that time stands still. There is no rush, no run. Life has always had the rhythm of the ocean. Through a subtle play of contrasts, greys and light, a real "paw stroke" of the photographer, the images are linked together, inseparable, part of a whole, of a universe where Philippe invites us to share his emotions. The grain, very present, attenuates, coats the real and reinforces the poetic side of the images. The characters are most often from the back or almost from the back, partly hidden by the play of shadows. The gaze is discreet, never really, never completely encompassing them. There is like a mystery in the air, which Philippe lets us "glimpse"...
Madhur Dhingra
I was born an only child to my parents, in Delhi, into a family torn apart by the aftermath of the India-Pakistan partition. Hailing from a affluent background in Pakistan my family was now struggling for survival in the walled city of Delhi totally penniless. Imbedded with deep insecurities and freshly bearing the scars of partition my family was now setting up trade in the walled city dealing in fabric. It is relevant for me to mention this background for these very insecurities I too inherited from my family and they remain with me till date even with the changed times and lifestyle. Things improved gradually financially, with the trade flourishing and much because of the sheer hard work of my grandfather, father& chachas(father's brothers).We settled in Delhi at the start as big joint family. I have grown up hearing tales of how we had started life selling fabric on the pavements of the walled city where we now own several properties. My father could never get over those scars of partition. I too was repeatedly made to realize that ( for better or for worse) even though I was born much later in Delhi. At the age of five I was put to school at St.Xavier's High School, Raj Niwas Marg, Delhi. That period was to become the most memorable part of my life. I remember enjoying that period thoroughly. I was always an above average student with a lot of love for extracurricular activities. In school I would love going hiking, camping, swimming & cycling with the boy scouts. From the very start I was naughty and mischievous and was a regular in getting in and out of trouble. After school I went to the Delhi University and took up English Hons as my subject. But nowhere was it in my mind to take up studies serious. Restless from the start I wanted to travel the world. I now join the Merchant Navy at the age of seventeen ,as a deck cadet leaving college in the first year itself. I loved this new experience and was good at learning navigation. Very soon I was promoted to become the navigating officer. For the first year I never came back home at all. I was fulfilling my desire to see the world thoroughly meeting different types of people and experiencing different kinds of cultures . Once while travelling in the city of Jeddah near Mecca during Ramadan I was amazed to see gold slabs and coins being sold on the pavements of the city. On the loudspeaker I then heard the azaan (prayer call) and to my utter astonishment I saw people leave all this gold unattended and enter the nearby mazjid for prayer. Such was the strictness of the prevailing law of the land that anybody caught stealing would have his hand chopped off. Nobody dared to steal. Now quite a different experience was when my ship first entered Thailand. To my utter surprise I saw hoards of women entering my ship. Their numbers must have been no less than a hundred odd. I was on duty and I objected to their entry and was immediately informed by my senior officer to back off as they were entering with the permission of the captain. These were prostitutes who stayed on my ship till the time it stayed there. Nobody was questioning the morality or the ethics. It was gala time for all officers, crew, and the Captain. This was the way of life for most sailors . One horrific incident I remember was when our Burmese radio officer died on the ship due to a liver problem. As we were still some days away from the next port,his body was put in the deep freezer of the ship, the same place where all vegetables and other eatables were stored. Life was going on as if nothing had happened and everybody was eating and drinking as any other day. In a ship life all relationships and friendships are very temporary and the moment a person gets off the ship all these are left behind and forgotten. My bag of experiences was filling up fast. The restlessness and void was again setting in fast. I was getting bored again after about five years of sailing. The novelty had worn off and my inherent nature and upbringing was not that of a sailor in any way .I finally decided to say quits and joined the family business which was waiting for me to return. My dad was overjoyed at this decision of mine. I had no problem settling into this environment as it just happened to be in my blood. I now decide to get married too. I get married and soon after become a father of two adorable children. My age at that period would have been early twenty or so. Time flew by fast earning bread and butter for my family. Nothing was more important than bringing up the kids properly and with a lot of love, something which I was deprived of badly during my childhood days. But now again the same restlessness and void was setting in. I was in a dilemma, now trying out new ways to end this emptiness . I initially tried my hands at learning sculpture at Triveni Kala Sangam Mandi House, but I soon realized that medium was not meant for me. Destiny seemed to have other plans for me and it was during this period that I was gifted a SLR by someone, a Ricoh 500 as I now try to remember. The camera body had a dial with some numbers and also some numbers on the lens of which I had no clue. There were photography classes also being held in Triveni Kala Sangam and I joined these classes with sculpture classes I was already doing. It was here I met my photography teacher and now a lifelong friend Satyasri Ukil for the first time. The Basic course was about learning the techniques of Black & White photography. Satyasri was a dedicated, honest & straightforward teacher. His likes and dislikes purely dealt with the merits of the image and not with the person who had shot the image. I was learning fast with my association with Satyasri at Triveni where he was teaching then . A few of us guys(now renowned photographers), formed a sort of a team under the guidance of Ukil (as we address Satyasri,till date).We were shooting developing and printing the whole day long. Photography was now no longer a hobby but a frenzy. I soon set up my own darkroom in my house and would develop and print negatives all night long. I now start trekking again now with a new SLR in hand going to high altitudes and to very difficult locales. I remember showing my first serious work to Ukil and found him overjoyed. Soon my ambitions grew and I start shooting product for the advertising agencies. My first breakthrough as I clearly remember had come from the agency 0& M whose creative head then was Benoy Mitra, who was one day present at the colour lab called "MultiColour in Jhandewalan, when my portfolio prints were coming out of the lab. He saw my work and quietly handed over his card asking me to see him in the agency. I was overjoyed. This was breakthrough I needed desperately. I soon started getting assignments from most major agencies. But now I started getting bored again shooting mountains product and off and on some fashion. I still needed to express myself in a different way. I decide to work towards my first solo exhibition and I show my landscapes and mountain work to the management of INDIA INTERNATIONAL CENTRE. After seeing my work they agree to sponsor my show fixing the date to 28th November 1998.It is pertinent to mention here that I had then "only" shown them my beautiful landscapes and mountain TP's as I had nothing more at that time in my kitty. I started a new journey, first shooting Ladakh. I found immense peace and tranquility (acting as a balm for my troubled mind )in the monasteries I visited. The filtrations of light from the windows and doors into the dark interiors of the monasteries were indeed very beautiful, tranquil and peaceful. I would sit inside these monasteries for hours at a stretch calming my taut nerves. The prayer gong would echo inside the main hall and seep deep inside my soul. I have always equated light with God and have believed that the darkness of the human soul will ultimately come alive with the play of Light (God) on it. My next visit was to Banaras. Here I found people visiting the Ghats in very colorful attires. A activity on these ancient Ghats like the Dashashwamedh Ghat would start very early in the morning. People from all over India visit Banaras to perform various religious rituals, right from the birth of a child to the cremation of the dead and also later to perform rites for their safe and comfortable passage after death. The quality of light that I found in Banaras was very warm & golden and I wouldn't hesitate a moment to call it heavenly. Now a special reference to the Manikarnika Ghat " the ghat of the dead" is needed. People from all over India come to Kashi (ancient name of Banaras)to cremate their dead at Manikarnika.It is believed by Hindus that a cremation at Manikarnika Ghat gives the human soul an unhindered passage to heaven. Pyres are being lit here continuously without getting extinguished for the last 3000 years. But it was on this BURNING GHAT that my worst nightmare was to begin. I would visit this ghat daily looking at the activities. It was not very long before I realised that whenever a body of a poor person would come in, it would be cremated in a bizarre manner. It required two mun wood at the least (mun is an Indian measure of weight equivalent to 20 kgs) to cover a human body completely for cremation. But the person accompanying the dead body did not have that much money in his pocket. So only that much wood was purchased in which only the torso could be covered by wood. The legs and head were left hanging out and the pyre lit. The head would get burnt in a horrific manner with the head and feet falling away from the torso partially burnt. Then these torn away parts were picked up and put into the pyre or thrown into the Ganges. This whole sequence was so bizarre that I decided to get it on film and show it to the world. This I did manage to photograph secretly even after a lot of objections and hindrances from the people in charge at Manikarnika. Man really "was" meeting his God in Kashi, though in a very bizarre manner. So much for Kashi, our GATEWAY TO HEAVEN.I have posted only a few of those pictures on this website just to avoid unnecessary disturbance to people's minds. In the meantime the Purn Kumbh was being held at Hardwar. This again has become a very interesting event to relate. I was aghast to see completely naked so called Naga "sadhus" storming the streets of Hardwar. It was here I came to understand from the local inhabitants of Hardwar that this whole show was a complete farce. These so called ascetics only stormed the streets during the Khumb. Neither do they live in the remoteness of the Himalayas leading a renounced life, but on the contrary live in air conditioned lavishly furnished akharas in Hardwar itself. They were a weird sight. ( I have shown some photographs of them in my Black & White section). Here I saw them fight pitched battles with the police before the procession. DOWNRIGHT CRIMINALS TO THE VERY CORE, MOST OF THEM. On the day of the procession I got up early in the morning and positioned myself on roof top of a house near the Niranjani Akhara.This was very early in the morning and I was testing the auto focusing of my telephoto 300mm Canon lens when I saw a group of nagas in the akhara compound. I was taken aback when I saw one Naga fiddling with the genitals of the other Naga, "AND I TOOK THE SHOT".(later to appear on the first page of THE INDIAN EXPRESS). There were hutments built for sadhus by the kumbh authorities across the river bed. I would visit those and sit with some real sanyasis and listen to their discourses and hear them sing bhajans. This was a very nice and peaceful experience. The Kumbh ended and my exhibition date also was drawing near. The IIC Gallery wanted to see the final prints that I had decided to display. Nowhere in my final selection were those beautiful landscapes to be seen. Their place had been taken by naked sadhus with Trishuls and burning ghats & corpses. The Gallery management told me in no uncertain terms that they will not allow the show to go on unless these pictures were withdrawn. My dilemma was that my photo essay "Where Man Meets God'" was a story of a man's passage of life, his wanderings, his search for God. This essay was incomplete without these pictures. I told the management that I will show my work as it is and will not remove any picture from the list. Much courage to take this right stand was coming from Satyasri Ukil who stood by me all this while withstanding this massive ONSLOUGHT . IIC Management banned my exhibition. It was during this period that me and Satyasri Ukil were introduced to Suneet Chopra a reputed Art Critic. He later introduced us to Siddharth Tagore, a gallery owner at Art Consult Hauz Khas Village. Siddharth Tagore offered to hold my preview party at his gallery inviting respected artists like B.C.Sanyal, Jatin Das and many other artists of repute. The preview was a major success with all these stalwarts in their respective art fields giving their nod to my exhibition. Mr.Khushwant Singh the famous and a very respected writer too came up with an article on me in his column "Malice Towards One And All .Now IIC started shifting its stance and a compromise was reached. "That the images will be allowed to display but only facing towards the Gallery wall, whoever who wanted to see them could do so at his own discretion". Almost everybody saw those images.. Many reputed people visited the exhibition, some of them I mention in my TESTIMONIAL column. Eight major newspapers wrote elaborately on this exhibition. There was a TV interview also held by a channel also. The exhibition was a huge success on the whole. I am now planning another exhibition with a different theme and gearing up to hold another show in Milan. Life for me as a photographer continues...
Frank Horvat
Italy
1928 | † 2020
Frank Horvat is an internationally renowned fashion photographer, who has recently celebrated fifty years experience in the field. Throughout these years he has not only embraced fashion photography, but also been unafraid to experiment and adapt to new technologies, transcending the confines of photographic borders. His photography is diverse and considerably more complex than a cursory glance could reveal. He is perhaps best known for his spontaneity, trust and empathy, qualities that express themselves in his sophisticated photographs. Frank Horvat was born in Italy in 1928. He first started photographing at age fifteen with a 35 mm Retinamat camera, and moved to Milan to study art in 1947. By 1950 he was doing freelance work for Italian fashion magazines; Epoca published his first photographic essay in 1951. Horvat was one of the first artists to apply the 35mm film camera and reportage techniques to fashion art photography. He created a new and more realistic style that revolutionized the development of fashion-based photography in England, France, and the United States. He stylistically combined realism and artifice, movement, and inventive locations, which won him immediate success as a French fashion photographer. His photographs have appeared in leading European and American magazines including Life, Elle, Vogue, Harper’s Bazaar, Glamour and Jardin des Modes from 1951-61. Horvat initially worked for the American picture agency, Magnum, but since he “posed” his subjects he left for Realities and Black Star. He moved to Paris three years later and currently divides his time between the city and the south of France. Horvat’s work with French fashion photography has been exhibited around the world and can be found in the permanent collections of numerous prestigious museums including Bibliothèque Nationale, Musée National d’Art Moderne, Kunst-bibliothek, Museum of Modern Art, and the George Eastman House, and numerous other collections. Source: Holden Luntz Gallery
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