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David Stewart
David Stewart
David Stewart

David Stewart

Country: United Kingdom
Birth: 1958

David Stewart began his career by photographing punk bands including The Clash and The Ramones.
He also took to photographing the passing parade of colourful characters on Morecambe Promenade with squirrel monkey's Joey and Queenie.
After graduating at Blackpool and The Fylde College, Stewart moved to London in 1981 where he persued a career in photography, rapidly establishing himself as one of the UK's most highly accomplished photographers.
In 1995 he directed and produced a short film "Cabbage" which was nominated for a BAFTA. Accompanying the film is a series of surrealist photographic images in tribute to the much-maligned vegetable.
In 2001 he published a body of work titled Fogeys comprising of kitsch, cartoon-like photographs of people growing old disgracefully.
Exhibited at the Institute of Contemporary Art London "Fogeys" won a Silver Award at the Art Directors Club of New York.
The book "Thrice Removed" was published in 2009. While still singular and mischievous, the book includes works that are more muted in colour and personal in tone. The projects "Indecision" and "Intension" return once again to the surreal providing an intriguing study of young women. "Teenage Pre-occupation" which takes a look at teenagers and the changes they go through and was published in May 2013. The short film "Stray" 2013 was screened at the London Short Film festival.
Stewart won The Taylor Wessing portrait prize in 2015.
He had been previously shortlisted for the Photographic Portrait Prize in 2007 and accepted a further fourteen times between 1995 and 2012 each time exhibited at the National Portrait Gallery, London.
In 2016 Stewart was presented with The Royal Photographic Society award for outstanding achievement and excellence in the fields of Editorial, Advertising and Fashion Photography. 2018 saw the publication of "Paid Content" which uses the setting of the advertising agency to explore the changing face of workplace culture and the wider dehumanising effect that is occurring due to the growth of large, faceless corporations and globalisation.
2020 saw the publication of "Geoffrey Valentine" which presents unflinching portraits of his dead father lying in a coffin in a chapel of rest.

Geoffrey Valentine at Wren London
 

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More Great Photographers To Discover

Anton Gorlin
Australia
Masao Yamamoto
Masao Yamamoto was born in 1957 in Gamagori City, Aichi Prefecture in Japan. Although originally trained as a painter, he is one of the best known Japanese photographers working today. Yamamoto’s images are like fragments from a puzzle that capture an allusive, ineffable moment. He has produced several limited edition series of mixed media photographs, including Box of Ku, Nakazora, Kawa=Flow and most recently, Shizuku=Cleanse. He has published several books among them: A box of Ku, (Nazraeli Press, 1998); Nakazora (Nazraeli, 2001); The Path of Green Leaves (Nazraeli, 2002); Omizuao (Nazraeli, 2003); Santoka (Harunatsuakifuyu Sousho, Japan,2003); é (2005); Fujisan (Nazraeli, 2008); Yamamoto Masao, (Galerie Albert Baumgarten, Germany, 2009); Yamamoto, Masao (21st Editions, 2011);and Where we met: Yamamoto, Masao and Arpaïs du Bois (Lanoo Publishers, Belgium, 2011). Masao Yamamoto’s work has been exhibited all over the world, and his photographs are in many public and private collections including: the Museum of Fine Arts, Houston; the International Center for Creative Photography; the Center for Creative Photography; the Santa Barbara Art Museum; the Victoria & Albert Museum; the Maison Européenne de la Photographie; and the Sir Elton John Collection. Source: Etherton Gallery Masao Yamamoto (born 1957 in Gamagori City in Aichi Prefecture, Japan) is a Japanese freelance photographer known for his small photographs, which seek to individualize the photographic prints as objects. Yamamoto began his art studies as a painter, studying oil painting under Goro Saito in his native city. He presently uses photography to capture images evoking memories. He blurs the border between painting and photography however, by experimenting with his printing surfaces. He dyes, tones (with tea), paints on, and tears his photographs. His subjects include still-lives, nudes, and landscapes. He also makes installation art with his small photographs to show how each print is part of a larger reality. Source: Wikipedia Masao Yamamoto's photography is known for evoking emotional power in the form of small-scale photographs. Photographer Masao Yamamoto (1957-present) was born in Aichi Prefecture in Japan. Originally interested in pursuing painting, studying oil painting specifically under Goro Saito. Though Masao Yamamoto eventually transitioned into photography in 1993, his painting background is apparent in his works’ painterly look, incorporating blurs and experimenting with printing surfaces; with many Masao Yamamoto photographs, he manipulated the silver gelatin prints through analogue, which means such as painting the images with tea or actual paint and tearing them. Subjects vary wildly, ranging from Japanese countryside to nude female bodies. Many liken Yamamoto’s art to haikus, considering his mastery of brevity and focus on everyday details. Yamamoto's photography and prints are on permanent display at museums like the J.P. Morgan Chase Art Collection as well as many other private, corporate and public collections. Masao Yamamoto's photography style is a study in tactile experience, encouraging viewer engagement through nuanced layers and unique museum and gallery installations. His extremely detail-oriented approach creates an intricate, ephemeral feel; each photograph is an isolated section of a larger series, like A Box of Ku, which featured handheld-sized images. Most of his series work is unframed and artificially aged to mimic a tangibility, further lending to the accessibility. Masao Yamamoto has published many monographs, including Tori (Radius Books, 2016), Poems of Santoka (Galerie Vevais, 2016), Small things in silence, (Editorial RM, 2014), KAWA=Flow (Kochuten Books, 2011), YAMAMOTO MASAO (21st Editions, 2011), Fujisan (Nazraeli Press, 2008), é (Nazraeli Press, 2005), Omizuao (Nazraeli Press, 2003), Santoka (Harunatsuakifuyu Sousho, Japan, 2003), The Path of Green Leaves (Nazraeli Press, 2002) and A Box of Ku (Nazraeli Press, 1998). Masao Yamamoto's photography and prints are on display in museums and galleries across the United States, Japan, Europe, Russia and Brazil. His work is included in permanent collections like International Center of Photography, Victoria and Albert Museum, the Sir Elton John Collection. Masao Yamamoto has also had photographs hung at Jackson Fine Art, including solo shows Nakazora (2003) and A Box of Ku (1999) and group show Contemporary Japanese Photography. Source: Jackson Fine Art
Caterina Bernardi
I was born in a town called Orkanger on the north-west coast of Norway, the land of the northern lights and long winters. This is where I draw a lot of my inspiration from, with its incredibly dramatic scenery and landscapes, and fairytales I grew up with; stories of moody and mystical Nordic environments brimming with depictions of trolls, princesses and nature.My connection with photography first blossomed in Rio de Janeiro, Brazil where I lived in the very early 1990’s. There, I learned Portuguese, encountered very passionate people and discovered my own passion for photography. A friend had found a producer to make her first CD, and I took pictures of her recording music with famous Brazilian artists in the studio. It was an incredible experience that compelled me to pursue photography, which eventually led me to San Francisco, a magnificent city to go to live and work. There, I got my Bachelors of Fine Arts and ventured out on my own to shoot.In the past decade I have created images for clients such as Merck, Genentech, Reebok, The Times of London, Pasolivo, Gilead, Bristol-Myers Squibb, KQED TV., Yoga Journal, Vodafone, and Warner Bros, while my work has appeared in photo publications such as Communication Arts, PDN, Graphis, APA Shows, and Graphic Design USA. Currently I am located in San Francisco, CA, but once a year the northern winds call upon me and I go back home and visit Norway, to feel the breeze and see the midnight sun. Artist StatementI think artists in general have an innate appetite for life, and speaking for myself, I find that curiosity and passion drive me to explore and create, to be mesmerized by life and it’s constant flux of magical encounters, fears and achievements; my vehicle of expression is the art and craft of photography. In this process I aim to intimately connect the subject and me and ultimately the viewer to a dialogue and to linger, to inspire and to create, and to preserve intense moments of emotion and beauty and mystery.What I strive for in an image is to get genuine emotion and expressions from the subject. Sometimes it happens very naturally, and sometimes it is a real challenge to put a person at ease, to make them feel comfortable and enjoy having a camera pointed at them. It is a sensitive moment I share with my subjects while photographing, and establishing a connection with the talent is very important in order to capture striking images, and I work hard to make them comfortable and excited so they give their best. With great collaborations everyone wins and walks away with a sense of achievement.Photography gives my life a purpose and a meaning, to further explore and discover myself, the arts and science, and our mysterious existence.
Jennifer Little
United States
1977
Jennifer Little (b. 1977) lives in Oakland, California. Her current photographic work focuses on social and ecological concerns and documents intersections between the natural and the man made. Jennifer received a B.F.A. in Photography from Washington University in St. Louis and an M.F.A. from the University of Texas at Austin. She is a tenured Associate Professor at University of the Pacific in Stockton, California, where she teaches courses covering Digital Photography, Video Production, Documentary Photography, the History of Photography, and Web Design. Jennifer is Chair of the Art Department at University of the Pacific. Jennifer Little's new photographic series, 100 Years of Dust: Owens Lake and the Los Angeles Aqueduct, is receiving significant recognition from galleries, publications, and curators. It just won the prestigious 2014 Critical Mass Top 50 Award from PhotoLucida. This series has also been selected for a solo exhibition at University of the Arts' Sol Mednick Gallery in Philadelphia from March 20 - April 24, 2015. Jennifer has been invited to give a presentation about Owens Lake at the Society for Photographic Education (SPE) National Conference in New Orleans, LA, from March 12-15, 2015. She also presented at the SPE West Regional Conference in Los Angeles on November 15, 2014, with Kathy Bancroft, the Tribal Historic Preservation Officer for the Lone Pine Paiute-Shoshone Reservation. Jennifer's series about Owens Lake won the 2014 "Dotphotozine Award for Excellence in Photography" and is featured in the September, 2014, issue of the magazine. This series also won first prize in an October - November, 2013, juried exhibition at Book and Job Gallery on Geary Street in San Francisco: The Human Impact: New Directions in Landscape Photography. Jennifer has exhibited her work at galleries and museums including Stanford University’s Thomas Welton Stanford Art Gallery; Tag Gallery in Bergamot Station Arts Center, Santa Monica, CA; Photo Center Northwest, Seattle, WA; Kala Art Institute in Berkeley, CA; The San Francisco Arts Commission Gallery; The LAB, San Francisco; Viewpoint Photographic Art Center in Sacramento, CA; Eisentrager-Howard Gallery at The University of Nebraska at Lincoln; The Marin Museum of Contemporary Art in Novato, CA; The Center for Fine Art Photography in Fort Collins, CO; and Jay Etkin Gallery in Memphis, TN. Jennifer’s work has been published and reviewed in Dotphotozine, View Camera Magazine, ArtAscent Magazine, Camera Arts Magazine, and The Austin Chronicle. Jennifer has presented artist talks at Stanford University, San Francisco Art Institute, the Foto 3 Conference, Kala Art Institute in Berkeley, CA, and the Dimen Cultural Eco-museum Forum on the Preservation and Development of Ancient Villages, Dimen, Guizhou, China.About Owens Lake and the Los Angeles AqueductThis project documents the Los Angeles Department of Water and Power’s (LADWP) legally mandated dust mitigation program at Owens Dry Lake in Southern California. It is the latest chapter in a century of legal battles over water rights and air quality in Owens Valley. Owens Lake lies in Southern California's eastern Sierra, about 200 miles northeast of Los Angeles. This 110-square-mile lake began to dry up in 1913 when the City of Los Angeles diverted the Owens River into the Los Angeles Aqueduct. The new water supply allowed Los Angeles to continue its rapid growth and turned the arid San Fernando Valley into an agricultural oasis, but at a tremendous environmental cost. By 1926, Owens Lake was a dry alkali flat, and its dust became the largest source of carcinogenic particulate air pollution in North America.1
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