All about photo.com: photo contests, photography exhibitions, galleries, photographers, books, schools and venues.

Rising Photographers / J

Michael Jackson
United Kingdom
1966
British b.1966, in Wokingham, Berkshire. Jackson trained as a painter at West Dean College, England. After moving to Wales In 2007 he started work on an extensive study of a single remote beach, Poppit Sands, which lasted for eight years until 2015. Jackson won the Chris Beetles Award in 2013 and became a Hasselblad Masters Award finalist three times in 2008, 2009 and 2012. Now regarded as a leading exponent of the luminogram process, he works with uniquely developed techniques and response mirroring using silver gelatin paper in the darkroom. In 2017 his luminogram work was paired with theologian Edwin A.Abbott in a book published by 21st Editions, titled after Abbott's famous work 'FLATLAND' and premiered at the Grand Palais in Paris. His work is held at the National Gallery of Art in Washington and the collection of the University of Minnesota. Artist Statement "I am a British photographer based in rural Wales, UK. Born 1966. Studied art at West Dean College then apprenticed under the landscape painter Christopher W. Baker. Since moving to Wales in 2007 I have been photographing a single beach - Poppit Sands. This seems to be something that I am compelled to do as I have not yet tired of it. My goal is to keep on looking harder and hope that through studying a single subject I can find something new. The images have toured with the Hasselblad Masters On Tour twice and have been exhibited in Copenhagen, Hong Kong, Beijing, Berlin, New York, Cardiff, London & Los Angeles as well being featured in magazines such as LENSWORK, SILVERSHOTZ and SHOTS as well as blogs such as LENSCRATCH, CNN & FEATURESHOOT. The images have also reached the Hasselblad Masters Finals three times."Source: www.mgjackson.co.uk
Don Jacobson
United States
The world of photography and the world of the natural wonders of the Sierra Nevada opened to Don Jacobson simultaneously. The photographs he took with his little Kodak Brownie were woefully inadequate to express the grandeur of the Range of Light. Within a week of his first backpack trip into the high country, he bought his first SLR, a Pentax Spotmatic and began to take photography classes. His degree is in electrical engineering and he worked in that field for three years. Working for the defense industry became more of a contradiction with his political views initiating a search for a desperately needed a creative outlet. For the next twenty-eight years he worked as a glassblower. His work was shown in galleries across the United States, and the Corning Museum included a piece of his in their 1986 collection of 200 international glassblowers. Although glassblowing was his "day job*," he continued to practice the art of photography, studying photography with Edmund Teske at UCLA for a year. The two different mediums, are connected by light. The magic of glass is in its ability to transmit and reflect light while photography is the capturing of light. During the years he lived in the San Francisco Bay Area, 1973 through 1976, he amassed 135 images of owner decorated vehicles. He is currently a member of the Portland Photographers Forum and the Interim Group, a critique group originally formed by the influential photographer Minor White. Statement I see the world differently now. The camera, which narrows the field of vision, has actually expanded my vision. When I realized I was viewing reality as if it were a series of photographs, I initially questioned that perspective. Now, I know my perception is enhanced and enriched from my pursuit of photography. An already dynamic and interesting world has become more so. I am delighted by quality of light, vibrancy of color, unexpected and often unnoticed detail. The stunning structure of an orchid, the intricate ornamentation on an older building, or dishes stacked in a dish drainer are fascinating to me. Abstractions and patterns are richer and invite investigation. My subject matter is limitless. Anything that appeals to my eye is fair game for my camera.
Constance Jaeggi
Switzerland
1990
I have always had a fascination with horses which in part stems from my interest in the essential role they played in the development of modern civilizations. At the heart of the relationship between horses and humans is a large paradox. At once a tool in conquests and war because of their tremendous power and capacity for speed, they remain a herd and prey animal. Through photography both inside and outside of the studio, I explore the duality of these flighty yet mighty animals, as well as their relationships with humans, in particular with women whose livelihoods still depend on these animals. My journey with photography started in 2013, after earning my bachelor’s degree from Texas Christian University. After this, I completed a short course in Photography at the New York Film Academy and a Masters in Art History and Art World Practice at Christie’s in 2021. Over the past three years, I have been documenting Camilla Naprous of the Devil's Horsemen with my film cameras and the resulting project The Devils is subject of an ongoing exhibition at the Cowgirl Museum in Fort Worth, TX. Statement I spent most of the pandemic cloistered at the Devil’s Horsemen outside London, UK, a leading supplier of horses and stunt men and women in the film industry. Using my film cameras to get closer to the team who were also locked down at the farm, I documented the small group of women during their daily routines as they cared for the horses and continued training in anticipation of the reopening. From very different walks of life, the people at the Devil’s Horsemen are brought together by their love of horses and their determination to make a life for themselves in which horses play a central role. The company is today led by Camilla Naprous, a second-generation horse master whose father founded it in the 1970’s. Far from the glamour of Hollywood, this project pulls back the curtain on a fascinating way of life, a mix between intimacy and arduous labor where the relationship between horse and woman knows no boundaries.
Jelena Jankovic
Serbia
1985
Jelena Janković is fine art photographer from Belgrade, specialized in dance and theater photography. Actively engaged in the documentary, freelance fashion, conceptual and experimental photography. Recipient of significant awards for her photography, such as Grand Prix Balkan Photo Awards 2016, 2017 Sony World Photography Awards, Siena International Photo Awards 2017, First Prize of 2017 Andrei Stenin International Press Photo Contest, FIAP plate of Sterijino Pozorje for Theatre Photography... She has exhibited at twenty groups and seven solo exhibitions and has been credited for photography in over 40 theater productions. Her photographs have been published: Rolling Stone (DE), Professional Photographer(USA), ELLE (SRB) Digital SLR Photographer magazine (UK), fotoMAGAZINE (DE), LensCulture, Lürzer's Archive, GEO (DE, ESP), National Geographic (SPA)... She is a member of The Association of Fine Arts Artist and Designers of Serbia. Statement Photography helped me to express myself, through it I study about myself and and about people around me. I create in several fields: Documentary photography is my reflection on the world around me; i use it to educate about the truths that exist. Dance and theatre photography is about expressing my inner emotion; the power and fragility of dance is affecting my most profound and intimate feelings. Fashion is the platform for staging my theatre play; it is the blend of knowledge, imagination, and precision. Conceptual and Experimental photography. photography is the space without borders; it liberates my vision beyond known conventions. The project Bird talks about me. I am 32 years old and recently I have been diagnosed with dyslexia. Because of the very poor school system, uneducated teachers that were not able to distinguish dyslexia and me not being able to discover it in time, I have been living my whole life in fear and hiding. Unaware of the problem that I’m living with, frustrated with my inability to work and study normally, I developed various methods with whom I managed to avoid reading in front of my friends and professors. I didn’t knew how to explain that the letters are shaking in front of my eyes while I was reading and that I unconsciously twisted the letters and words that I was writing. I was feeling like a bird locked in a cage. The only safe place that I felt was my art creation; creative expression was my escape. I visited zoological gardens in Belgrade and Amsterdam and photographed locked birds in cages that were representing me and all the others that were living in a similar fear. Afterwards I would draw across the photos combining different techniques like painting and collage, so I can show to the world all the freedoms that exist from the inside. This project was developed as a wish, so people can discuss openly about dyslexia, all the problems that this disease carries, and so we can set ourselves free and stop the process of hiding because of the fear of judgements. The second project is The chosen ones Inspired by visual effects, I watched a bunch of people that reminded me of the great army. In these glorious visual moments, the lights chose some of them randomly, but some of them chose themselves by taking selfies. Selfie culture started to determine our existence; everybody needs to know where we are or are we doing something. Social media has a huge impact on our views about current issues. Social media has become one of the largest epidemics that affect the social relationship between people. While we are waiting for the approval of others, we miss the opportunity to enjoy the mysterious world around us.
Beatrix Jourdan
Beatrix Jourdan (Bea Mészöly) was born in Budapest, attended The Hungarian University of Fine Arts, and is both a freelance graphic designer and photographer. Photography has been exhibited in solo and group shows in Luxembourg, Belgium/Brussels, London, Hungary, Italy, Kuala Lumpur, Senegal/Dakar Argentina and the USA. She is currently based in Dakar, Senegal. "Being a professional graphic designer I worked with photos shot by others, making art catalogues and book covers, designing magazines and advertising. Sometimes when I had not enough photos for creative process, I started to shoot for my work and found myself deeply involved in the process. Fine art photography inherits means of expression like the use of light, composition, shape, line, rhythm, colour, etc. from painting and drawing. But what is most important for me it suggests principle of duality, originality through lack of originality, reflection, illusion, intricacy, which confuses people who want to see in the photo a phenomenon of objectivity, simplicity and straightness – all these I try to keep in my mind and share in my works. I believe that the concept of photography is not only a faithful reproduction of reality, but also a way of showing emotions, human relations, and that it is also a form of communication between a photograph and the viewer. Thus, the camera is only a tool for the technical execution of the art form, and a catalyst for developing and displaying feelings." Interview with Beatrix Jourdan All About Photo: When did you realize you wanted to be a photographer? Beatrix Jourdan: I started working as a graphic designer, and choosing the right photo to work on was not so simple: sometimes I felt upset as it was very difficult to create a "communication-bridge" between the message and the composition that was in my hands. Then I started to take photos on my own: I perfectly knew what was in my mind, and the only thing I could do was taking photos, in order to translate my thoughts into reality. AAP: Where did you study photography? BJ: I was the "teacher of myself", as I began to spend a lot of time in the dark room, where - making a lot of mistakes, obviously! - at the end I understood how to manipulate and develop photos. AAP: Do you have a mentor or role model? BJ: No, I don't. I can admire other photographers' work, but I never wanted to have a mentor. AAP: How long have you been a photographer? BJ: 2005 can be considered the turning point of my professional life, as I abandoned my work as a graphic designer in order to become a photographer. AAP: Do you remember your first shot? What was it? BJ: Uh... what a difficult question! I can't say for sure but my dog could probably be my first subject. AAP: What or who inspires you? BJ: Everything around... The world that surrounds me everlastingly inspires me in my shots. Bodies, houses, situations... there are so many things that can be shot that sometimes I run the risk to lose myself in my own passion... AAP: How could you describe your style? BJ: Honestly, I really do not know. The "subjects" always influence my style... I love to help the observer, guiding his attention on a particular aspect, the same that caught my attention. AAP: Do you spend a lot of time editing your images? For what purpose? BJ: Yes. I always edit my photos. The photos are the way I like the most to begin to "paint", in order to translate into reality what I feel and "need" to show. AAP: What advice would you give a young photographer? BJ: Never try to copy any style from other photographers: just look deep inside and find yourself in the reality you shoot. AAP: Your best memory as a photographer? BJ: Every shot is deeply connected to a person or to a situation... The time I spend with someone always becomes my best memory. AAP: The compliment that touched you most? BJ: Every compliment touches me!! AAP: If you were someone else who would it be? BJ: ...even if I deeply love a photo which is not mine, I never say "I would have shot it". That's because a photo is part of the photographer that takes it. A photo is not only a "clic", it is a powerful mix of technique, feelings, emotions, background and thoughts. I cannot have the same "mix" as another photographer, so when I look at a photo I love, I prefer to feel the love the photographer has put into it. AAP: Anything else you would like to share? BJ: Not very original but: Shoot when you need to shoot, as time never goes back.
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.
Advertisement
AAP Magazine #38: Women
April 2024 Online Solo Exhibition
AAP Magazine #38: Women

Inspiring Portfolios

Call for Entries
AAP Magazine #38 Women
Publish your work in AAP Magazine and win $1,000 Cash Prizes

Related Articles

Family Stuff by Qingjun Huang
I have been making my long-term project "Family Stuff" series for 20 years, which now includes 150 photographs. I gather a family’s belongings from different spaces in the home and arrange them in one place to take a photograph with the family members. Most of these photos are taken outdoors, with the home as the background. Ninety percent of my previous works were shot in China during a time of rapid economic development, modernization and globalization. I used this method of staged photographs to record history. In the photos, a household’s real interior space is briefly exposed in an external space; also can be seen are environment changes, urban expansion, technological advancements and shifts in people's lifestyles. Through static documentation of the above, I create a dynamic social panorama.
Africa Aerials by Kirsten Griffin
Although I have of fear of heights, I am obsessed with photographing out of a helicopter. It’s such a freeing experience to witness the world from a bird’s eye view. The patterns on the Earth are gorgeous and worth seeing from this vantage point.
10 Japanese Photographers You Should Know
The history of Japanese photography dates back to the late 19th century, when Japan first adopted Western-style photography. Prior to this, the country had a long tradition of art and visual representation, but photography as a medium was largely unknown. In the 1870s, a number of Japanese photographers traveled to Europe and the United States to learn about the new medium, and soon after, photography began to spread rapidly in Japan. The early years of Japanese photography were marked by a fascination with the West and a desire to imitate Western styles and techniques. However, as photographers gained more experience, they began to develop their own unique style and techniques, incorporating traditional Japanese aesthetics and themes into their work. One of the most significant developments in Japanese photography during this period was the rise of the photojournalism and documentary photography. In the aftermath of World War II, Japanese photographers began to document the country's recovery and rebuilding efforts, capturing images of the country's changing landscape and people. This period also saw the emergence of a number of prominent photographers, including Ihei Kimura, who is widely considered to be one of Japan's greatest photojournalists. In the 1960s and 1970s, Japanese photography was heavily influenced by the counterculture and avant-garde movements of the time. Photographers such as Eikoh Hosoe and Shomei Tomatsu began to push the boundaries of traditional photography, experimenting with new techniques and themes that reflected the social and political upheavals of the era. This period also saw the rise of street photography, as photographers sought to capture the everyday lives of the people in Japan's cities and towns. In the 1980s and 1990s, Japan experienced a period of rapid economic growth and modernization, and this was reflected in the country's photography. Photographers such as Daido Moriyama and Nobuyoshi Araki began to document the changes taking place in the country, capturing images of the new consumer culture and the rapidly changing urban landscape. This period also saw the emergence of new photographers, such as Masahisa Fukase, who challenged traditional notions of beauty and representation in their work. Today, Japanese photography continues to evolve, with photographers exploring new themes and techniques, and incorporating new technologies into their work. The country has produced a number of highly regarded photographers, including Rinko Kawauchi, who has gained international recognition for her dreamlike images, and Risaku Suzuki, who has gained recognition for his stunning landscapes. Japanese photography is rich and diverse, reflecting the country's cultural, social, and political changes over the past century and a half. From its early beginnings as a Western import, Japanese photography has developed its own unique style and techniques, and has produced a number of highly regarded photographers who have left an indelible mark on the medium. Here are 10 contemporary photographers you should know.
All About Photo Presents ’My Mother’s Tender Script’ by Asiya Al. Sharabi
Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of February 2024 and includes twenty photographs from the series ‘My Mother's Tender Script’
British fashion photographer Rankin partners on charity campaign to end global acid violence
The Tear Couture Look Book/ campaign’s aim is to start highlight the devastating effects of acid attacks, and in particular the specific link to the fashion, textiles, retail and manufacturing industries, based on research which shows a correlation between legitimate business uses of acid and the incidence of acid attacks in parts of the global south**. This campaign aims to engage industry partners to strengthen processes for a more responsible supply chain'
1 in 6 by 2030
Earth’s population is about to become the oldest it has ever been: by the year 2030, 1 in 6 people will be over the age of 60. This is a historic moment for the world, as individuals, societies and governments confront one of the most fundamental population shifts in human history.
All About Photo Presents ’The Roma Princesses’ by Manuela Federl
All About Photo is pleased to present ‘The Roma Princesses’ by Manuela Federl Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of January 2024 and includes twenty photographs from the series ‘The Roma Princesses'
Between Then & Now by Patricia McElroy
As I pass my mom's bedroom, I notice light seeping beneath the door, indicating raised window shades. Peeking in, I see her asleep on her lazy-boy covered with a large throw, dressed, hair in curlers, face powdered, rosary in hand, and tissues beside her on the wide armrest. Her 1.5-hour morning routine is a mystery; it's 7 am, and I don't know when she got up. Despite feeling like I can predict her every move, her surprises have become more frequent.
Pilgrimage by Vladimir Antaki
Antaki's Pilgrimage, crafted in 2019 just on the cusp of the pandemic, took on an even more profound significance as the world grappled with the challenges of social distancing and isolation during the global pandemic of 2020-2021. Within the frames of Pilgrimage, Antaki maintains his practice of engaging strangers, coaxing them to reveal the narratives of their moments—all encapsulated in mere minutes. The resulting images serve as gateways into a sphere where the essence of community and camaraderie takes center stage. Antaki's adept use of vibrant colors and the interplay of natural elements against the canvas of man-made structures draws attention to the intricate beauty and complexity of our shared world.
Call for Entries
AAP Magazine #38 Women
Publish your work in AAP Magazine and win $1,000 Cash Prizes